From: demhopkins
Date: Fri Dec 27, 2002 11:20 pm
Best concerts, the hardest catagory:
1. The Strokes/Aragon Ballroom )(Brawlroom) (hands down the best show of the year--the boys came of age in just one year--and they announced the transition loud and clear. Great new material, no shoe-gazing, not fucked up, a tight, awe-inspiring set in a venue that isn't worthy of a livestock show).
2. White Stripes/Ist Ave. Minneapolis, MN (saw them in Chicago but THE show was in Minneapolis--they loved the venue and Jack played a very long electrifying set before a crowd that loved him--so much better than the Chicago gig, Jack camped it up with top hats and affectations that I never heard in the music. He proved himself to be a complete entertainer--and was totally at home in this great club)
3. Interpol/Empty Bottle (the fact that they lived up to the hype, handled the abuse, and sent the strongest message you could ask for in a band the first time through town--doesn't even begin to describe the show).
4. Bryan Ferry/Chicago Theatre (I saw the Roxy reunion a year ago-- and this show had more excitement, glitz, glamour, and he is the only old fuck that dance like a dork and make it look so fucking cool. Also, the band included Chris Spedding and The Great Paul Thompson on drums).
5. The Datsuns/Empty Bottle (thanks mel, six feet from the stage and what I got was a sore neck because I didn't want to take my eyes off anyone in the band--they were at their peak--and I hope to see them in this form at least once more in their career).
6. Hives/Mooney/ The Metro (everything that can be said about The Hives has been said. They are probably THE live band of the year. Mooney was the best received opening act that I have experienced--enough so that they headlined this club a couple months later and did an even better set--but this pairing was amazing).
7. TSOOL/Cato Salsa/The Metro (match made in heaven. Cato has been taking some shit in the press--but the show was impressive and TSOOL was even stronger than their Empty Bottle Show a few months earlier. TSOOL isn't afraid to be very uncool on stage--and it works so well. I had friends who thought the theatrics were way over the top--but as long as they have been kicking around, they have a right to do it and I enjoyed it. A few behind the back guitar licks would be cheesy on any other band--but it fits TSOOL just right--I hope they keep it up).
8. TOD/ The Metro (Conrad and Jason trading off between guitar and drum is worth the price of admission. This is one band that seems to always deliver 100%).
9. Liars/YYYs/Fireside Bowl (I went for YYYs, but "stuck around" for The Liars--and The Liars put on a non-self-indulgent show that ranks as one of the hardest hitting, fast, in-your-face shows of the year. YYY's--just fucking brilliant).
10. Marianne Faithful/ Park West (if you dig her--it was an all smiles show that built into a great payoff as she did the new stuff but led her terrific band through a lot of Broken English. When it should have been over she announced that she was breaking from a long tradition of using Broken English material as her closer and she returned to the new material. She has every right to be proud of it).
11. Clinic/Apples in Stereo/The Metro (Clinic turned the place into a dance party--completely unexpected; Apples in Stereo really made me like them--completely unexpected. A very fun night).
12. Spoon/ The Abbey (A very tight set from a band that would normally be a little poppy for my taste. Great vocals, some very good guitar, and amazing tunes--Jonathan Fisk wiped me out. At the end of the set, they announced, "we will be better next time." You gotta love that--and they will.)
--Dem
The owner of the original legendary Chicago punk bar, OZ, and producer of the infamous punk album Busted at OZ comments on music along with others. Visit Busted At OZ
Saturday, December 28, 2002
Saturday, December 21, 2002
Albums/Singles/Gigs Of The Year 2002
From: Neil
Date: Sat Dec 21, 2002 5:25 pm
Albums
Billy Childish - 25 Years Of Being Childish
Interpol - Turn On The Bright Lights
Ikara Colt - Chat & Business
The Libertines - Up The Bracket
Mclusky - Mclusky Do Dallas
...Trail Of Dead - Source Tags & Codes
Singles
The Beatings - Bad Feeling
British Sea Power - Spirit Of St.Louis
The Candys - Monitor Rock
The Kills - Black Rooster EP
The Libertines - What A Waster
Sparta - Cut Your Ribbon
Yeah Yeah Yeahs - S/T
Yeah Yeah Yeahs - Machine
Gigs
Strokes - Brixton Academy
Ash/ Hundred Reasons/Soundtrack Of Our Lives/Jet Plane Landing - London
Astoria
Super Furry Animals/CooperTemple Clause - Hackney Ocean
Hives/Bellrays/Buff Medways - Brixton Academy
Morrissey/Libertines - Brixton Academy
Libertines/Candys - Tunbridge Wells Forum
Von Bondies/Modey Lemon - Camden Barfly
Mclusky/Apes - London Garage
--NeilM
Date: Sat Dec 21, 2002 5:25 pm
Albums
Billy Childish - 25 Years Of Being Childish
Interpol - Turn On The Bright Lights
Ikara Colt - Chat & Business
The Libertines - Up The Bracket
Mclusky - Mclusky Do Dallas
...Trail Of Dead - Source Tags & Codes
Singles
The Beatings - Bad Feeling
British Sea Power - Spirit Of St.Louis
The Candys - Monitor Rock
The Kills - Black Rooster EP
The Libertines - What A Waster
Sparta - Cut Your Ribbon
Yeah Yeah Yeahs - S/T
Yeah Yeah Yeahs - Machine
Gigs
Strokes - Brixton Academy
Ash/ Hundred Reasons/Soundtrack Of Our Lives/Jet Plane Landing - London
Astoria
Super Furry Animals/CooperTemple Clause - Hackney Ocean
Hives/Bellrays/Buff Medways - Brixton Academy
Morrissey/Libertines - Brixton Academy
Libertines/Candys - Tunbridge Wells Forum
Von Bondies/Modey Lemon - Camden Barfly
Mclusky/Apes - London Garage
--NeilM
Saturday, December 14, 2002
Soledad/Walkmen/Hells
From: Neil
Date: Sat Dec 14, 2002 1:58 am
Went to a gig last night at the Garage, North London. First up were a three-piece of ex-pat American kids, The Hells. Essentially a garage outfit, no bass, twin guitar boy/girl fronted outfit. They sure can rock, but the songwriting is a lacking in real spark. Worth keeping an eye on for the future.
The Walkmen were a much more accomplished five piece. Their stuff is more into the "emo" side of things (I do hate these pigeonholes, but they save a ton of explanation!). I can't tell you a lot about them, other than they are from the US, some of the members used to be in Jonathan Fireeater (sic?), their guitarist loves short stabbing chiming riffs a la Interpol, but their stagecraft is a bit lacking - they really didn't engage the crowd despite having some compelling material. The Soledad Brothers were in town for the second time in a month. For those of you yet to catch them, they are a blues three piece (no bass, two guitars--again!) originally from Ohio, now resident in Detroit. But theirs is more "New Orleans juke joint meets late 60's Stones" than , say, a JSBX- or White Stripes- type thang. They certainly get a good party vibe going, and are fun, but the lack of original material will exclude them from any hope of mass appeal. But do go looky-looky if they hit a town near you if "Robert Johnson meets Get Yer Ya Yas Out" are references you understand and feel drawn towards.
--NeilM
Date: Sat Dec 14, 2002 1:58 am
Went to a gig last night at the Garage, North London. First up were a three-piece of ex-pat American kids, The Hells. Essentially a garage outfit, no bass, twin guitar boy/girl fronted outfit. They sure can rock, but the songwriting is a lacking in real spark. Worth keeping an eye on for the future.
The Walkmen were a much more accomplished five piece. Their stuff is more into the "emo" side of things (I do hate these pigeonholes, but they save a ton of explanation!). I can't tell you a lot about them, other than they are from the US, some of the members used to be in Jonathan Fireeater (sic?), their guitarist loves short stabbing chiming riffs a la Interpol, but their stagecraft is a bit lacking - they really didn't engage the crowd despite having some compelling material. The Soledad Brothers were in town for the second time in a month. For those of you yet to catch them, they are a blues three piece (no bass, two guitars--again!) originally from Ohio, now resident in Detroit. But theirs is more "New Orleans juke joint meets late 60's Stones" than , say, a JSBX- or White Stripes- type thang. They certainly get a good party vibe going, and are fun, but the lack of original material will exclude them from any hope of mass appeal. But do go looky-looky if they hit a town near you if "Robert Johnson meets Get Yer Ya Yas Out" are references you understand and feel drawn towards.
--NeilM
Monday, November 18, 2002
The Liars/ Sparklehorse/ GVSB/ Interpol
From: Suzel
Date: Mon Nov 18, 2002 6:41 am
Last week, I finally saw The Liars who really rocked the Casbah! Very good stuff. another album to get ... The Coral cancelled :( .. Sparklehorse was a bit shitty. Well, very disappointing. But the highlight of this evening was a French band.. even The Liars were not as good performers as this band called Dionysos. 6 on stage, happy to be there, all smiling and joking :) The band didn't want to leave the stage, neither did we. I already saw them about 6 years ago, we were about 50 in the venue and they rocked it the same way. So if you ever got the chance to see them (they tour outside France too), they really worth it. Half of their songs are in English so you shouldn't be too lost. ;)
GVSB yesterday was really cool. a nice gig.. less energy though than in 95 in Reading. But hey this was a gig in a little French city, nothing comparing to Reading .. They played their whole new album, their 2 famous tracks (Kill the Sex Player and I forgot the other one title) and covered "She's lost control" of Joy Division.
My gigs of this week should be Guitar Wolf (a Japanese garage band who is said to be completely crazy on stage), Division of Laura Lee, The peepshows, Bombshell rock, Raised fist. I'll let you know.
Know anything about Le Tigre? I heard a title and really like it. Now, Interpol.. here are the dates of their tour in US and the first European dates beginning with UK.
--Suzel
USA 2002
05.12. Philadelphia, PA - Gasoline
06.12. Washington, DC - Black Cat
07.12. Richmond, VA - Alley Katz
08.12. Atlanta, GA - Cotton Club
09.12. Carrboro, NC - Cat's Cradle
11.12. Boston, MA - Middle East
19.12. New York City, NY - Bowery Ballroom --sold out
20.12. New York City, NY - Bowery Ballroom --sold out
21.12. New York City, NY - Bowery Ballroom --sold out
UK 2002 - NME Brats tour w/the datsuns (headliners) + the polyphonic spree
+ the thrills
26.01 Glasgow - Barrowlands
27.01 Newcastle - Northumbria University
28.01 Birmingham - Birmingham Academy
30.01 Sheffield - Sheffield University
31.01 Liverpool - Liverpool University
01.02 Manchester - Manchester University
03.02 Leeds - Leeds Metropolitan University
04.02 Nottingham - Notthingham Rock City
05.02 Norwich - Norwich UEA
07.02 Portsmouth - Pyramid
08.02 Cardiff - Cardiff Univeristy
09.02 London - Astoria
Date: Mon Nov 18, 2002 6:41 am
Last week, I finally saw The Liars who really rocked the Casbah! Very good stuff. another album to get ... The Coral cancelled :( .. Sparklehorse was a bit shitty. Well, very disappointing. But the highlight of this evening was a French band.. even The Liars were not as good performers as this band called Dionysos. 6 on stage, happy to be there, all smiling and joking :) The band didn't want to leave the stage, neither did we. I already saw them about 6 years ago, we were about 50 in the venue and they rocked it the same way. So if you ever got the chance to see them (they tour outside France too), they really worth it. Half of their songs are in English so you shouldn't be too lost. ;)
GVSB yesterday was really cool. a nice gig.. less energy though than in 95 in Reading. But hey this was a gig in a little French city, nothing comparing to Reading .. They played their whole new album, their 2 famous tracks (Kill the Sex Player and I forgot the other one title) and covered "She's lost control" of Joy Division.
My gigs of this week should be Guitar Wolf (a Japanese garage band who is said to be completely crazy on stage), Division of Laura Lee, The peepshows, Bombshell rock, Raised fist. I'll let you know.
