From: demhopkins
Date: Tue Dec 23, 2003 10:37 pm
I had been hearing great things about their new release (after many years away from the biz). After the Black Flag reunion fiasco—I didn't expect much. But, review after review suggested that TSOL, (with the original lineup) had put out a great "punk" album. I bought it because their bass player--Mike Roche, was one of my favorite people in the 80's. He kept trying to get me to trade him my belt for anything in his shop (clothing store in Huntington Beach). I refused and still have the belt. But, that became the basis of a friendship--when he was in town. More often than not, he was very strung out and that is, perhaps, one reason the band never secured the respect they deserved. They were junkies who seemed to love the junk just a bit more than the music. I picked up the new release--"Divided We Stand" and it is every bit as good as what I have been reading about it. They were a touch more sophisticated than their Huntington Beach brethern--and this release showcases them as if they hadn't been MIA for 15 years. They were always a band where reading their lyrics never did them justice. It was all in the music and delivery. If you are in the mood for some really great punk--this is probably the sleeper of 2003, and likely to gain more attention in the next few months. The song "Sex Not Violence" with the lyrics "sex sex sex, fuck the violence--fuck the violence again" is so early TSOL--but works so well now. The Huntington Beach scene was the foundation of hardcore (U.S.) around 1980--this is an inspired, jaw-droppingly intense, reminder of how good it was.
--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
Wednesday, December 24, 2003
Wednesday, December 17, 2003
my big 2003 concerts
From: Becky
Date: Wed Dec 17, 2003 8:35 pm
1. Scene Creamers
Fireside Bowl (March)
The CD will never do this band justice. I would follow them into a lair of rabid spiders. A frontman presence that has admittedly jaded me to many shows following. I don't know that I got quite swept up with other shows in not only the music, but the talking in between... the transitional words leading me through a catacombs with bright blue eyes to pierce any darkness, and the audience, a pulse point of energy unto itself. My only concern during this show: What's next and don't stop. Something to be experienced, and all this happened in a shitbag bowling alley. It's never left my top, and the fireside has never been transformed for me the same way since. For all those reasons, even with the big names I've seen, it's number one. Too much showmanship to pass up, so I have to give it the creation it was -- even if it was just once.
The next two ran very close....
2. YYYs, Metro
I can honestly say that Karen O had me on her vocals alone long before Fever To Tell, such strained desperation and raw energy to fuck, ah but to see her for the first time on stage... sheer delight. A three piece couldn't sound better, and they all blew me away. I can't help but focus on her because that's the setup of this band, but from what I saw/heard, the band itself plays an integral role of striking the velvety leather whip that drives your focus to Karen O without ever realizing what's happening. This show could have lasted days and I wouldn't have noticed the time. I saw them again at Metro (November), great performance but way too short (Karen was ill).
3. Interpol
First, at the Empty Bottle (January), extremely intimate venue and the first time I ever saw them--amazing-- tight set. So what then? Of course, did it again at Riviera with The Stills (September). Great show with The Stills creating a perfect opener, setting the dreamy rich scapes for Interpol. And even though I couldn't see half of this show due to suffering from the "i'm a short girl, so tall man please stand in front of me" syndrome, (Ilene back me up), waiting in a sweaty mess of people for too long (had to elbow a few rude ones for position :)), Interpol did not disappoint. I closed my eyes to greetings of sounds emitting their own colors of NYC rainyday all-nighters, the kind that glow streets into magic reflections, embracing the dirty so tightly it comes out glitter.
4. McLusky
Schubas
Perfection. They played this so tight I could have bounced a quarter off them. Everything I wanted. Movement -- how can you not? This tiny little bar and McLusky pulling the roof off, ripping up the wooden floorboards, waving them defiantly as if, "Yeah, fucked you up, didn't I? Get on this ride!" You don't have to tell me twice. The only disappointment is that they haven't been back.
5. TSOOL
Metro
Again this was my 7-day haze, but I know I had fun here. This was a lot of rocking, and as Ilene had told me they did some laid back sets for previous shows. I thought this one was packed with a lot of dance around rock, strong vocals that I loved. The only bad thing: a tall man did not stand in front of me. No. This time he stood behind me and sang at the top of his staggering lungs the whole time. Drag. No sitting on the floor though as I had been warned-- I guess that was during their peyote phase that I missed.
6. Ikara Colt
Metro
Lots of rocking for 25 minutes, sadly that's all the time they gave them. These guys were great and I was pissed that the morons who came to see the bad headliners were booing them. Audience interaction made it memorable as well, and the few diehards that were there to see Ikara Colt appreciated it. My favorite part of the show was when some fan screamed out a request, and the singer said, "we're getting to it." they screamed it again and the singer stops the set, picks up his playlist, and walks it over to him pointing, "it's on the list see? right there. just so you know, we'll take care of you." later they bought the guy a beer and insisted he stand front center.
7. The Apes
Fireside Bowl
Did a long review of them already. Loved them. The singer for this band was quite a force, I likened him to a wave, and he left nothing of the audience let alone himself by the end of this show. 100% energy-- and perfection in supporting the whole. The keyboards still have me amazed because I can't say enough how I hate focus keyboards in rock bands.