Know anything about Le Tigre? I heard a title and really like it. Now, Interpol.. here are the dates of their tour in US and the first European dates beginning with UK.
--Suzel
USA 2002
05.12. Philadelphia, PA - Gasoline
06.12. Washington, DC - Black Cat
07.12. Richmond, VA - Alley Katz
08.12. Atlanta, GA - Cotton Club
09.12. Carrboro, NC - Cat's Cradle
11.12. Boston, MA - Middle East
19.12. New York City, NY - Bowery Ballroom --sold out
20.12. New York City, NY - Bowery Ballroom --sold out
21.12. New York City, NY - Bowery Ballroom --sold out
UK 2002 - NME Brats tour w/the datsuns (headliners) + the polyphonic spree
+ the thrills
26.01 Glasgow - Barrowlands
27.01 Newcastle - Northumbria University
28.01 Birmingham - Birmingham Academy
30.01 Sheffield - Sheffield University
31.01 Liverpool - Liverpool University
01.02 Manchester - Manchester University
03.02 Leeds - Leeds Metropolitan University
04.02 Nottingham - Notthingham Rock City
05.02 Norwich - Norwich UEA
07.02 Portsmouth - Pyramid
08.02 Cardiff - Cardiff Univeristy
09.02 London - Astoria
Saturday, November 16, 2002
TSOOL show in Chicago
From: demhopkins
Date: Sat Nov 16, 2002 1:19 am
Cato [Salsa Experience] was fucking amazing. Very much a Mooney Suzuki type sound but occasional keyboards added a dimension to the sound. TSOOL is another band (like The Strokes) that have made huge strides in a short time. Nice long performance focused on "Behind the Music" and two great encores that incorporated some of the older stuff. A much more visual show from the whole band than the gig a few months ago. We had a chance to meet them at the pre-show party for them--and they were very nice guys conversing with us in English--but all Swedish between each other. Their distribution company laid out some bucks for the party (open bar and order off the menu--they paid). Spoke with a couple of the reps from the company and the goal is to give "Beyond the Music" a major radio push after the first of the year. They admitted that "Behind the Music" is getting old in many parts of the world--but still fresh in the USA and so there are no plans for TSOOL to record a new album for awhile (a little disappointing to hear I thought). Lots of free tickets were floating around for this show--but TSOOL's performance converted any one with doubts. They are ready for the bigger venues and like The Strokes a few weeks back—they have turned their entire performance up a few notches. It was much more of a band performance than a few months back--I didn't appreciate then how talented all these musicians are! Some extraordinary guitar work.
--Dem
Date: Sat Nov 16, 2002 1:19 am
Cato [Salsa Experience] was fucking amazing. Very much a Mooney Suzuki type sound but occasional keyboards added a dimension to the sound. TSOOL is another band (like The Strokes) that have made huge strides in a short time. Nice long performance focused on "Behind the Music" and two great encores that incorporated some of the older stuff. A much more visual show from the whole band than the gig a few months ago. We had a chance to meet them at the pre-show party for them--and they were very nice guys conversing with us in English--but all Swedish between each other. Their distribution company laid out some bucks for the party (open bar and order off the menu--they paid). Spoke with a couple of the reps from the company and the goal is to give "Beyond the Music" a major radio push after the first of the year. They admitted that "Behind the Music" is getting old in many parts of the world--but still fresh in the USA and so there are no plans for TSOOL to record a new album for awhile (a little disappointing to hear I thought). Lots of free tickets were floating around for this show--but TSOOL's performance converted any one with doubts. They are ready for the bigger venues and like The Strokes a few weeks back—they have turned their entire performance up a few notches. It was much more of a band performance than a few months back--I didn't appreciate then how talented all these musicians are! Some extraordinary guitar work.
--Dem
Tuesday, November 12, 2002
Soledad Bros/ The Kills
From: Neil
Date: Tue Nov 12, 2002 1:15 pm
I managed to get to see the Soledad Bros supported by The Kills at the Metro, Oxford St, London last night. Both acts were enjoyable, and I'll certainly be seeing them again.
The Kills are a two piece boy/girl guitar duo with backing tapes providing drum/keyboard noise etc, who do a "VU meets the White Stripes" kinda thing. The Soledad Bros (for those of you who have yet to hear them) are essentially a "blues trio with a punkish/garage edge".
Although I like both, I can see how people might dislike them - the obvious unfavourable comparisons to the White Stripes, a bit of a "been there/done that" feeling. But for me both put enough of their own personalities across for that to be no problem. Anyone who refers to either as "the next WS/Strokes/Hives/whatever" I think would be mistaken. I can't see much potential for cross-over into the mainstream, but whadda I know?
I'd be interested to hear what others think - I'd esp like to see your version of the ten-words-or-less encapsulations in quotes above. I know the people involved hate being pigeonholed, but jeez, if we had to listen to every album ever issued before making a decision about whether we've wasted our cash we'd have no time to sleep and no cash to pay for the bed anyway!
--NeilM
Date: Tue Nov 12, 2002 1:15 pm
I managed to get to see the Soledad Bros supported by The Kills at the Metro, Oxford St, London last night. Both acts were enjoyable, and I'll certainly be seeing them again.
The Kills are a two piece boy/girl guitar duo with backing tapes providing drum/keyboard noise etc, who do a "VU meets the White Stripes" kinda thing. The Soledad Bros (for those of you who have yet to hear them) are essentially a "blues trio with a punkish/garage edge".
Although I like both, I can see how people might dislike them - the obvious unfavourable comparisons to the White Stripes, a bit of a "been there/done that" feeling. But for me both put enough of their own personalities across for that to be no problem. Anyone who refers to either as "the next WS/Strokes/Hives/whatever" I think would be mistaken. I can't see much potential for cross-over into the mainstream, but whadda I know?
I'd be interested to hear what others think - I'd esp like to see your version of the ten-words-or-less encapsulations in quotes above. I know the people involved hate being pigeonholed, but jeez, if we had to listen to every album ever issued before making a decision about whether we've wasted our cash we'd have no time to sleep and no cash to pay for the bed anyway!
--NeilM
Simple Kid/ Mùm/ The Raptures/ The Streets
From: Suzel
Date: Tue Nov 12, 2002 5:28 am
Yesterday and today there's a little festival here, so I saw yesterday those 4 bands. Simple Kid is a kind of Ben Kweller. Quite nice actually. a bit too pop for me, but he played first and managed to make everybody moves their little asses :) he has been the only one who managed that !!
Then was Mùm which is a kind of ambient, relaxing music. They are something like 6 or 7 on stage playing. They come from Island I think. Take the instrumental relaxing songs of Bjork and you'll imagine how they sound. I really enjoyed them. The Rapture are totally different. They reminded me sometimes of The Clash and sometimes of Mars Volta. The singer has really the same kind of voice that Mars Volta. They were really good and I'll get their CD as soon as I have some money.
Then, The Streets, which is more hip-hop. I really like their lyrics and the way the singers sing. The audience which was more independent rock wasn't really warm for them. Moreover, Mike Skinner arrived on stage saying "hello onions" HAHA little wanker haha… As people hardly understood cockney English, they fortunately didn't understand half of what he said like "Bordeaux, city of ghosts"… They did a good show though, there was excellent videos but the audience was really crap yesterday and not open-minded.
Tonite, I'll see Sparklehorse, The Liars, The Coral and a French band. I really hope the audience will be warmer. Haven't you noticed hat most of good gigs are good because the audience let itself go? Moreover, you're less tired when you dance than when you stand without moving? think about your lovely back which hurt you so much last time. ;)
--Suzel
Date: Tue Nov 12, 2002 5:28 am
Yesterday and today there's a little festival here, so I saw yesterday those 4 bands. Simple Kid is a kind of Ben Kweller. Quite nice actually. a bit too pop for me, but he played first and managed to make everybody moves their little asses :) he has been the only one who managed that !!
Then was Mùm which is a kind of ambient, relaxing music. They are something like 6 or 7 on stage playing. They come from Island I think. Take the instrumental relaxing songs of Bjork and you'll imagine how they sound. I really enjoyed them. The Rapture are totally different. They reminded me sometimes of The Clash and sometimes of Mars Volta. The singer has really the same kind of voice that Mars Volta. They were really good and I'll get their CD as soon as I have some money.
Then, The Streets, which is more hip-hop. I really like their lyrics and the way the singers sing. The audience which was more independent rock wasn't really warm for them. Moreover, Mike Skinner arrived on stage saying "hello onions" HAHA little wanker haha… As people hardly understood cockney English, they fortunately didn't understand half of what he said like "Bordeaux, city of ghosts"… They did a good show though, there was excellent videos but the audience was really crap yesterday and not open-minded.
Tonite, I'll see Sparklehorse, The Liars, The Coral and a French band. I really hope the audience will be warmer. Haven't you noticed hat most of good gigs are good because the audience let itself go? Moreover, you're less tired when you dance than when you stand without moving? think about your lovely back which hurt you so much last time. ;)
--Suzel
Monday, November 11, 2002
JSBX & Interpol
From: Suzel
Date: Mon Nov 11, 2002 11:11 am
I was amazed when I arrived in JSBX gig cuz there was a huge queue and the venue seemed already quite large. I managed to come in finally and the show began. You can feel JSBX is used to stage and loves it. They don't stop between songs and improvise to switch from one song to another according to what John Spencer decides. I heard so many times talked about JSBX but I didn't know very well what they did so it was a big slap in the face!! A garage blues rock that I really enjoyed.
The next day was Interpol's gig. Their sound was really close to what the album sounds like. I had the feeling the concert has been fast whereas they played their whole album plus 2 extra songs. I can get the setlist if some are interested. Everybody enjoyed it. David a friend who is used to see many gigs told me they were awesome. The bass player looks incredible and the others were really in their stuff. Paul's voice was as deep and nice as on the album.. They did 2 encores, one of which was unplanned. The venue was very small. The smallest they did according to Sam, the drummer. He also told me none of their shows has been disappointing. The audiences have always been amazing, so feel free to show you enjoy their gig. They spent some time then in the venue talking with people. I had the chance to join Sam and Paul, the singer, for a relaxing extra backstage. Then I became the driver of Sam downtown until 4:30am … I was exhausted.
They are really nice and clever guys. Carlos and Sam really enjoy meeting people and are really easy going. Paul is more discrete, not shy but he just doesn't go to speak on his own to fans. As far as Daniel, the guitar player, I haven't met him. They'll go back next week or something like that to USA, so don't miss them!!!
--Suzel
Date: Mon Nov 11, 2002 11:11 am
I was amazed when I arrived in JSBX gig cuz there was a huge queue and the venue seemed already quite large. I managed to come in finally and the show began. You can feel JSBX is used to stage and loves it. They don't stop between songs and improvise to switch from one song to another according to what John Spencer decides. I heard so many times talked about JSBX but I didn't know very well what they did so it was a big slap in the face!! A garage blues rock that I really enjoyed.
The next day was Interpol's gig. Their sound was really close to what the album sounds like. I had the feeling the concert has been fast whereas they played their whole album plus 2 extra songs. I can get the setlist if some are interested. Everybody enjoyed it. David a friend who is used to see many gigs told me they were awesome. The bass player looks incredible and the others were really in their stuff. Paul's voice was as deep and nice as on the album.. They did 2 encores, one of which was unplanned. The venue was very small. The smallest they did according to Sam, the drummer. He also told me none of their shows has been disappointing. The audiences have always been amazing, so feel free to show you enjoy their gig. They spent some time then in the venue talking with people. I had the chance to join Sam and Paul, the singer, for a relaxing extra backstage. Then I became the driver of Sam downtown until 4:30am … I was exhausted.