8. Rocket From The Tombs
Abbey Pub
This place was packed with energy and an attitude of kicking some ass for the sheer fun of it. Musicians with the experience of the years but no need to rehash the years as the framing force or the only reason to be there. Audience members singing along having lots of fun that seemed, in my observance, very much enjoying all that was past but very much now. I was not familiar with these artists in their individual careers, but I didn't see any signs of needing to prove in the sense of "we still got it." Nothing over the top, but just doing it all easy because it was that much a part of them and because they wanted to do it. Much fun onstage here as well as in the audience.
9. Datsuns
Metro
This came at the end of a 7-day stretch of nightly concerts end of March, beginning of April, which also included the TSOOL show, so looking back on it, I have a difficult time remembering who I was, let alone where I was and on what day. Thankfully this show had a ticket stub to restore the events of that blissful week. Datsuns singer screams like none other. Tight tight tight! Used the stage really well, so much energy and jump around rocking that I felt like Angus Young for an hour. As Dem mentions, they did an amazing encore that left me so jacked, sleeping was out of the question. I remember it as a perfect high to round out seven days in wonderland.
10. The Rapture
Metro
Free tickets to this one. My guess is the ticket were free due to the fact that The Boggs played with them. Sorry if offend anyone, but I remember their set as a bad hoe-down. They should have brought in the country dance caller for a better effect. But then The Rapture pulled it back to reality with the jump-around dance. Of course House of Jealous Lovers... a little spin? Of course nothing to say but "yes" when you get out that crazy cow bell....shakedown! :)
Top 10 Addendum:
These next two are Dem's bands, but they rank in my top 10 (which is now a top 12). I have never done a review of them, and always wanted to, so here's my big chance.
Magnus
Beat Kitchen
Maybe I have been for lack of shows, or some can call it a cheesy promo (yes, they're one of Dem's), but it's not that at all for me. I wish these guys would cut their CD so you all can hear them. I've always felt inspiration to run home and write a review after their shows, but that's usually overshadowed by my bad behavior after the concert. So I'll try a quickie shot because they deserve it. I like their use of instruments, some strange sounds strewn about their rocking guitars. They start their songs slow with just a little hint of the instruments they'll use-- a little here, a little there. You get going on a nice simple beat, then bring it all in with great vocal lines to top--all the hints you heard to tease the beginning, guitars, drums, strong head-bobbing rock along... Sprinkle on some blips and beeps of keyboards pull in a little trumpet solo (why not? it works). Now you think you got their number. But wait...now for the big changeup jam session: guitars, drums, beep tones, trumpet into a crashing heap of speed right into a melodic trip, like a supersonic submarine pulling you through it all building it up. Then like nothing, screeching stop on a dime. Oh the drama... they make me happy, they make me dance, and they transport me places (usually underwater or deserts). I always leave the show thinking of those signs after a theme park ride, "Thank you come again." I'm right back in line. If they made a video to their cut "next to nothing," they'd be in a stolen spaceship, tuning control board beats, geek aliens joyriding mock speed intergalactic with the audience hanging on behind by a wormhole.
The Bamboo Kids
Schubas
Another of Dem's but I have never seen a show they did that I didn't like. The amount of fun these guys have on stage really transmits into their music, you can tell they just love playing out (they say it themselves, but it shows). Strangely, I've never seen them in a packed house, which is disappointing, because I can't image the energy level then. Even so, I remember the first time I saw them, it was just four of us standing and some other stragglers sitting along the walls. Fun introductions of themselves and the band, then they blew right into "She Got Off" and fucking rocked their asses off like the place was full. Talking to the audience and playing off each other so well, Chris hitting drums with such energy he's half standing, hard guitars playing that flirty edge along with Dwight's vocals, gritty, soft, coy, little boy innocent, bad boy. It's all sweat and breathless when they finish a show. A truly great three piece. Much fun.
so much more:
Paper Airplane Pilots, D4, Electric Six, X, and some i still can't remember during the end of March-beginning of April insanity. Too much... but all much fun. I expect that White Stripes/Flaming Lips 12/31 show will make this top 10 as well. Never seen either live, but I will not be disappointed from all the reviews I've heard from you.
Thanks to you all SO much for reading my ranting review of my year out. If you had the luxury of drinking while reading, you're no doubt plastered by now, so thanks for hanging in there with me. It was fun reliving these shows, and I just had to put in my longer reviews, especially of the two bands that I've had the pleasure of getting to know best this year, The Bamboo Kids and Magnus (although Paper Airplane Pilots are really great as well). I hope you all have the chance to hear and see them. And thanks to you all too for the great music I have been introduced to this year, even though I haven't had a chance to see them all live.
--Becky
Date: Wed Dec 17, 2003 8:35 pm
1. Scene Creamers
Fireside Bowl (March)
The CD will never do this band justice. I would follow them into a lair of rabid spiders. A frontman presence that has admittedly jaded me to many shows following. I don't know that I got quite swept up with other shows in not only the music, but the talking in between... the transitional words leading me through a catacombs with bright blue eyes to pierce any darkness, and the audience, a pulse point of energy unto itself. My only concern during this show: What's next and don't stop. Something to be experienced, and all this happened in a shitbag bowling alley. It's never left my top, and the fireside has never been transformed for me the same way since. For all those reasons, even with the big names I've seen, it's number one. Too much showmanship to pass up, so I have to give it the creation it was -- even if it was just once.