They are really nice and clever guys. Carlos and Sam really enjoy meeting people and are really easy going. Paul is more discrete, not shy but he just doesn't go to speak on his own to fans. As far as Daniel, the guitar player, I haven't met him. They'll go back next week or something like that to USA, so don't miss them!!!
--Suzel
Saturday, November 09, 2002
The Datsuns threw a party tonight
From: demhopkins
Date: Sat Nov 9, 2002 3:05 am
Not much print PR and the show must have been scheduled recently. The crowd was about 1/3 familiar with the band (the Empty Bottle gets a regular crowd that just hangs there no matter who is playing). The Datsuns were stunning from the moment they took the stage. Rarely do you get to see a band that is right at the cusp--where they have made a big break through (UK buzz and recent acclaim) that gives them an extra shot of adrenalin that allows them to confidently take the stage and give everything they have in a manner that says this is who we are and we know you are going to like it. No rock star attitude anywhere in this band--they know they can play with the "big" boys without becoming the parody. They had no set list--but it all just flowed without time to catch a breath. They were tight--but not slick. The last few months I have noticed a lot of bands with a bass player or drummer or one musician that really stands out. Not the case with this band. Four riveting musicians, and it is impossible to take your eyes off of any of them. The lead singer has the best scream I have heard in a very long time--and he does it with his eyes not just open--but fucking wide eyed. If you dig their album--the concert is ten-fold. If you only kind of like the album--this band will convince you. From song one it was obvious that they truly love playing out. This is the band that The Music should strive to be. I liked The Music--but it was so rehearsed that I felt that I saw the best that they had--and they have no place to go. The Datsuns were a fucking tidal wave that occasionally brought it down, made you relax for a second, only to come back with a fierceness that was three notches higher than I thought they could go. And they are only going to grow. Occasionally they give each other a glance on stage--but they each have such complex things to bring to the whole that they don't interact a lot (mostly knocking into each other). It seemed like four brilliant musicians doing what they individually do best--creating a unit that provided one of the best shows of the year. I've said that a few times this year--but this is definitely in my top 5. I was expecting great things--and I got steamrolled by 4 guys from New Zealand that are at the absolute top of their game--and they know it. So did the crowd. Encore of Goodnight Ladies and Gentleman (Cheap Trick--who I don't particularly dig) was the perfect closer. They are heading to the UK--this is definitely the tour to see--I'm not sure they can ever really recapture this breakthrough moment in their career. But I wouldn't put it past them. This is a band creating an awesome party.
--Dem
Date: Sat Nov 9, 2002 3:05 am
Not much print PR and the show must have been scheduled recently. The crowd was about 1/3 familiar with the band (the Empty Bottle gets a regular crowd that just hangs there no matter who is playing). The Datsuns were stunning from the moment they took the stage. Rarely do you get to see a band that is right at the cusp--where they have made a big break through (UK buzz and recent acclaim) that gives them an extra shot of adrenalin that allows them to confidently take the stage and give everything they have in a manner that says this is who we are and we know you are going to like it. No rock star attitude anywhere in this band--they know they can play with the "big" boys without becoming the parody. They had no set list--but it all just flowed without time to catch a breath. They were tight--but not slick. The last few months I have noticed a lot of bands with a bass player or drummer or one musician that really stands out. Not the case with this band. Four riveting musicians, and it is impossible to take your eyes off of any of them. The lead singer has the best scream I have heard in a very long time--and he does it with his eyes not just open--but fucking wide eyed. If you dig their album--the concert is ten-fold. If you only kind of like the album--this band will convince you. From song one it was obvious that they truly love playing out. This is the band that The Music should strive to be. I liked The Music--but it was so rehearsed that I felt that I saw the best that they had--and they have no place to go. The Datsuns were a fucking tidal wave that occasionally brought it down, made you relax for a second, only to come back with a fierceness that was three notches higher than I thought they could go. And they are only going to grow. Occasionally they give each other a glance on stage--but they each have such complex things to bring to the whole that they don't interact a lot (mostly knocking into each other). It seemed like four brilliant musicians doing what they individually do best--creating a unit that provided one of the best shows of the year. I've said that a few times this year--but this is definitely in my top 5. I was expecting great things--and I got steamrolled by 4 guys from New Zealand that are at the absolute top of their game--and they know it. So did the crowd. Encore of Goodnight Ladies and Gentleman (Cheap Trick--who I don't particularly dig) was the perfect closer. They are heading to the UK--this is definitely the tour to see--I'm not sure they can ever really recapture this breakthrough moment in their career. But I wouldn't put it past them. This is a band creating an awesome party.
--Dem
Friday, November 08, 2002
McLusky at Metro in Chicago
From: Sky
Date: Fri Nov 8, 2002 9:55 am
The McLusky show at Metro last night was really great if not a bit of really weird billing.
These guys really put their hearts into it and they do rock right! They blend a great sense of humor with a true joy of playing out. Fun lyrics and a tight stripped down power groove. (3 piece, drums, guitar and bass) I got a big kick out of the masterful (and completely hilarious) way their bass player handled a real flaming asshole who was heckling them in a most unkind manner. ("I suck? Just me personally? Or all of these guys?? DO they suck too or is it just me?") Their standout player has to be the drummer! He sat really straight up and high on his drums, and just bashed the skins and cymbals for all they were worth. (His drumhead obviously was not up to the task as it was bashed off on the last song of the night and flung Frisbee style into the crowd.) A real heavy duty battery. But the group is really comfortable together and plays off each other perfectly. The fun they are having really comes off to the audience. "Don't fuck in the barn cause the barn’s on fire!" still rings through my ears and makes me smile.
We met the tour manager and the drummer after the show and they were really super! Very appreciative and seemed to not believe that people had not only heard of them here, but really liked them and liked them enough to come out on a Wednesday night. The drummer was totally psyched about being here and was just so fab! According to their tour manager, they will be returning to the States sometime in February. They are playing a few shows here now so the label can see them play out.
The weird part was that the "headliners" were a band called "NYR". All we could find about a band called NYR was an Israeli guy who lives in Paris now and plays R&B. We knew we wouldn't stay for that, but we were curious when we saw that most of the nyr fans hugging the stage area were literally between the ages of 10 and 16. (I kid you not) We couldn't make the connection between these fans and an Israeli R& B guy so we stuck around. Turns out they were a 20 something 4 piece where every one of them had a different crayon color hair, the lead guitarist had a "British Invasion/Union Jack/ REALLY bad aping of young Pete Townsend costume schtick" thing going on and they sounded like 50,000 other anonymous bands. They seemed to be a totally pre-packaged homogenized boy band based off a cartoon "punk bad boy" template. When the guitarist switched to a cherry red "Flying V" I grabbed the boys and headed for the exit.
--Sky
Date: Fri Nov 8, 2002 9:55 am
The McLusky show at Metro last night was really great if not a bit of really weird billing.
These guys really put their hearts into it and they do rock right! They blend a great sense of humor with a true joy of playing out. Fun lyrics and a tight stripped down power groove. (3 piece, drums, guitar and bass) I got a big kick out of the masterful (and completely hilarious) way their bass player handled a real flaming asshole who was heckling them in a most unkind manner. ("I suck? Just me personally? Or all of these guys?? DO they suck too or is it just me?") Their standout player has to be the drummer! He sat really straight up and high on his drums, and just bashed the skins and cymbals for all they were worth. (His drumhead obviously was not up to the task as it was bashed off on the last song of the night and flung Frisbee style into the crowd.) A real heavy duty battery. But the group is really comfortable together and plays off each other perfectly. The fun they are having really comes off to the audience. "Don't fuck in the barn cause the barn’s on fire!" still rings through my ears and makes me smile.
We met the tour manager and the drummer after the show and they were really super! Very appreciative and seemed to not believe that people had not only heard of them here, but really liked them and liked them enough to come out on a Wednesday night. The drummer was totally psyched about being here and was just so fab! According to their tour manager, they will be returning to the States sometime in February. They are playing a few shows here now so the label can see them play out.
The weird part was that the "headliners" were a band called "NYR". All we could find about a band called NYR was an Israeli guy who lives in Paris now and plays R&B. We knew we wouldn't stay for that, but we were curious when we saw that most of the nyr fans hugging the stage area were literally between the ages of 10 and 16. (I kid you not) We couldn't make the connection between these fans and an Israeli R& B guy so we stuck around. Turns out they were a 20 something 4 piece where every one of them had a different crayon color hair, the lead guitarist had a "British Invasion/Union Jack/ REALLY bad aping of young Pete Townsend costume schtick" thing going on and they sounded like 50,000 other anonymous bands. They seemed to be a totally pre-packaged homogenized boy band based off a cartoon "punk bad boy" template. When the guitarist switched to a cherry red "Flying V" I grabbed the boys and headed for the exit.
--Sky
Thursday, November 07, 2002
The Music
From: demhopkins
Date: Thu Nov 7, 2002 10:11 am
A very slick precision guitar performance. Probably the best bass player I have seen this years--really magic fingers. The voice took some getting used to. All in all a good, not great, show. The instrumentals they did showed off how great they are with guitar interplay. After seeing a very raw The Audreys--this was a complete contrast. The Music gave me the impression that there was no room for error and that tends to take some of the fun out of shows (at least for me).
--Dem
Date: Thu Nov 7, 2002 10:11 am
A very slick precision guitar performance. Probably the best bass player I have seen this years--really magic fingers. The voice took some getting used to. All in all a good, not great, show. The instrumentals they did showed off how great they are with guitar interplay. After seeing a very raw The Audreys--this was a complete contrast. The Music gave me the impression that there was no room for error and that tends to take some of the fun out of shows (at least for me).
--Dem
Saturday, November 02, 2002
The Music
From: Heidi
Date: Sat Nov 2, 2002 8:59 am
Thought I might add a tidbit: At the 11/8 show in San Fran, a terrific local band called The Please will be opening for The Music. Their web site is here, if you're curious: http://www.theplease.com It has sound clips, photos, and other cool stuff. :)
--Heidi
Date: Sat Nov 2, 2002 8:59 am
Thought I might add a tidbit: At the 11/8 show in San Fran, a terrific local band called The Please will be opening for The Music. Their web site is here, if you're curious: http://www.theplease.com It has sound clips, photos, and other cool stuff. :)
--Heidi
Monday, October 28, 2002
The Datsuns
From: melanie
Date: Mon Oct 28, 2002 6:12 pm
You gotta go see these guys!!!!!! The energy! The attitude! The strut! The moves! The tunes! The absolute ridiculousness of the RAAAWWWWKKKKK!! They have it all! (plus tight jeans) Not exactly a cerebral musical outing, but they'll get your pelvis. fun fun fun! And some of the Von Bondies did backing vocals on the album. The Cooper Temple Clause still have me awestruck by what they do, but The Datsuns have my face aching from grinning too much... They are very much of the "keep it simple stupid" school, which isn't easy to do this well! OK, I admit, I'm over-excited again, but go see them anyway!
--Melanie
US TOUR NOVEMBER 2002
THU 31/10 New York Bowery Ballroom
THU 02/11 Hoboken Maxwells
FRI 03/11 Philadelphia The Khyber
SAT 04/11 Cambridge TT the Bears
SUN 05/11 Montreal La Salla Rosa
MON 06/11 Toronto Tequilla Lounge
TUES 07/11 Columbus Little Brothers
TUES 08/11 Chicago Empty Bottle
TUES 09/11 Detroit Magic Stick
TUES 10/11 Cleveland Grog Shop
TUES 12/11 New York Mercury Lounge
TUES 15/12 Los Angeles Troubadour
TUES 16/12 San Francisco Bottom of the Hill
EUROPE TOUR DECEMBER 2002
THU 29/11 Berlin / Germany SO36 w/ the Hellacopters
FRI 28/11 Hamburg / Germany Grosse Freheit w/ the Hellacopters
SAT 30/11 Essen / Germany Zeche Carl Festival w/ the Hellacopters
SUN 01/12 Koln / Germany Live Music Hall w/ the Hellacopters
MON 02/12 Aarau / Switzerland KIFF w/ the Hellacopters
TUES 03/12 Milan / Italy Alcatraz
w/ the Hellacopters
THU 05/12 Barcelona Apolo w/ the Hellacopters
FRI 06/12 Madrid Arena w/ the Hellacopters
SAT 07/12 Bergara Sala Jam w/ the Hellacopters
MON 09/12 Paris La Boule Noir w/ the Hellacopters
TUES 10/12 London Astoria Kerrang Festival w/ the Hellacopters
WED 11/12 Manchester MDH w/ the Hellacopters
THU 12/12 Glasgow Garage w/ the Hellacopters
FRI 13/12 Wolverhampton Wulfrun w/ the Hellacopters
SAT 14/12 Antwerp Hof Ter Lo w/ the Hellacopters
SUN 15/12 Stuttgart Rohre w/ the Hellacopters
MON 16/12 Munich New Backstage w/ the Hellacopters
TUES 17/12 Frankfurt Batschkapp w/ the Hellacopters
THU 19/12 Lingen Schlachthof
Date: Mon Oct 28, 2002 6:12 pm
You gotta go see these guys!!!!!! The energy! The attitude! The strut! The moves! The tunes! The absolute ridiculousness of the RAAAWWWWKKKKK!! They have it all! (plus tight jeans) Not exactly a cerebral musical outing, but they'll get your pelvis. fun fun fun! And some of the Von Bondies did backing vocals on the album. The Cooper Temple Clause still have me awestruck by what they do, but The Datsuns have my face aching from grinning too much... They are very much of the "keep it simple stupid" school, which isn't easy to do this well! OK, I admit, I'm over-excited again, but go see them anyway!
--Melanie
US TOUR NOVEMBER 2002
THU 31/10 New York Bowery Ballroom
THU 02/11 Hoboken Maxwells
FRI 03/11 Philadelphia The Khyber
SAT 04/11 Cambridge TT the Bears
SUN 05/11 Montreal La Salla Rosa
MON 06/11 Toronto Tequilla Lounge
TUES 07/11 Columbus Little Brothers
TUES 08/11 Chicago Empty Bottle
TUES 09/11 Detroit Magic Stick
TUES 10/11 Cleveland Grog Shop
TUES 12/11 New York Mercury Lounge
TUES 15/12 Los Angeles Troubadour
TUES 16/12 San Francisco Bottom of the Hill
EUROPE TOUR DECEMBER 2002
THU 29/11 Berlin / Germany SO36 w/ the Hellacopters
FRI 28/11 Hamburg / Germany Grosse Freheit w/ the Hellacopters
SAT 30/11 Essen / Germany Zeche Carl Festival w/ the Hellacopters
SUN 01/12 Koln / Germany Live Music Hall w/ the Hellacopters
MON 02/12 Aarau / Switzerland KIFF w/ the Hellacopters
TUES 03/12 Milan / Italy Alcatraz
w/ the Hellacopters
THU 05/12 Barcelona Apolo w/ the Hellacopters
FRI 06/12 Madrid Arena w/ the Hellacopters
SAT 07/12 Bergara Sala Jam w/ the Hellacopters
MON 09/12 Paris La Boule Noir w/ the Hellacopters
TUES 10/12 London Astoria Kerrang Festival w/ the Hellacopters
WED 11/12 Manchester MDH w/ the Hellacopters
THU 12/12 Glasgow Garage w/ the Hellacopters
FRI 13/12 Wolverhampton Wulfrun w/ the Hellacopters
SAT 14/12 Antwerp Hof Ter Lo w/ the Hellacopters
SUN 15/12 Stuttgart Rohre w/ the Hellacopters
MON 16/12 Munich New Backstage w/ the Hellacopters
TUES 17/12 Frankfurt Batschkapp w/ the Hellacopters
THU 19/12 Lingen Schlachthof
Sunday, October 27, 2002
YYYs and Liars
From: demhopkins
Date: Sun Oct 27, 2002 10:38 am
The Fireside Bowling Alley where they played is a total shithole. That being said, the YYYs did a perfect set. Things got switched and they ended up opening for The Liars. Karen, who has been having voice problems) was in great form. The sound was excellent and still hard to believe all that was happening with a guitar, a drum, and a voice that is the first great new women's voice of this century. On top of that, Karen is completely down to earth, easy to talk to, and really enjoys being in the crowd after the show not just talking—but getting to know people. She was standing by the merch booth and posing for pics with everybody. I told her that Conrad Keely called the YYYs the best band in the US today--and I could see why--she just blushed. (No I don't think they are the best band in the US today--but they performed as if they were). Great guitar and drums--but it is all about her presence and that great fucking voice. Didn't seem possible for The Liars to follow the YYYs set--but they did with a very tight--non self-indulgent set--that was less performance art than stuff I had seen by them and very about the music and pleasing the crowd. I didn't realize what a really fine band The Liars are. Prosiacs opened with a set that won over the room. I wasn't familiar with them at all. It was just a great night for NYC bands in Chicago last night. But--I left thinking I would follow Karen anywhere. It's been awhile since I have felt like being anybody's groupie. Also--the YYYs have material every bit as strong (some stronger) than what is on the EP. Karen did this very cool (almost love ballad) song that I can't get out of my head. Great night, great music--shit venue. Kids in Chicago deserve better—but it is the only place in town for under 18s--and it was very cool to see the much younger kids out in force and supporting this new music. Both Chicago YYYs/Liars shows sold out. Just announced—McLusky is playing Chicago on November 7 as part of the US tour.
--Dem
Date: Sun Oct 27, 2002 10:38 am
The Fireside Bowling Alley where they played is a total shithole. That being said, the YYYs did a perfect set. Things got switched and they ended up opening for The Liars. Karen, who has been having voice problems) was in great form. The sound was excellent and still hard to believe all that was happening with a guitar, a drum, and a voice that is the first great new women's voice of this century. On top of that, Karen is completely down to earth, easy to talk to, and really enjoys being in the crowd after the show not just talking—but getting to know people. She was standing by the merch booth and posing for pics with everybody. I told her that Conrad Keely called the YYYs the best band in the US today--and I could see why--she just blushed. (No I don't think they are the best band in the US today--but they performed as if they were). Great guitar and drums--but it is all about her presence and that great fucking voice. Didn't seem possible for The Liars to follow the YYYs set--but they did with a very tight--non self-indulgent set--that was less performance art than stuff I had seen by them and very about the music and pleasing the crowd. I didn't realize what a really fine band The Liars are. Prosiacs opened with a set that won over the room. I wasn't familiar with them at all. It was just a great night for NYC bands in Chicago last night. But--I left thinking I would follow Karen anywhere. It's been awhile since I have felt like being anybody's groupie. Also--the YYYs have material every bit as strong (some stronger) than what is on the EP. Karen did this very cool (almost love ballad) song that I can't get out of my head. Great night, great music--shit venue. Kids in Chicago deserve better—but it is the only place in town for under 18s--and it was very cool to see the much younger kids out in force and supporting this new music. Both Chicago YYYs/Liars shows sold out. Just announced—McLusky is playing Chicago on November 7 as part of the US tour.
--Dem
Saturday, October 26, 2002
The Pattern and The Liars
From: Heidi
Date: Sat Oct 26, 2002 2:19 am
Real Feelness--The Pattern. The band describe their album as punk soul boogie, I'd say that it's a killer blend of Sixties British mod, plus hard and punk rock attack and energy. I'd definitely recommend it. They Put Us All In A Trench and Threw A Monument On Top, The Liars It's a salad like combination of new wave-ish percussion and hand claps on machines, punk rock shouting and art rock like guitars and bass. The end of the album is a bit self-indulgent, 30 minutes of a construction job done to syncopated beats, but otherwise it's a great album.
--Heidi
Date: Sat Oct 26, 2002 2:19 am
Real Feelness--The Pattern. The band describe their album as punk soul boogie, I'd say that it's a killer blend of Sixties British mod, plus hard and punk rock attack and energy. I'd definitely recommend it. They Put Us All In A Trench and Threw A Monument On Top, The Liars It's a salad like combination of new wave-ish percussion and hand claps on machines, punk rock shouting and art rock like guitars and bass. The end of the album is a bit self-indulgent, 30 minutes of a construction job done to syncopated beats, but otherwise it's a great album.
--Heidi
Monday, October 21, 2002
The Wildbunch / Electric Six
From: Suzel
Date: Mon Oct 21, 2002 5:43 am
I've been told by Derek Miller (for those who know him) about The Electric Six, formerly Wildbunch... Very good rock, pure indecent tone and very funny videos.. Mister Jack White's friends deserve a check here's the link to their videos "Danger High Voltage" with Jack White screaming Danger Danger and "Young as hell": http://www.the-wildbunch.com/multimedia/ Have a look at the flyers too at the bottom of the page.
--Suzel
Here are their upcoming gigs (dates that you'll find on their site too):
Tue., 10/22/02 - Brighton, UK @ Pressure Point
Wed., 10/23/02 - London, UK @ The Barfly @ The Monarch in Camden
Thu., 10/24/02 - Manchester, UK @ Night and Day
Fri., 10/25/02 - Glasgow, UK @ Nice and Sleazy
Sat., 10/26/02 - Nottingham, UK @ Nottingham Social
Mon., 10/28/02 - London, UK @ Trash
Thu., 10/31/02 - New York, NY @ The Bowery Ballroom; part of the CMJ
Music Fest
Wed., 11/27/02 - Detroit, MI @ TBA w/ Les Sans Culottes
Date: Mon Oct 21, 2002 5:43 am
I've been told by Derek Miller (for those who know him) about The Electric Six, formerly Wildbunch... Very good rock, pure indecent tone and very funny videos.. Mister Jack White's friends deserve a check here's the link to their videos "Danger High Voltage" with Jack White screaming Danger Danger and "Young as hell": http://www.the-wildbunch.com/multimedia/ Have a look at the flyers too at the bottom of the page.