The next two ran very close....
2. YYYs, Metro
I can honestly say that Karen O had me on her vocals alone long before Fever To Tell, such strained desperation and raw energy to fuck, ah but to see her for the first time on stage... sheer delight. A three piece couldn't sound better, and they all blew me away. I can't help but focus on her because that's the setup of this band, but from what I saw/heard, the band itself plays an integral role of striking the velvety leather whip that drives your focus to Karen O without ever realizing what's happening. This show could have lasted days and I wouldn't have noticed the time. I saw them again at Metro (November), great performance but way too short (Karen was ill).
3. Interpol
First, at the Empty Bottle (January), extremely intimate venue and the first time I ever saw them--amazing-- tight set. So what then? Of course, did it again at Riviera with The Stills (September). Great show with The Stills creating a perfect opener, setting the dreamy rich scapes for Interpol. And even though I couldn't see half of this show due to suffering from the "i'm a short girl, so tall man please stand in front of me" syndrome, (Ilene back me up), waiting in a sweaty mess of people for too long (had to elbow a few rude ones for position :)), Interpol did not disappoint. I closed my eyes to greetings of sounds emitting their own colors of NYC rainyday all-nighters, the kind that glow streets into magic reflections, embracing the dirty so tightly it comes out glitter.
4. McLusky
Schubas
Perfection. They played this so tight I could have bounced a quarter off them. Everything I wanted. Movement -- how can you not? This tiny little bar and McLusky pulling the roof off, ripping up the wooden floorboards, waving them defiantly as if, "Yeah, fucked you up, didn't I? Get on this ride!" You don't have to tell me twice. The only disappointment is that they haven't been back.
5. TSOOL
Metro
Again this was my 7-day haze, but I know I had fun here. This was a lot of rocking, and as Ilene had told me they did some laid back sets for previous shows. I thought this one was packed with a lot of dance around rock, strong vocals that I loved. The only bad thing: a tall man did not stand in front of me. No. This time he stood behind me and sang at the top of his staggering lungs the whole time. Drag. No sitting on the floor though as I had been warned-- I guess that was during their peyote phase that I missed.
6. Ikara Colt
Metro
Lots of rocking for 25 minutes, sadly that's all the time they gave them. These guys were great and I was pissed that the morons who came to see the bad headliners were booing them. Audience interaction made it memorable as well, and the few diehards that were there to see Ikara Colt appreciated it. My favorite part of the show was when some fan screamed out a request, and the singer said, "we're getting to it." they screamed it again and the singer stops the set, picks up his playlist, and walks it over to him pointing, "it's on the list see? right there. just so you know, we'll take care of you." later they bought the guy a beer and insisted he stand front center.
7. The Apes
Fireside Bowl
Did a long review of them already. Loved them. The singer for this band was quite a force, I likened him to a wave, and he left nothing of the audience let alone himself by the end of this show. 100% energy-- and perfection in supporting the whole. The keyboards still have me amazed because I can't say enough how I hate focus keyboards in rock bands.
8. Rocket From The Tombs
Abbey Pub
This place was packed with energy and an attitude of kicking some ass for the sheer fun of it. Musicians with the experience of the years but no need to rehash the years as the framing force or the only reason to be there. Audience members singing along having lots of fun that seemed, in my observance, very much enjoying all that was past but very much now. I was not familiar with these artists in their individual careers, but I didn't see any signs of needing to prove in the sense of "we still got it." Nothing over the top, but just doing it all easy because it was that much a part of them and because they wanted to do it. Much fun onstage here as well as in the audience.
9. Datsuns
Metro
This came at the end of a 7-day stretch of nightly concerts end of March, beginning of April, which also included the TSOOL show, so looking back on it, I have a difficult time remembering who I was, let alone where I was and on what day. Thankfully this show had a ticket stub to restore the events of that blissful week. Datsuns singer screams like none other. Tight tight tight! Used the stage really well, so much energy and jump around rocking that I felt like Angus Young for an hour. As Dem mentions, they did an amazing encore that left me so jacked, sleeping was out of the question. I remember it as a perfect high to round out seven days in wonderland.
10. The Rapture
Metro
Free tickets to this one. My guess is the ticket were free due to the fact that The Boggs played with them. Sorry if offend anyone, but I remember their set as a bad hoe-down. They should have brought in the country dance caller for a better effect. But then The Rapture pulled it back to reality with the jump-around dance. Of course House of Jealous Lovers... a little spin? Of course nothing to say but "yes" when you get out that crazy cow bell....shakedown! :)
Top 10 Addendum:
These next two are Dem's bands, but they rank in my top 10 (which is now a top 12). I have never done a review of them, and always wanted to, so here's my big chance.