--Suzel
Here are their upcoming gigs (dates that you'll find on their site too):
Tue., 10/22/02 - Brighton, UK @ Pressure Point
Wed., 10/23/02 - London, UK @ The Barfly @ The Monarch in Camden
Thu., 10/24/02 - Manchester, UK @ Night and Day
Fri., 10/25/02 - Glasgow, UK @ Nice and Sleazy
Sat., 10/26/02 - Nottingham, UK @ Nottingham Social
Mon., 10/28/02 - London, UK @ Trash
Thu., 10/31/02 - New York, NY @ The Bowery Ballroom; part of the CMJ
Music Fest
Wed., 11/27/02 - Detroit, MI @ TBA w/ Les Sans Culottes
Thursday, October 17, 2002
The Damned at Metro in Chicago - hearing damage
From: Sky
Date: Thu Oct 17, 2002 1:05 am
Here it is 12:29 on a school night and I just can't unplug. I think I may have hearing damage, but I couldn't be happier. The Damned played an absolutely blistering set tonight!! I would encourage anyone who has ever liked The Damned to see them on this tour. They shredded through great old tunes like Street of Dreams, I Just Can't be Happy Today, Video Nasty (very rare!), Disco Man, Wait for the Blackout, Ignite, Under the Floor Again, Neat Neat Neat, New Rose, Love Song and to close the night Smash it up I and II. They tossed it together with solid newer material (from their last, Grave Disorder) like Democracy, Song.com, Absinthe, SO Hot If You Weren't Dead (a not so friendly ode to John Lennon) and She (written for Patricia Morrison). They even slipped in an unplanned and completely raved up version of Eloise too. The energy in that room was just incredible, wild, primal...there were tons of young kids moshing up a storm. The one that caught my eye could not have been more than 10 if he was a day. Very cute...When I saw them last year they had only been touring behind Grave Disorder for about a month and they weren't as comfortable with the new songs as they were tonight. Captain Sensible was burning up the strings (at one point playing over his head and behind his back), Dave Vanian was in top vox and looking very stylish, Patricia Morrison was completely solid and Monty Oxymoron is perhaps one of the most energetic madmen I have ever seen assault a keyboard. The only let down was that the drummer that they had on tour with them last year (PINCH from English Dogs and Janus Stark) was not playing tonight. He was completely off the wall last year, and the new drummer was no standout. Got to have some fun with Captain Sensible after the show again (we met him last year too). He was the only one from the band to come out and meet the fans. He was totally into it, and he hung out for a good 2 hours! When we left he was hopping around shoving baby carrots up his nose and chanting "Carrots are good" in an impromptu little ditty. (he had offered me carrots from a platter of crudities he was prancing around with, to which i replied oh yeah thanks, carrots are good.... it just got progressively more outrageous from there..... Folks.... 5 words SEE THIS TOUR, BRING EARPLUGS
--Sky
Date: Thu Oct 17, 2002 1:05 am
Here it is 12:29 on a school night and I just can't unplug. I think I may have hearing damage, but I couldn't be happier. The Damned played an absolutely blistering set tonight!! I would encourage anyone who has ever liked The Damned to see them on this tour. They shredded through great old tunes like Street of Dreams, I Just Can't be Happy Today, Video Nasty (very rare!), Disco Man, Wait for the Blackout, Ignite, Under the Floor Again, Neat Neat Neat, New Rose, Love Song and to close the night Smash it up I and II. They tossed it together with solid newer material (from their last, Grave Disorder) like Democracy, Song.com, Absinthe, SO Hot If You Weren't Dead (a not so friendly ode to John Lennon) and She (written for Patricia Morrison). They even slipped in an unplanned and completely raved up version of Eloise too. The energy in that room was just incredible, wild, primal...there were tons of young kids moshing up a storm. The one that caught my eye could not have been more than 10 if he was a day. Very cute...When I saw them last year they had only been touring behind Grave Disorder for about a month and they weren't as comfortable with the new songs as they were tonight. Captain Sensible was burning up the strings (at one point playing over his head and behind his back), Dave Vanian was in top vox and looking very stylish, Patricia Morrison was completely solid and Monty Oxymoron is perhaps one of the most energetic madmen I have ever seen assault a keyboard. The only let down was that the drummer that they had on tour with them last year (PINCH from English Dogs and Janus Stark) was not playing tonight. He was completely off the wall last year, and the new drummer was no standout. Got to have some fun with Captain Sensible after the show again (we met him last year too). He was the only one from the band to come out and meet the fans. He was totally into it, and he hung out for a good 2 hours! When we left he was hopping around shoving baby carrots up his nose and chanting "Carrots are good" in an impromptu little ditty. (he had offered me carrots from a platter of crudities he was prancing around with, to which i replied oh yeah thanks, carrots are good.... it just got progressively more outrageous from there..... Folks.... 5 words SEE THIS TOUR, BRING EARPLUGS
--Sky
Sunday, October 13, 2002
Clinic show
From: demhopkins
Date: Sun Oct 13, 2002 6:57 am
This was the show this week where I wanted to see all the bands on the bill. The Standard deserves some attention. They got a great response as the opening band and supply a very full guitar driven sound that is akin to TSOOL, Cooper Temple, etc.
Apples in Stereo are not one of my favorite bands but they focused on their new material which is almost a garage "concept" album. It was only when pulling out old material--like some bad country Cat Stevens "Peace train" type of shit that they really went wrong. But that was an occasional miscue. Overall, they fucking rocked with the new material and their drummer is the closest thing to Mo Tucker that I have ever seen. She absolutely keeps this band together.
Clinic was the perfect ending to 14 bands in 4 days. I have heard that their shows are hit or miss. They were definitely on tonight. Sold out room--and Clinic played it for what it was worth and added a 3 song encore. Most impressive, not replicating the songs as they are on the album (CD). Clinic seems to be a true love-them-or-hate-them band. Very hard for me to convince friends to go to this show. If you are in the hate them category because they tend to drone on--you will not experience that in concert. They take the stage to kick ass—the whole doctor/mask nonsense should really go. Clinic doesn't need a gimmick--they had the room dancing (and I mean dancing like I haven't seen at a concert with "our" bands) so far this year. What I wished for in their last two recordings, I found tonight. The first Clinic release which is a compilation of their first 3 EPs is so powerful. The last two releases are very laid back in comparison--but the way they delivered the material from those albums was with energy and urgency. Clinic--an awesome party band (I never would have thought).
--Dem
Date: Sun Oct 13, 2002 6:57 am
This was the show this week where I wanted to see all the bands on the bill. The Standard deserves some attention. They got a great response as the opening band and supply a very full guitar driven sound that is akin to TSOOL, Cooper Temple, etc.
Apples in Stereo are not one of my favorite bands but they focused on their new material which is almost a garage "concept" album. It was only when pulling out old material--like some bad country Cat Stevens "Peace train" type of shit that they really went wrong. But that was an occasional miscue. Overall, they fucking rocked with the new material and their drummer is the closest thing to Mo Tucker that I have ever seen. She absolutely keeps this band together.
Clinic was the perfect ending to 14 bands in 4 days. I have heard that their shows are hit or miss. They were definitely on tonight. Sold out room--and Clinic played it for what it was worth and added a 3 song encore. Most impressive, not replicating the songs as they are on the album (CD). Clinic seems to be a true love-them-or-hate-them band. Very hard for me to convince friends to go to this show. If you are in the hate them category because they tend to drone on--you will not experience that in concert. They take the stage to kick ass—the whole doctor/mask nonsense should really go. Clinic doesn't need a gimmick--they had the room dancing (and I mean dancing like I haven't seen at a concert with "our" bands) so far this year. What I wished for in their last two recordings, I found tonight. The first Clinic release which is a compilation of their first 3 EPs is so powerful. The last two releases are very laid back in comparison--but the way they delivered the material from those albums was with energy and urgency. Clinic--an awesome party band (I never would have thought).
--Dem
Saturday, October 12, 2002
The Strokes show: stoned amazed brilliance
From: demhopkins
Date: Sat Oct 12, 2002 10:27 am
I don't have anything close to the words or sobriety to write what I want in a sentence or two. . The Strokes are so clearly the band against which all new music must stand. Julian--completely sober, standing back while his band turns it up a notch. He doesn't look bored or impatient. He is having a great time appreciating the genius (and it is ) of the musicians standing behind him. Two songs into the set and all I can think is that this can't be possible--this fucking talented group of kids has grown up (all the way) in one year. I hear debates about the new material--there is nothing to debate. They did 6 new songs. They have the ability to play new material and get the crowd to react like they have heard the songs all their lives. They play the old material and the kids are screaming the lyrics at the top of their lungs, Every second of the show is well planned out and the band continues to take you up another notch. Sweating, drunk and stoned, I think about passing out and then decide to jump on the guy in front of me. He is cool and he holds me up for awhile.
The show didn't wind down. When they are doing the end of the set there is no doubt that an encore is NOT coming. I like a carefully thought out encore (ala Buttholes)--but The Strokes have smashed the expectation that every good show should end with an encore. They give it all during the show. Doesn't really seem to be a reason for them to do an encore.
I have never seen Julian (or imagined him) anything like tonight. Too much praise is just bullshit --I'm trying not to go there. But the 6 new songs are Julian presenting himself and the band in the most natural (kind of nothing to prove way) that I have ever seen him or them. The new material allows the band to go way outside of song structure and kick ass live. Last time I saw Julian I doubted whether he respected the people he was playing with. There is no doubt. And, the band repaid that respect with their performance.
The "new" Julian has matured into a great rock and roll front man. He wasn't swigging beer and falling down. He let it be known that he was serious when he says that it is the music matters. And he was a boy on a mission--getting it across. The Strokes in Chicago tonight were brilliant, overwhelming with the familiar material, but most impressive presenting the new material.
--Dem
Date: Sat Oct 12, 2002 10:27 am
I don't have anything close to the words or sobriety to write what I want in a sentence or two. . The Strokes are so clearly the band against which all new music must stand. Julian--completely sober, standing back while his band turns it up a notch. He doesn't look bored or impatient. He is having a great time appreciating the genius (and it is ) of the musicians standing behind him. Two songs into the set and all I can think is that this can't be possible--this fucking talented group of kids has grown up (all the way) in one year. I hear debates about the new material--there is nothing to debate. They did 6 new songs. They have the ability to play new material and get the crowd to react like they have heard the songs all their lives. They play the old material and the kids are screaming the lyrics at the top of their lungs, Every second of the show is well planned out and the band continues to take you up another notch. Sweating, drunk and stoned, I think about passing out and then decide to jump on the guy in front of me. He is cool and he holds me up for awhile.
The show didn't wind down. When they are doing the end of the set there is no doubt that an encore is NOT coming. I like a carefully thought out encore (ala Buttholes)--but The Strokes have smashed the expectation that every good show should end with an encore. They give it all during the show. Doesn't really seem to be a reason for them to do an encore.
I have never seen Julian (or imagined him) anything like tonight. Too much praise is just bullshit --I'm trying not to go there. But the 6 new songs are Julian presenting himself and the band in the most natural (kind of nothing to prove way) that I have ever seen him or them. The new material allows the band to go way outside of song structure and kick ass live. Last time I saw Julian I doubted whether he respected the people he was playing with. There is no doubt. And, the band repaid that respect with their performance.
The "new" Julian has matured into a great rock and roll front man. He wasn't swigging beer and falling down. He let it be known that he was serious when he says that it is the music matters. And he was a boy on a mission--getting it across. The Strokes in Chicago tonight were brilliant, overwhelming with the familiar material, but most impressive presenting the new material.
--Dem
Friday, October 11, 2002
Doves show
From: Heidi
Date: Fri Oct 11, 2002 9:09 pm
I saw the Doves on the 7th, at SF's Fillmore, and had the most wonderful time. The band sure knows how to use visuals to enhance their compelling music. Clinic were very good (Bimbo's, 10/5), but I think that they kind of bored some people with the same tempos for nearly every song, however hypnotic their music was. I was very pleasantly surprised by their opening acts, Kaito, from Norwich, UK, and Apples In Stereo. Kaito was composed of 2 seemingly teenaged girls, an older dude and a ordinary joe drummer who had my attention with their art school, XTC/Clash/Wire-like primitive punk songs. Kaito's web site: http://www.kaito.co.uk, Kaito's record label, home to some cool local Northern California bands as well: http://www.www.devilinthewoods.com. Apples In Stereo I saw before, but was not impressed. This night, they had more power, punch and focus. They remind me of the Beatles colliding head on with navel gazing indie band. The Dirtbombs played Bimbo's Tuesday night. I like this soul-drench wholly danceable garage sounding band. My friend Michele and her rockabilly girl pals were there too, and really enjoyed the 2 opening acts, The Detroit Cobras, and Ko And the Knockouts. I love bands that combine their music with a sense of humor. Super Furry Animals, to me anyway, totally fall into that category. They played The Fillmore on Wednesday, and they were completely entertaining, playing songs from all of their albums, including their newie, Rings Around The World. My favorite album is Mwng, an all Welsh language album that is covered in Beach Boys influences. They had a screen on stage that showed the short films of the songs that accompany their album songs on Rings Around The World, as well as cool images along to their other, older songs. "Best mind-fuck yet", indeed.
--Heidi
Date: Fri Oct 11, 2002 9:09 pm
I saw the Doves on the 7th, at SF's Fillmore, and had the most wonderful time. The band sure knows how to use visuals to enhance their compelling music. Clinic were very good (Bimbo's, 10/5), but I think that they kind of bored some people with the same tempos for nearly every song, however hypnotic their music was. I was very pleasantly surprised by their opening acts, Kaito, from Norwich, UK, and Apples In Stereo. Kaito was composed of 2 seemingly teenaged girls, an older dude and a ordinary joe drummer who had my attention with their art school, XTC/Clash/Wire-like primitive punk songs. Kaito's web site: http://www.kaito.co.uk, Kaito's record label, home to some cool local Northern California bands as well: http://www.www.devilinthewoods.com. Apples In Stereo I saw before, but was not impressed. This night, they had more power, punch and focus. They remind me of the Beatles colliding head on with navel gazing indie band. The Dirtbombs played Bimbo's Tuesday night. I like this soul-drench wholly danceable garage sounding band. My friend Michele and her rockabilly girl pals were there too, and really enjoyed the 2 opening acts, The Detroit Cobras, and Ko And the Knockouts. I love bands that combine their music with a sense of humor. Super Furry Animals, to me anyway, totally fall into that category. They played The Fillmore on Wednesday, and they were completely entertaining, playing songs from all of their albums, including their newie, Rings Around The World. My favorite album is Mwng, an all Welsh language album that is covered in Beach Boys influences. They had a screen on stage that showed the short films of the songs that accompany their album songs on Rings Around The World, as well as cool images along to their other, older songs. "Best mind-fuck yet", indeed.
--Heidi
Von Bondies show
From: demhopkins
Date: Fri Oct 11, 2002 10:43 am
Not slick, not particularly tight just hard driving hard core bluesy rock and roll. My first time seeing them and unfortunately the place was only about 2/3 full but the Von Bondies put on a fierce show. The good was being able to rest my beer on the stage--the bad was that there was no effort required to get to the stage. Jason was a little hoarse but made up for it with energy and great guitar work. Talked to him briefly after the show and after this tour the band is taking a few months off (won't be back to Chicago for about 6 months). They are heading to the studio to put together a new 15 song release. They showcased some of the new material and it is as strong (or stronger) than stuff off the debut. Definitely looking forward to it. They are definitely a part of the whole Detroit music sound but packing a much bigger wallop than I anticipated.
The Kills opened and were actually pretty good but I couldn't get too excited because of another irrational prejudice--I just don't like bands that use drum machines. Didn't like it when J&MC did it on their first US tour way back when and I don't dig it now.
--Dem
Date: Fri Oct 11, 2002 10:43 am
Not slick, not particularly tight just hard driving hard core bluesy rock and roll. My first time seeing them and unfortunately the place was only about 2/3 full but the Von Bondies put on a fierce show. The good was being able to rest my beer on the stage--the bad was that there was no effort required to get to the stage. Jason was a little hoarse but made up for it with energy and great guitar work. Talked to him briefly after the show and after this tour the band is taking a few months off (won't be back to Chicago for about 6 months). They are heading to the studio to put together a new 15 song release. They showcased some of the new material and it is as strong (or stronger) than stuff off the debut. Definitely looking forward to it. They are definitely a part of the whole Detroit music sound but packing a much bigger wallop than I anticipated.
The Kills opened and were actually pretty good but I couldn't get too excited because of another irrational prejudice--I just don't like bands that use drum machines. Didn't like it when J&MC did it on their first US tour way back when and I don't dig it now.
--Dem
Thursday, October 10, 2002
Mooney Suzuki show
From: demhopkins
Date: Thu Oct 10, 2002 1:20 pm
It was completely manic and they blew the roof off the joint. Sam climbing on structure and Graham the other to reach the top of the massive pile of amps. The difference is that Graham never stopped playing guitar all the way up and then back down. It seemed impossible for Mooney to have more energy than they did opening for The Hives--but that performance (as great as it was) couldn't match the show last night. The set seemed a little short but judging by the time I got home--I don't think it was. Probably seemed that way because the charged through their material at a frantic pace. Graham spending much of the night playing in the crowd and proving why he is one of the best guitarists and live performers around. He matches Sam antic for antic. The band may have been a little over-mic’ed but that is minor. They proved once again that they are the hardest working band in rock. I've seen it twice but still can't believe how the drummer can stand and beat the shit out of the drums without falling over (playing sober probably helps). The entire set seemed speeded up as compared to the album. It wasn't a sold out show but fairly crowded with an audience that was completely in to them. They definitely were digging be the headliners. Only a one-song encore but all in all one of the better shows of the year. I fucked up and missed all of The Realistics set except the last song. Sahara Hotnights (I think that is the name) did a strong set (great drummer). A little bit Joan Jett. They are another band from Sweden. These Swedish bands are enough to make me want to relocate--then I think about the weather.
--Dem
Date: Thu Oct 10, 2002 1:20 pm
It was completely manic and they blew the roof off the joint. Sam climbing on structure and Graham the other to reach the top of the massive pile of amps. The difference is that Graham never stopped playing guitar all the way up and then back down. It seemed impossible for Mooney to have more energy than they did opening for The Hives--but that performance (as great as it was) couldn't match the show last night. The set seemed a little short but judging by the time I got home--I don't think it was. Probably seemed that way because the charged through their material at a frantic pace. Graham spending much of the night playing in the crowd and proving why he is one of the best guitarists and live performers around. He matches Sam antic for antic. The band may have been a little over-mic’ed but that is minor. They proved once again that they are the hardest working band in rock. I've seen it twice but still can't believe how the drummer can stand and beat the shit out of the drums without falling over (playing sober probably helps). The entire set seemed speeded up as compared to the album. It wasn't a sold out show but fairly crowded with an audience that was completely in to them. They definitely were digging be the headliners. Only a one-song encore but all in all one of the better shows of the year. I fucked up and missed all of The Realistics set except the last song. Sahara Hotnights (I think that is the name) did a strong set (great drummer). A little bit Joan Jett. They are another band from Sweden. These Swedish bands are enough to make me want to relocate--then I think about the weather.
--Dem
Wednesday, August 21, 2002
Interpol CD review
Ok, i got the album today, and i recommend it to anyone - its
absolutely top class. Here is PitchForkMedia's review of it:
Interpol, from http://www.pitchforkmedia.com/record-reviews/i/interpol/turn-on-the-bright-lights.shtml
Rating: 9.5 - Spectacular
As you read this, there are likely a number of people in your midst summoning up all the backlash powers their mortal frames can bear, those who believe the boys from Interpol to be the latest shock troops in the battle of PR style over artistic substance. And who can blame them? After the veritable shitstorm of publicity drummed up by a certain New York City band-- one that had the audacity to not be the denim-clad messiahs of rock and roll we'd been promised--directing a little skepticism toward NYC's buzzmongers is probably healthy. Plus, at a glance, Interpol's snazzy suits and expensive haircuts seem symptomatic of a carefully spun image designed purely to separate money from wallets. It's okay to be suspicious. But back up. These guys are on Matador, not RCA. The hypester division of Matador is a guy in a closet (and he's only part-time); the 'spin' budget for Interpol wouldn't even be a down-payment on Julian Casablancas' designer leather jacket. The fact that these guys see press at all can only be attributed to their die-hard contingent of fans (I'm only recently converted), and was earned purely through legwork and a handful of underpublicised EPs. And now that they've won our attention, after three years of toiling in obscurity, it's mere icing that their debut full-length delivers upon what the whispers only hinted at.
Interpol's debut full-length is wrought with emotional disconnection and faded glory, epic sweep and intimate catharsis. Inevitably, the hype exceeds return (that's why it's hype-- and, to be fair, Interpol has largely flown under the radar compared to most other NYC acts), but there's no getting around that Turn On the Bright Lights is an incredibly powerful and affecting album. Loss, regret, and a minor key brilliantly permeate jangling guitars and rhythmic and tonal shifts-- and although it's no Closer or OK Computer, it's not unthinkable that this band might aspire to such heights.
Speaking of Closer, Interpol can't seem to shake being likened to Factory prodigies Joy Division. The cause, however, isn't necessarily evident. Indeed, Daniel Kessler's sublime, angular downstrokes follow the smooth confidence of Carlos Dengler's basslines, and Paul Banks sings with Ian Curtis' downcast delivery and dramatic flair. The difference, however, lies in the music itself: what Joy Division played was sparse and jagged-- punk with a melancholy, but often minimalist bent. Interpol, meanwhile, are punk in ethic alone; their music bears few of that genre's signatures, with the band instead immersing themselves in a grander, more theatrical atmosphere with lush production that counters their frustrated bombast.
"I will surprise you sometimes/ I'll come around/ When you're down," Banks gently affirms over echo-drenched guitar simplicity and rolling bass, as "Untitled" hovers on artificial strings to open Bright Lights. The words are plaintive yet assertive, in agreement with the unsteady warble of the background, and they set the tone for an album that is equally paradoxical--often bleak, but surprisingly uplifting. Each of the album's eleven tracks evokes raw, unsettling need suffused with delicate serenity. It can be difficult to absorb this much emotional relentlessness, as Banks unflinchingly confronts you with it at all times, but it's precisely this challenge that makes this record so staggering.
The visceral punch of the thematic content is backed at every turn by melody among serrated riffs and amorphous percussion. Discussing the highs and lows of Bright Lights would just be splitting hairs, given its consistency, but a few tracks stand inches above the others. Of the two songs to be carried over from their self-titled EP, "NYC"'s conflicted show of conditional love for the streets of Interpol's hometown is still one of the most brilliant cuts present. And as tight as the EP was, Interpol show how much more they're capable of with "Obstacle 1" and "The New," the range between which is striking. "Obstacle 1" is as close to Joy Division as Interpol gets, coupling harsh, restrained outbursts of aggression with disturbing imagery as Banks clearly gasps, "You'll go stabbing yourself in the neck." The tense lead guitar is a counterpoint, giving these explosive bursts added depth, just as Ian Curtis' emotional collapses were made more poignant by the fragile guitar that cradled them. By the time the album reaches "The New," the anger has dissipated, leaving only the calm sound of sober acceptance.
The tragedy of music press is that when the buzz spirals out of control, people are apt to question a great band's validity, whereas if the band went largely unknown and as 'discovered' independently, so to speak, folks would be less likely to reject the praise out of hand. Whether that will happen with Interpol remains to be seen, but as a member of the press, it's my duty to tell you, from one music fan to another, what I personally think of an album, and in this case, it's that Turn On the Bright Lights has been one of the most strikingly passionate records I've heard this year. That other people I've spoken with have the opportunity to experience it, and that they feel similarly about it, can only be a good thing.
--Eric Carr, August 19th, 2002
absolutely top class. Here is PitchForkMedia's review of it:
Interpol, from http://www.pitchforkmedia.com/record-reviews/i/interpol/turn-on-the-bright-lights.shtml
Rating: 9.5 - Spectacular
As you read this, there are likely a number of people in your midst summoning up all the backlash powers their mortal frames can bear, those who believe the boys from Interpol to be the latest shock troops in the battle of PR style over artistic substance. And who can blame them? After the veritable shitstorm of publicity drummed up by a certain New York City band-- one that had the audacity to not be the denim-clad messiahs of rock and roll we'd been promised--directing a little skepticism toward NYC's buzzmongers is probably healthy. Plus, at a glance, Interpol's snazzy suits and expensive haircuts seem symptomatic of a carefully spun image designed purely to separate money from wallets. It's okay to be suspicious. But back up. These guys are on Matador, not RCA. The hypester division of Matador is a guy in a closet (and he's only part-time); the 'spin' budget for Interpol wouldn't even be a down-payment on Julian Casablancas' designer leather jacket. The fact that these guys see press at all can only be attributed to their die-hard contingent of fans (I'm only recently converted), and was earned purely through legwork and a handful of underpublicised EPs. And now that they've won our attention, after three years of toiling in obscurity, it's mere icing that their debut full-length delivers upon what the whispers only hinted at.
Interpol's debut full-length is wrought with emotional disconnection and faded glory, epic sweep and intimate catharsis. Inevitably, the hype exceeds return (that's why it's hype-- and, to be fair, Interpol has largely flown under the radar compared to most other NYC acts), but there's no getting around that Turn On the Bright Lights is an incredibly powerful and affecting album. Loss, regret, and a minor key brilliantly permeate jangling guitars and rhythmic and tonal shifts-- and although it's no Closer or OK Computer, it's not unthinkable that this band might aspire to such heights.