Magnus
Beat Kitchen
Maybe I have been for lack of shows, or some can call it a cheesy promo (yes, they're one of Dem's), but it's not that at all for me. I wish these guys would cut their CD so you all can hear them. I've always felt inspiration to run home and write a review after their shows, but that's usually overshadowed by my bad behavior after the concert. So I'll try a quickie shot because they deserve it. I like their use of instruments, some strange sounds strewn about their rocking guitars. They start their songs slow with just a little hint of the instruments they'll use-- a little here, a little there. You get going on a nice simple beat, then bring it all in with great vocal lines to top--all the hints you heard to tease the beginning, guitars, drums, strong head-bobbing rock along... Sprinkle on some blips and beeps of keyboards pull in a little trumpet solo (why not? it works). Now you think you got their number. But wait...now for the big changeup jam session: guitars, drums, beep tones, trumpet into a crashing heap of speed right into a melodic trip, like a supersonic submarine pulling you through it all building it up. Then like nothing, screeching stop on a dime. Oh the drama... they make me happy, they make me dance, and they transport me places (usually underwater or deserts). I always leave the show thinking of those signs after a theme park ride, "Thank you come again." I'm right back in line. If they made a video to their cut "next to nothing," they'd be in a stolen spaceship, tuning control board beats, geek aliens joyriding mock speed intergalactic with the audience hanging on behind by a wormhole.
The Bamboo Kids
Schubas
Another of Dem's but I have never seen a show they did that I didn't like. The amount of fun these guys have on stage really transmits into their music, you can tell they just love playing out (they say it themselves, but it shows). Strangely, I've never seen them in a packed house, which is disappointing, because I can't image the energy level then. Even so, I remember the first time I saw them, it was just four of us standing and some other stragglers sitting along the walls. Fun introductions of themselves and the band, then they blew right into "She Got Off" and fucking rocked their asses off like the place was full. Talking to the audience and playing off each other so well, Chris hitting drums with such energy he's half standing, hard guitars playing that flirty edge along with Dwight's vocals, gritty, soft, coy, little boy innocent, bad boy. It's all sweat and breathless when they finish a show. A truly great three piece. Much fun.
so much more:
Paper Airplane Pilots, D4, Electric Six, X, and some i still can't remember during the end of March-beginning of April insanity. Too much... but all much fun. I expect that White Stripes/Flaming Lips 12/31 show will make this top 10 as well. Never seen either live, but I will not be disappointed from all the reviews I've heard from you.
Thanks to you all SO much for reading my ranting review of my year out. If you had the luxury of drinking while reading, you're no doubt plastered by now, so thanks for hanging in there with me. It was fun reliving these shows, and I just had to put in my longer reviews, especially of the two bands that I've had the pleasure of getting to know best this year, The Bamboo Kids and Magnus (although Paper Airplane Pilots are really great as well). I hope you all have the chance to hear and see them. And thanks to you all too for the great music I have been introduced to this year, even though I haven't had a chance to see them all live.
--Becky
Gigs of 2003
From: Neil
Date: Wed Dec 17, 2003 12:53 am
First off - I rely a lot on ticket stubs to jog the grey matter cos I'm old and my memory is going. This tends to mean the small pub gigs are forgotten, which doesn't make for a fair reflection of what's out there, but does reflect that beer and total recall don't mix. Anyway, here goes:
Soundtrack Of Our Lives/Ikara Colt/Raveonettes - London Astoria Feb
Libertines/Detroit Cobras/Sights/Hiss - London Astoria Feb
Datsuns/Polyphonic Spree/Interpol/The Thrills - London Astoria Feb
The NME gigs were particularly well-chosen this year.........I already have
tickets for this year's "Award Show" package of Funeral For A Friend/The
Rapture/The Von Bondies/Franz Ferdinand, and I'm supposed to be picking up
tickets tonight for BRMC/TCTC. And I suspect I'll get some for the just-announced Jet gig....if I ever have enough money.
Yeah Yeah Yeahs - London Astoria March
Still can't believe the energy, charisma and musicianship crammed into this one....probably my gig of the year.
Star Spangles - London 100 Club March
White Stripes - London Brixton Academy March
One, a bunch of snot nosed punks playing RnR, the other, a couple of ex-snot nosed punks playing blues. Just got tix for the WS Jan gigs - GBP 30 (USD 50) per ticket, so possibly the last time I'll be seeing them at those prices. Has Jack gone Hollywood?
British Sea Power/Mower - Tunbridge Wells Forum May
Both bands made great albums this year, both bands are great live, both bands have yet to really break big. A great little venue. Unfortunately the local kids want to dress like they are American skate punk mall rats, and listen to shite like Spunge. Hopefully this fwd thinking establishment can help with their education.
Soledad Brothers/Pearlene/David Viner/King Khan - London Camden Underworld May Blues, blues, blues. Plus the Soledads fighting with the audience. Y'see, after a year on the road, you get a little ornery. Best value gig this year!
Interpol/British Sea Power - London Shepherds Bush Empire June
I guess you all know Interpol by now. I admit I hated them at first listen, and probably still would were it not for this list. So big up Dem for starting it all!!!
The Black Keys - London 100 Club July
These guys are much more straight-ahead than the WS but pack as much of a punch. But as I recall, Jack's tigh trousers pack quite a packet too.....anyway, getting back to the subject. Incendiary guitar, tight drums, a fine evening's entertainment.
Ash - London Somerset House Aug
The Barbs - Gillingham Green Parklife Fest Aug
Oh! To be in England...in the summertime. If it rains, outdoor gigs are the most miserable thing ever. But if the sun shines, they are the greatest. And for these two, the sun shone. Ash are now veterans, but seemed destined never to break out of the UK, which I think is a shame. The Barbs are a new, young band that still have day jobs, but I think they are brilliant. Whether they have the desire, willpower & etc to go further remains to be seen.
Errm......that's it. Fave albums & etc may follow if I get the time. Meanwhile, I'm off to see The Libs tonight. Jaaamone! And the Buff Medways on Saturday within walking distance of home, which will mean a 5 min journey there takes about an hour in the other direction.....
--NeilM
Date: Wed Dec 17, 2003 12:53 am
First off - I rely a lot on ticket stubs to jog the grey matter cos I'm old and my memory is going. This tends to mean the small pub gigs are forgotten, which doesn't make for a fair reflection of what's out there, but does reflect that beer and total recall don't mix. Anyway, here goes:
Soundtrack Of Our Lives/Ikara Colt/Raveonettes - London Astoria Feb
Libertines/Detroit Cobras/Sights/Hiss - London Astoria Feb
Datsuns/Polyphonic Spree/Interpol/The Thrills - London Astoria Feb
The NME gigs were particularly well-chosen this year.........I already have
tickets for this year's "Award Show" package of Funeral For A Friend/The
Rapture/The Von Bondies/Franz Ferdinand, and I'm supposed to be picking up
tickets tonight for BRMC/TCTC. And I suspect I'll get some for the just-announced Jet gig....if I ever have enough money.
Yeah Yeah Yeahs - London Astoria March
Still can't believe the energy, charisma and musicianship crammed into this one....probably my gig of the year.
Star Spangles - London 100 Club March
White Stripes - London Brixton Academy March
One, a bunch of snot nosed punks playing RnR, the other, a couple of ex-snot nosed punks playing blues. Just got tix for the WS Jan gigs - GBP 30 (USD 50) per ticket, so possibly the last time I'll be seeing them at those prices. Has Jack gone Hollywood?
British Sea Power/Mower - Tunbridge Wells Forum May
Both bands made great albums this year, both bands are great live, both bands have yet to really break big. A great little venue. Unfortunately the local kids want to dress like they are American skate punk mall rats, and listen to shite like Spunge. Hopefully this fwd thinking establishment can help with their education.
Soledad Brothers/Pearlene/David Viner/King Khan - London Camden Underworld May Blues, blues, blues. Plus the Soledads fighting with the audience. Y'see, after a year on the road, you get a little ornery. Best value gig this year!
Interpol/British Sea Power - London Shepherds Bush Empire June
I guess you all know Interpol by now. I admit I hated them at first listen, and probably still would were it not for this list. So big up Dem for starting it all!!!
The Black Keys - London 100 Club July
These guys are much more straight-ahead than the WS but pack as much of a punch. But as I recall, Jack's tigh trousers pack quite a packet too.....anyway, getting back to the subject. Incendiary guitar, tight drums, a fine evening's entertainment.
Ash - London Somerset House Aug
The Barbs - Gillingham Green Parklife Fest Aug
Oh! To be in England...in the summertime. If it rains, outdoor gigs are the most miserable thing ever. But if the sun shines, they are the greatest. And for these two, the sun shone. Ash are now veterans, but seemed destined never to break out of the UK, which I think is a shame. The Barbs are a new, young band that still have day jobs, but I think they are brilliant. Whether they have the desire, willpower & etc to go further remains to be seen.
Errm......that's it. Fave albums & etc may follow if I get the time. Meanwhile, I'm off to see The Libs tonight. Jaaamone! And the Buff Medways on Saturday within walking distance of home, which will mean a 5 min journey there takes about an hour in the other direction.....
--NeilM
Sunday, December 14, 2003
Suede
From: Neil
Date: Sat Dec 13, 2003 11:32 am
Saw Suede at Brixton Academy last night. The last-but-one performance on
their farewell tour. I have to say that Brett Anderson is little short of a god-like genius front man. As someone commented on the night, "Bowie is an old guy in a suit" in comparison. An unfair comparison, perhaps, and how Brett would match up vs The Thin White Duke in his prime is a debate for another day, but suffice to say he had the crowd eating from the palm of his hand within seconds of peacock-strutting onto the stage. It gives some indication of his position in the band and his acknowledged magnetism when you realise a small plinth is at stage centre so he can stand literally, as well as metaphorically, overlooking his peers. To prevent this from being a maudlin goodbye, there were album tracks and even a new song played, but obviously the crowd were here to bid their farewells and it was the singles (Stay, Beautiful Ones, Animal Nitrate &etc) that really ignited the night. About three-quarters of the way through the set, I was thinking that this was gonna be one of my top ten gigs of all time, let alone this year, but the band had chosen to take things down tempo from there to the end of the set, and it was also here that the newie "Music To Make Sex" (sic?) was shoo'ed in. After all the time they've been around, they can't master the "leave 'em on a real high" part of The Rules Of Rock'n'Roll. Brett is a real loss to the live arena, and whatever he chooses to do next, I sincerely hope it is in a rock'n'roll idiom. God knows we need sexy, alluring, charismatic indie gods in our theatres, not more fey aucoustic-strumming
singer-songwriters.