Speaking of Closer, Interpol can't seem to shake being likened to Factory prodigies Joy Division. The cause, however, isn't necessarily evident. Indeed, Daniel Kessler's sublime, angular downstrokes follow the smooth confidence of Carlos Dengler's basslines, and Paul Banks sings with Ian Curtis' downcast delivery and dramatic flair. The difference, however, lies in the music itself: what Joy Division played was sparse and jagged-- punk with a melancholy, but often minimalist bent. Interpol, meanwhile, are punk in ethic alone; their music bears few of that genre's signatures, with the band instead immersing themselves in a grander, more theatrical atmosphere with lush production that counters their frustrated bombast.
"I will surprise you sometimes/ I'll come around/ When you're down," Banks gently affirms over echo-drenched guitar simplicity and rolling bass, as "Untitled" hovers on artificial strings to open Bright Lights. The words are plaintive yet assertive, in agreement with the unsteady warble of the background, and they set the tone for an album that is equally paradoxical--often bleak, but surprisingly uplifting. Each of the album's eleven tracks evokes raw, unsettling need suffused with delicate serenity. It can be difficult to absorb this much emotional relentlessness, as Banks unflinchingly confronts you with it at all times, but it's precisely this challenge that makes this record so staggering.
The visceral punch of the thematic content is backed at every turn by melody among serrated riffs and amorphous percussion. Discussing the highs and lows of Bright Lights would just be splitting hairs, given its consistency, but a few tracks stand inches above the others. Of the two songs to be carried over from their self-titled EP, "NYC"'s conflicted show of conditional love for the streets of Interpol's hometown is still one of the most brilliant cuts present. And as tight as the EP was, Interpol show how much more they're capable of with "Obstacle 1" and "The New," the range between which is striking. "Obstacle 1" is as close to Joy Division as Interpol gets, coupling harsh, restrained outbursts of aggression with disturbing imagery as Banks clearly gasps, "You'll go stabbing yourself in the neck." The tense lead guitar is a counterpoint, giving these explosive bursts added depth, just as Ian Curtis' emotional collapses were made more poignant by the fragile guitar that cradled them. By the time the album reaches "The New," the anger has dissipated, leaving only the calm sound of sober acceptance.
The tragedy of music press is that when the buzz spirals out of control, people are apt to question a great band's validity, whereas if the band went largely unknown and as 'discovered' independently, so to speak, folks would be less likely to reject the praise out of hand. Whether that will happen with Interpol remains to be seen, but as a member of the press, it's my duty to tell you, from one music fan to another, what I personally think of an album, and in this case, it's that Turn On the Bright Lights has been one of the most strikingly passionate records I've heard this year. That other people I've spoken with have the opportunity to experience it, and that they feel similarly about it, can only be a good thing.
--Eric Carr, August 19th, 2002
Tuesday, August 20, 2002
White Stripes release digital EP
From: demhopkins
Date: Tue Aug 20, 2002 8:56 am
Virgin Records has created what they're calling a digital EP from The White Stripes. What that means is that a collection of four new tracks by the band--two live and two recorded in the studio—are available exclusively on the Internet. The studio tracks are entitled "Jolene" and "Hand Springs," while the live tracks are "Hotel Yorba" and "Love Sick.”
--Dem
Date: Tue Aug 20, 2002 8:56 am
Virgin Records has created what they're calling a digital EP from The White Stripes. What that means is that a collection of four new tracks by the band--two live and two recorded in the studio—are available exclusively on the Internet. The studio tracks are entitled "Jolene" and "Hand Springs," while the live tracks are "Hotel Yorba" and "Love Sick.”
--Dem
The Soundtrack Of Our Lives (TSOOL)
From: demhopkins
Date: Tue Aug 20, 2002 1:17 am
Monday night in Chicago and the club is jammed--even though the band is opening for Oasis tomorrow night and 3000 people have sold out that show. After a good set by The Assassins (I hadn't heard them until tonight) TSOOL takes the stage--one member at a time and immediately owns the crowd. Four songs into the set--they strip down the music to just keyboard and the singer. I'm not prepared for a Billy Joel type moment--and it doesn't happen. It is immediately clear that their material is so fucking good that they can do almost anything they want with it. Moments pass and a 3 guitar assault returns and the room is rocking once again. The guitars aren't a wall of sound--they are much too tight for that. The guitar mix (not the vocals) is so good--that it is a barrage of layers that comes dangerously close to prog rock without a hint of boredom. This is obviously the first band that I have heard from the new (fill in the blank) music movement that is ready to go from small club to an arena in one day. I hate arena rock--but this band would bring dignity to it. Andy, thank you so much for pushing this show--I was undecided until I read your post. What a Monday. Finally, TSOOL did something I have never seen before. The singer comes out into the room and motions for the crowd to sit down. I was laughing so hard because I just didn't think that it would happen. And then I watched as the entire front of the room all sat down on the floor--and let the man do his work. I'm not sure it is something I necessarily want to see happen again--but this band completely owned the room. Let me echo Andy's comments--YOU MUST SEE THIS BAND now. It won't be long before they are playing very large venues. They did an almost two hour show--and no two pieces sounded alike. I've heard the criticism that their albums sound like career retrospectives--I kinda agree. But, if so, most bands wish they had this type of material to put on a greatest hits compilation.
--Dem
Date: Tue Aug 20, 2002 1:17 am
Monday night in Chicago and the club is jammed--even though the band is opening for Oasis tomorrow night and 3000 people have sold out that show. After a good set by The Assassins (I hadn't heard them until tonight) TSOOL takes the stage--one member at a time and immediately owns the crowd. Four songs into the set--they strip down the music to just keyboard and the singer. I'm not prepared for a Billy Joel type moment--and it doesn't happen. It is immediately clear that their material is so fucking good that they can do almost anything they want with it. Moments pass and a 3 guitar assault returns and the room is rocking once again. The guitars aren't a wall of sound--they are much too tight for that. The guitar mix (not the vocals) is so good--that it is a barrage of layers that comes dangerously close to prog rock without a hint of boredom. This is obviously the first band that I have heard from the new (fill in the blank) music movement that is ready to go from small club to an arena in one day. I hate arena rock--but this band would bring dignity to it. Andy, thank you so much for pushing this show--I was undecided until I read your post. What a Monday. Finally, TSOOL did something I have never seen before. The singer comes out into the room and motions for the crowd to sit down. I was laughing so hard because I just didn't think that it would happen. And then I watched as the entire front of the room all sat down on the floor--and let the man do his work. I'm not sure it is something I necessarily want to see happen again--but this band completely owned the room. Let me echo Andy's comments--YOU MUST SEE THIS BAND now. It won't be long before they are playing very large venues. They did an almost two hour show--and no two pieces sounded alike. I've heard the criticism that their albums sound like career retrospectives--I kinda agree. But, if so, most bands wish they had this type of material to put on a greatest hits compilation.
--Dem
Wednesday, August 07, 2002
The Cooper Temple Clause
From: melanie
Date: Wed Aug 7, 2002 3:14 am
I got to see two shows by The Cooper Temple Clause over the weekend in Sydney and Melbourne. They are fantastic live. One friend I'd lent the CD to come along under protest but after 1 song he was "they're really good"… Afterwards he said the CD was a bit too all over the place but it worked live, so even if you don't like the CD, go see them live, it is worth it. ABSOLUTELY AMAZING live!!!!!
I asked about US tour a bit late in the evening (about 6am). They had intended to do some showcase gigs earlier this year - NY, SXSW, LA, but had visa problems. I think the problems were more due to everything taking too long due to Sept11 rather than actual problems, but time ran out and it didn't happen. They are hoping to get there this year, but I'm not sure if it was just showcase or a proper tour. Poor boys have no idea of the distances in US, typical English. I really should've thought to ask earlier in the night... They're lovely friendly approachable guys.
The Sydney show was basically about 90% industry guest list, so the word is obviously not out here yet! They're meant to be back in January for the Big Day Out festival - that'll be 3 visits to Australia in less than 12 months - unheard of I tell you!
--Melanie
Date: Wed Aug 7, 2002 3:14 am
I got to see two shows by The Cooper Temple Clause over the weekend in Sydney and Melbourne. They are fantastic live. One friend I'd lent the CD to come along under protest but after 1 song he was "they're really good"… Afterwards he said the CD was a bit too all over the place but it worked live, so even if you don't like the CD, go see them live, it is worth it. ABSOLUTELY AMAZING live!!!!!
I asked about US tour a bit late in the evening (about 6am). They had intended to do some showcase gigs earlier this year - NY, SXSW, LA, but had visa problems. I think the problems were more due to everything taking too long due to Sept11 rather than actual problems, but time ran out and it didn't happen. They are hoping to get there this year, but I'm not sure if it was just showcase or a proper tour. Poor boys have no idea of the distances in US, typical English. I really should've thought to ask earlier in the night... They're lovely friendly approachable guys.
The Sydney show was basically about 90% industry guest list, so the word is obviously not out here yet! They're meant to be back in January for the Big Day Out festival - that'll be 3 visits to Australia in less than 12 months - unheard of I tell you!
--Melanie
Wednesday, July 31, 2002
The Liars - Von Bondies - Ikara Colt - Yeah Yeah Yeahs
From: suzel
Date: Wed Jul 31, 2002 6:30 am
I guess you heard about The Von Bondies and the YYYs which are said to be excellent on stage. Two great albums. YYYs went back in studio recently to register new songs. Their album is quite short but really worthwhile. Karen O is amazing.
Check out also Ikara Colt. This is a really good band, a bit like McLusky from Scotland. I guess Ikara Colt comes from London, they sound a bit like sonic youth… they are excellent… You can download their whole album on Kazaa or Audiogalaxy.
I also heard about the Liars who are said to be awesome on stage. Does anyone know them? I haven't heard anything yet.
--Suzel
Date: Wed Jul 31, 2002 6:30 am
I guess you heard about The Von Bondies and the YYYs which are said to be excellent on stage. Two great albums. YYYs went back in studio recently to register new songs. Their album is quite short but really worthwhile. Karen O is amazing.
Check out also Ikara Colt. This is a really good band, a bit like McLusky from Scotland. I guess Ikara Colt comes from London, they sound a bit like sonic youth… they are excellent… You can download their whole album on Kazaa or Audiogalaxy.
I also heard about the Liars who are said to be awesome on stage. Does anyone know them? I haven't heard anything yet.
--Suzel
Tuesday, July 23, 2002
TCTC Idlewild Ash Wannadies
From: Neil
Date: Tue Jul 23, 2002 3:18 am
For what it's worth, I was looking forward to the Cooper Temple Clause album, and must admit I was a little disappointed. But they are an exciting proposition live so if you like what you've heard by them I'd definitely make the effort to see them.
The new Idlewild album is their best yet, but they are more of an acquired taste. Unless you've heard a few tracks I wouldn't go buying blind. However, if you are in the US, I'd highly recommend the Ash album "Free All Angels", as I believe it's been issued at a regular price with bonus tracks and a free 70 minute DVD. Those feeling less bold might like to wait a few months for Ash's "Greatest Hits" which features all their UK A Sides plus a second disc with B Sides, live stuff etc. However, that may not be released outside Europe for a while (if at all). Ash are at the poppier end of the indie spectrum. Although they know how to rock out, you won't hear tons of JAMC droning or feedback - just high speed punkers playing great songs for the kids. Recommended.
Saw The Wannadies on Friday. These guys do the indie/powerpop thing to perfection. Quite how they've managed to avoid being massive is beyond me. Keep an eye out for anything by them. OK - next time I'll post about some really obscure white noise merchants! :-)
--NeilM
Date: Tue Jul 23, 2002 3:18 am
For what it's worth, I was looking forward to the Cooper Temple Clause album, and must admit I was a little disappointed. But they are an exciting proposition live so if you like what you've heard by them I'd definitely make the effort to see them.