--NeilM
Date: Sat Dec 13, 2003 11:32 am
Saw Suede at Brixton Academy last night. The last-but-one performance on
their farewell tour. I have to say that Brett Anderson is little short of a god-like genius front man. As someone commented on the night, "Bowie is an old guy in a suit" in comparison. An unfair comparison, perhaps, and how Brett would match up vs The Thin White Duke in his prime is a debate for another day, but suffice to say he had the crowd eating from the palm of his hand within seconds of peacock-strutting onto the stage. It gives some indication of his position in the band and his acknowledged magnetism when you realise a small plinth is at stage centre so he can stand literally, as well as metaphorically, overlooking his peers. To prevent this from being a maudlin goodbye, there were album tracks and even a new song played, but obviously the crowd were here to bid their farewells and it was the singles (Stay, Beautiful Ones, Animal Nitrate &etc) that really ignited the night. About three-quarters of the way through the set, I was thinking that this was gonna be one of my top ten gigs of all time, let alone this year, but the band had chosen to take things down tempo from there to the end of the set, and it was also here that the newie "Music To Make Sex" (sic?) was shoo'ed in. After all the time they've been around, they can't master the "leave 'em on a real high" part of The Rules Of Rock'n'Roll. Brett is a real loss to the live arena, and whatever he chooses to do next, I sincerely hope it is in a rock'n'roll idiom. God knows we need sexy, alluring, charismatic indie gods in our theatres, not more fey aucoustic-strumming
singer-songwriters.
--NeilM
Saturday, December 13, 2003
Best shows of 2003
From: demhopkins
Date: Fri Dec 12, 2003 11:01 pm
I didn't see The Strokes this year and I have tickets for Flaming Lips/White Stripes for December 31 which had better be toward the top--so excluding those--the first 5 were easy.
1. TCTC at Irving Plaza, NYC (best show in a few years)
2. Rocket From the Tombs, Abbey Pub (early summer and late November-- seeing them is like reliving my punk youth only they spent their time in a vacuum and have the edge and energy that is lacking with most bands today)
3. Scene Creamers, Fireside Bowl, (March--blisterig hypnotic performance that sadly was not repeated when they played here a few months later)
4. White Stripes, Aragon Ballroom, (July 3--hot and they made it hotter--Jack seems to have no limitations and endless possibilities live).
5. Interpol, Metro, Empty Bottle and Riv Theater (Jan. 12, 13 and Sept 19--the back to back on Jan 12 & 13 in two completely different venues was amazing enough but then they returned in September to play a large theatre with a great light show and a sense that they can handle the big time).
6. Mclusky, Schubas, (April 15--how is it possible that Mclusky is not in my top five--that is how good the shows were this year).
7. Pretty Girls Make Graves, Knitting Factory, NYC (CMJ show and I wasn't overly familiar with this band--they fucking blew me away).
8. Datsuns, Metro (April 6th--I had seen them twice earlier but this show after they came out of SxSW was as tight as any show I have seen this year. It's hard to believe that rock n roll can be this much fun).
9. JET, Intersection, Grand Rapids, Michigan (October before CMJ--very cool to see a band that was a little depressed putting on a great show before a small crowd paying their dues)
10. BRMC, Metro (September--first time seeing them and all the shoe gazer stories no longer apply--high energy and very tight show).
Limiting this list to 10 leaves out some great shows and so I will mention a few others--Godspeed (top 5 in any other year), Ikara Colt (unfortunately a short set), The Libs (unfortunately minus Pete), the YYYs, Mars Volta, The Rapture, The Apes, Polyphonic Spree (who I still want to wedge into the top 10--especially their second show here), D4, Local H, a set by The Paper Airplane Pilots as a trio that was not to be believed, Bamboo Kids (I left them out because I'm way biased and love all of their shows), Magnus (again--a touch of personal bias but they did an amazing show at Beat Kitchen after
not having played out in a long time--they will definitely be on next year's list), The Gossip, The Carlsonics (watch for this band--they deserve to be big).
Biggest disappointments--Johnny Marr and the Healers, The Buzzcocks, Electric 6 and Trail of Dead (who I expect will put it all right next time through town).
--Dem
Date: Fri Dec 12, 2003 11:01 pm
I didn't see The Strokes this year and I have tickets for Flaming Lips/White Stripes for December 31 which had better be toward the top--so excluding those--the first 5 were easy.
1. TCTC at Irving Plaza, NYC (best show in a few years)
2. Rocket From the Tombs, Abbey Pub (early summer and late November-- seeing them is like reliving my punk youth only they spent their time in a vacuum and have the edge and energy that is lacking with most bands today)
3. Scene Creamers, Fireside Bowl, (March--blisterig hypnotic performance that sadly was not repeated when they played here a few months later)
4. White Stripes, Aragon Ballroom, (July 3--hot and they made it hotter--Jack seems to have no limitations and endless possibilities live).
5. Interpol, Metro, Empty Bottle and Riv Theater (Jan. 12, 13 and Sept 19--the back to back on Jan 12 & 13 in two completely different venues was amazing enough but then they returned in September to play a large theatre with a great light show and a sense that they can handle the big time).
6. Mclusky, Schubas, (April 15--how is it possible that Mclusky is not in my top five--that is how good the shows were this year).
7. Pretty Girls Make Graves, Knitting Factory, NYC (CMJ show and I wasn't overly familiar with this band--they fucking blew me away).
8. Datsuns, Metro (April 6th--I had seen them twice earlier but this show after they came out of SxSW was as tight as any show I have seen this year. It's hard to believe that rock n roll can be this much fun).
9. JET, Intersection, Grand Rapids, Michigan (October before CMJ--very cool to see a band that was a little depressed putting on a great show before a small crowd paying their dues)
10. BRMC, Metro (September--first time seeing them and all the shoe gazer stories no longer apply--high energy and very tight show).
Limiting this list to 10 leaves out some great shows and so I will mention a few others--Godspeed (top 5 in any other year), Ikara Colt (unfortunately a short set), The Libs (unfortunately minus Pete), the YYYs, Mars Volta, The Rapture, The Apes, Polyphonic Spree (who I still want to wedge into the top 10--especially their second show here), D4, Local H, a set by The Paper Airplane Pilots as a trio that was not to be believed, Bamboo Kids (I left them out because I'm way biased and love all of their shows), Magnus (again--a touch of personal bias but they did an amazing show at Beat Kitchen after
not having played out in a long time--they will definitely be on next year's list), The Gossip, The Carlsonics (watch for this band--they deserve to be big).
Biggest disappointments--Johnny Marr and the Healers, The Buzzcocks, Electric 6 and Trail of Dead (who I expect will put it all right next time through town).
--Dem
Tuesday, December 09, 2003
Turbonegro
From: Neil
Date: Tue Dec 9, 2003 12:58 pm
I thought they were bloody fantastic. To be honest, my enjoyment may have been enhanced by the fact that there were plenty of Germans, Scandies and Turbojugend in the audience, so they were chanting, clapping and all-around enjoying themselves. OK, so the stage show maybe a little cliched, but I think it's honest, in much the same way as say AC/DC, Andrew WK, The Datsuns etc etc are. I will definitely go see them again, and will check out the back catalogue (I already have Scandinavian Leather).
One of the many funny bits of between song banter was the comment that it was "very good of London to put on a Gay Parade for our arrival" - he was talking of the Rugby World Cup Winners open-topped tour of the city. Hank also thanked Sir Walter Raleigh and Sir Francis Drake for undertaking long voyages and virtually inventing the gay lifestyle. Finally - "people ask us why we ware make-up and wear perfume. It's cos we're ugly and we smell." For those of you who have yet to see Turbonegro, think of a production of Springtime For Hitler, where Lemmy is Musical Director, and the cast of Priscilla Queen of The Desert are in a weird gene experiment with the WWF and take the starring roles. Dress code is anything as long as its denim. They try and do make-up nicely, but got a bit drunk/stoned beforehand. They are musically incredibly tight, but not so muso that a spot of stagediving can be ruled out.
QUALITY!!!!!
--NeilM
Date: Tue Dec 9, 2003 12:58 pm
I thought they were bloody fantastic. To be honest, my enjoyment may have been enhanced by the fact that there were plenty of Germans, Scandies and Turbojugend in the audience, so they were chanting, clapping and all-around enjoying themselves. OK, so the stage show maybe a little cliched, but I think it's honest, in much the same way as say AC/DC, Andrew WK, The Datsuns etc etc are. I will definitely go see them again, and will check out the back catalogue (I already have Scandinavian Leather).
One of the many funny bits of between song banter was the comment that it was "very good of London to put on a Gay Parade for our arrival" - he was talking of the Rugby World Cup Winners open-topped tour of the city. Hank also thanked Sir Walter Raleigh and Sir Francis Drake for undertaking long voyages and virtually inventing the gay lifestyle. Finally - "people ask us why we ware make-up and wear perfume. It's cos we're ugly and we smell." For those of you who have yet to see Turbonegro, think of a production of Springtime For Hitler, where Lemmy is Musical Director, and the cast of Priscilla Queen of The Desert are in a weird gene experiment with the WWF and take the starring roles. Dress code is anything as long as its denim. They try and do make-up nicely, but got a bit drunk/stoned beforehand. They are musically incredibly tight, but not so muso that a spot of stagediving can be ruled out.
QUALITY!!!!!
--NeilM
Wednesday, December 03, 2003
Brief Review
From: Neil
Date: Wed Dec 3, 2003 1:41 pm
Last Friday
Ikara colt played the Tunbridge Wells Forum. A 45 min set with about four new numbers. They are getting more accomplished live. Unfortunately, the turn-out at this gig was less than a packer, and it's only small to start with. I hope and believe that with decent promo they can start filling provincial venues rather than only in London. Bottom line - this is a great band that you should try see given the chance. Looking fwd to next year's new album.