The new Idlewild album is their best yet, but they are more of an acquired taste. Unless you've heard a few tracks I wouldn't go buying blind. However, if you are in the US, I'd highly recommend the Ash album "Free All Angels", as I believe it's been issued at a regular price with bonus tracks and a free 70 minute DVD. Those feeling less bold might like to wait a few months for Ash's "Greatest Hits" which features all their UK A Sides plus a second disc with B Sides, live stuff etc. However, that may not be released outside Europe for a while (if at all). Ash are at the poppier end of the indie spectrum. Although they know how to rock out, you won't hear tons of JAMC droning or feedback - just high speed punkers playing great songs for the kids. Recommended.
Saw The Wannadies on Friday. These guys do the indie/powerpop thing to perfection. Quite how they've managed to avoid being massive is beyond me. Keep an eye out for anything by them. OK - next time I'll post about some really obscure white noise merchants! :-)
--NeilM
Wednesday, July 17, 2002
Trail Of Dead--Chicago show
From: demhopkins
Date: Mon Jun 3, 2002 5:41 pm
Well if it wasn't a sold out show it was as close as you could have gotten without selling out the room. Great crowd--lots of energy, especially the front 2/3 the room. Completely different feel than the Empty Bottle just two months ago (900-1000 people instead of 250-300). The band seemed to really enjoy the room and the lights. They mentioned the barrier between the stage and the crowd seemed a little less intimate--but they overcame it and spent time in the crowd. The set list was pretty similar to Empty Bottle but the sound was in a different galaxy. Chicago has truly embraced TOD. They sold out of posters--as I was waiting to get shirts I noticed a lot of people buying all 4 CDs on sale. I thought the Empty Bottle show was the best of the year--but this was it. I talked to some people who had seen them with me a couple months back--and what stood out was the incredible versatility this band has to offer in terms of songwriting. The venue really helped get it across live. The band was kind enough to open water bottles and hose down the crowd. It was a cool evening but very heated up inside Metro. It will be hard to top this show anytime this year--but The Hives and Mooney Suzuki are playing the same venue Wednesday--so who knows. I can't imagine a better gig than this. Radio has been talking about and playing TOD all day, especially our college station WLUW out of Loyola University.
TOD--job well done!
--Dem
Date: Mon Jun 3, 2002 5:41 pm
Well if it wasn't a sold out show it was as close as you could have gotten without selling out the room. Great crowd--lots of energy, especially the front 2/3 the room. Completely different feel than the Empty Bottle just two months ago (900-1000 people instead of 250-300). The band seemed to really enjoy the room and the lights. They mentioned the barrier between the stage and the crowd seemed a little less intimate--but they overcame it and spent time in the crowd. The set list was pretty similar to Empty Bottle but the sound was in a different galaxy. Chicago has truly embraced TOD. They sold out of posters--as I was waiting to get shirts I noticed a lot of people buying all 4 CDs on sale. I thought the Empty Bottle show was the best of the year--but this was it. I talked to some people who had seen them with me a couple months back--and what stood out was the incredible versatility this band has to offer in terms of songwriting. The venue really helped get it across live. The band was kind enough to open water bottles and hose down the crowd. It was a cool evening but very heated up inside Metro. It will be hard to top this show anytime this year--but The Hives and Mooney Suzuki are playing the same venue Wednesday--so who knows. I can't imagine a better gig than this. Radio has been talking about and playing TOD all day, especially our college station WLUW out of Loyola University.
TOD--job well done!
--Dem
Meg's drumming and Minneapolis show
From: demhopkins
Date: Wed Jul 17, 2002 8:19 am
Meg's drumming allows Jack to do anything he wants because it is just there (at best). Very wise of Jack not to write drum solos into his music! The Minneapolis show was much higher energy than the show I saw in Chicago. Stripes did play Fell In Love With a Girl and Dead Leaves and basically a different set than on Thursday. They covered almost all of the second album. The club in Minneapolis (First Ave) is a better club for its size than anything we have in Chicago--I hope people up there appreciate that room. No cell phones and the crowd gave the band its complete attention throughout and were rewarded with a great encore. The sound was also better than Chicago and Jack's guitar pierced the room (unlike Chicago, the volume was maxed). I usually don't get into live recordings--but The White Stripes may be an exception if they were ever to do a live album. Jack even added some drama with a top hat during one of the more "cabaret" numbers. Jack seems to be enjoying this tour very much--turning Hotel Yorba into a kind of campfire group sing and working his double mic setup for all he can get out of it. Whether Meg is having any fun is hard to tell--but at the end of the night there is no way she could be tired. Jack leaves stage a sweat soaked mess—as it should be.
--Dem
Date: Wed Jul 17, 2002 8:19 am
Meg's drumming allows Jack to do anything he wants because it is just there (at best). Very wise of Jack not to write drum solos into his music! The Minneapolis show was much higher energy than the show I saw in Chicago. Stripes did play Fell In Love With a Girl and Dead Leaves and basically a different set than on Thursday. They covered almost all of the second album. The club in Minneapolis (First Ave) is a better club for its size than anything we have in Chicago--I hope people up there appreciate that room. No cell phones and the crowd gave the band its complete attention throughout and were rewarded with a great encore. The sound was also better than Chicago and Jack's guitar pierced the room (unlike Chicago, the volume was maxed). I usually don't get into live recordings--but The White Stripes may be an exception if they were ever to do a live album. Jack even added some drama with a top hat during one of the more "cabaret" numbers. Jack seems to be enjoying this tour very much--turning Hotel Yorba into a kind of campfire group sing and working his double mic setup for all he can get out of it. Whether Meg is having any fun is hard to tell--but at the end of the night there is no way she could be tired. Jack leaves stage a sweat soaked mess—as it should be.
--Dem
Friday, July 12, 2002
White Stripes show
From: demhopkins
Date: Thu Jul 11, 2002 10:59 pm
Just got back from the sold-out Chicago White Stripes show (I guess the whole tour is sold out). I expected the great guitar work—and got it and more. I didn't expect Jack to have such a versatile voice. They honored their garage-rock roots--especially with a great version of Farmer John. But Jack's feminine side (not effeminate) and his take on some of the songs reminded me of the days of Jobriath and other great glam vocalists of the early to mid 1970s. I didn't see that coming at all. Very few bands could get away without playing their two big US hits -- Fell In Love with a Girl and Dead Leaves--but they didn't play them and it worked perfectly. Nobody felt the least cheated. A one song encore of an American traditional "The Boll Weevil Song" was a very fine nightcap. Their goal was clearly to show what they had to offer instead of pushing a particular product. And what they have to offer is one of the most versatile shows I have ever seen. If I was at a loss to describe their sound before this show--I am more at a loss now (a good thing). One bitch about the crowd--since when did it become "cool" to bring cell phones to concerts and dial up friends, scream into the phone about what was happening, and hold the phone up for the duration of the show with running commentary between songs? These fucking wankers must be disemboweled. Well, off to Minneapolis to catch the Stripes Saturday show. I hope the crowd is sans cell phones (truly the worst invention of the last century).
--Dem
Date: Thu Jul 11, 2002 10:59 pm
Just got back from the sold-out Chicago White Stripes show (I guess the whole tour is sold out). I expected the great guitar work—and got it and more. I didn't expect Jack to have such a versatile voice. They honored their garage-rock roots--especially with a great version of Farmer John. But Jack's feminine side (not effeminate) and his take on some of the songs reminded me of the days of Jobriath and other great glam vocalists of the early to mid 1970s. I didn't see that coming at all. Very few bands could get away without playing their two big US hits -- Fell In Love with a Girl and Dead Leaves--but they didn't play them and it worked perfectly. Nobody felt the least cheated. A one song encore of an American traditional "The Boll Weevil Song" was a very fine nightcap. Their goal was clearly to show what they had to offer instead of pushing a particular product. And what they have to offer is one of the most versatile shows I have ever seen. If I was at a loss to describe their sound before this show--I am more at a loss now (a good thing). One bitch about the crowd--since when did it become "cool" to bring cell phones to concerts and dial up friends, scream into the phone about what was happening, and hold the phone up for the duration of the show with running commentary between songs? These fucking wankers must be disemboweled. Well, off to Minneapolis to catch the Stripes Saturday show. I hope the crowd is sans cell phones (truly the worst invention of the last century).
--Dem
Tuesday, June 18, 2002
The Vines ordered home!
From NME.com 2002
The Vines have been ordered to fly back to Australia for emergency rest after an "exhausted" Craig Nicholls snapped onstage at a show in Boston and fell brawling into the audience with bassist Patrick Mathews.
All dates outside of Australia for the first quarter of 2003 have been cancelled including their hot anticipated NME Awards Show at the London Astoria on February 12. Tours of Japan and America have also been cancelled. It is believed they will still be playing Big Day Out in Australia.
According to eyewitnesses Nicholls "went nutty" after Mathews broke a bass string during 'Ain't No Room' swinging his microphone around, hitting him on the head. Mathews then lunged at him and they fell fighting into the audience.
Both Nicholls and Mathews have been increasingly erratic in their behaviour in recent months. The band flew home after playing a Chicago show on December 15. They were scheduled to play gigs in Indianapolis and Detroit on December
16 and 17.
The Vines have been ordered to fly back to Australia for emergency rest after an "exhausted" Craig Nicholls snapped onstage at a show in Boston and fell brawling into the audience with bassist Patrick Mathews.
All dates outside of Australia for the first quarter of 2003 have been cancelled including their hot anticipated NME Awards Show at the London Astoria on February 12. Tours of Japan and America have also been cancelled. It is believed they will still be playing Big Day Out in Australia.
According to eyewitnesses Nicholls "went nutty" after Mathews broke a bass string during 'Ain't No Room' swinging his microphone around, hitting him on the head. Mathews then lunged at him and they fell fighting into the audience.
Both Nicholls and Mathews have been increasingly erratic in their behaviour in recent months. The band flew home after playing a Chicago show on December 15. They were scheduled to play gigs in Indianapolis and Detroit on December
16 and 17.
Thursday, June 06, 2002
Libertines--additional GREAT band i didn't mention...
From: revolvell
Date: Thu Jun 6, 2002 1:00 am
the band i forgot to mention was the Libertines because I thought someone else had posted about it... but then i realized no one had, I had just received a mailing from the libertines' group... hehe silly me.
anyways, their single 'what a waster' just came out on rough trade on the 3rd of june it is fantastic. and they are supposedly really damn good live. i am still awaiting their first visit to the states.
don't try to get additional songs off of Audiogalaxy because the "libertines" songs they have on their are from some other horrible band that is also named the libertines and the songs from that band are CRAP!
the official Libertines site is: (but it is still under construction) Lucy has a fabulous fan site though: and you can buy their record off the rough trade records website.
plus, they are rockfeedback's featured band of the week! they have a nice interview with Carl and some other stuff on the band over at that website.
definitely worth checking them out!
-Ell
Date: Thu Jun 6, 2002 1:00 am
the band i forgot to mention was the Libertines because I thought someone else had posted about it... but then i realized no one had, I had just received a mailing from the libertines' group... hehe silly me.
anyways, their single 'what a waster' just came out on rough trade on the 3rd of june it is fantastic. and they are supposedly really damn good live. i am still awaiting their first visit to the states.
don't try to get additional songs off of Audiogalaxy because the "libertines" songs they have on their are from some other horrible band that is also named the libertines and the songs from that band are CRAP!
the official Libertines site is: (but it is still under construction) Lucy has a fabulous fan site though: and you can buy their record off the rough trade records website.
plus, they are rockfeedback's featured band of the week! they have a nice interview with Carl and some other stuff on the band over at that website.
definitely worth checking them out!
-Ell
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