Last night (Tuesday, 12/2/2003)
Took another trip to North London to see acouple of bands just heading out on rock's rich pageant, namely Les Girls (London) and We Rock Like Girls Don't (Glasgow). Artrocker comments followed by mine!
LES GIRLS (London)
An eternal triangle with 3 corners of glorious dark and brooding rock'n'roll. Swampy Southern blues meets Lou Reed down a dark alley in Hackney and watches while Grace Slick sidles up and gives Joy Division a good kicking, nicks their battered old carrier bag, sells the contents in Record and Tape and buys some blank CD-Rs. If you were at one of those first KILLS gigs you were amongst the luck few; If you just recently saw New York's FIERY FURNACES you know why they are so special. This debut by LES GIRLS trio could easily be as raw and exciting. Neil says - Girl singer looking a little like Nicole Kidman sans Hollywood frills sings Sheryl Crow-meets-Patti Smith country rock backed by boy guitar and drums, but without the attack or edge that the Patti comparison suggests. OK, but I won't be fending for their next appearance.
WE ROCK LIKE GIRLS DON'T (Glasgow)
We Rock Like Girls Don't are a new kicking all girl 3-piece from Glasgow in love with dirty rock n roll riffs, pop choruses and their excellent new ''I HATE GIRL BANDS'' T-shirts. The band has just recorded 2 tracks with Breeders producer Mark Freegard which have already been picked up and played on Radio1 and XFM. "Hip to You" and "Rock n Roll Freak" will be coming out as a fucking rocking double a side 7'' single in the new year..... so there! They rock! Three girls (gtr, bass, drums) bring the rock! They kick ass but retain a sense of humour. Singer put me a little in mind of Justine from Elastica vocally. I look fwd to seeing them again and catching their recordings without doubt. One to look out for, defo.
--NeilM
Date: Wed Dec 3, 2003 1:41 pm
Last Friday
Ikara colt played the Tunbridge Wells Forum. A 45 min set with about four new numbers. They are getting more accomplished live. Unfortunately, the turn-out at this gig was less than a packer, and it's only small to start with. I hope and believe that with decent promo they can start filling provincial venues rather than only in London. Bottom line - this is a great band that you should try see given the chance. Looking fwd to next year's new album.
Last night (Tuesday, 12/2/2003)
Took another trip to North London to see acouple of bands just heading out on rock's rich pageant, namely Les Girls (London) and We Rock Like Girls Don't (Glasgow). Artrocker comments followed by mine!
LES GIRLS (London)
An eternal triangle with 3 corners of glorious dark and brooding rock'n'roll. Swampy Southern blues meets Lou Reed down a dark alley in Hackney and watches while Grace Slick sidles up and gives Joy Division a good kicking, nicks their battered old carrier bag, sells the contents in Record and Tape and buys some blank CD-Rs. If you were at one of those first KILLS gigs you were amongst the luck few; If you just recently saw New York's FIERY FURNACES you know why they are so special. This debut by LES GIRLS trio could easily be as raw and exciting. Neil says - Girl singer looking a little like Nicole Kidman sans Hollywood frills sings Sheryl Crow-meets-Patti Smith country rock backed by boy guitar and drums, but without the attack or edge that the Patti comparison suggests. OK, but I won't be fending for their next appearance.
WE ROCK LIKE GIRLS DON'T (Glasgow)
We Rock Like Girls Don't are a new kicking all girl 3-piece from Glasgow in love with dirty rock n roll riffs, pop choruses and their excellent new ''I HATE GIRL BANDS'' T-shirts. The band has just recorded 2 tracks with Breeders producer Mark Freegard which have already been picked up and played on Radio1 and XFM. "Hip to You" and "Rock n Roll Freak" will be coming out as a fucking rocking double a side 7'' single in the new year..... so there! They rock! Three girls (gtr, bass, drums) bring the rock! They kick ass but retain a sense of humour. Singer put me a little in mind of Justine from Elastica vocally. I look fwd to seeing them again and catching their recordings without doubt. One to look out for, defo.
--NeilM
Monday, December 01, 2003
POD
From Playlouder.com:
Dear reader, I feel it is my duty to drawn your attention to an article in the Philadelphia Inquirer which boasts the headline: "Scorning nihilist clichés. P.O.D infuses the genre with ideals" It starts thus:
"P.O.D front man Sonny Sandoval was in Manhattan the other day when he spotted one of those rock band promotional stickers that read "Keep Rock Evil." It made him mad. "I thought it was the stupidest sticker because the kind of music I like is the kind that makes me feel good - The Police or something, where the minute it comes on you're like - yes! That to me is all about good energy. If I want death and destruction I'll turn on the news." The mind boggles. Sonny is a Christian. This means he "believes" in the desert god psychopath Jehovah AKA the all-time undisputed heavy weight champion of insanely screaming death and utterly defenceless mega-fucking destruction. Remember the bit about Noah? Some people are acting a bit naughty - so God decides to destroy the entire fucking planet!!!! Um, hello? Remember Sodom and Gomorrah? Bit of same-sex love action going down, nutter fucking nukes the place. And then there's the bit where some bald bloke is on his way to the temple and he's teased by some delinquent juves who call him a slaphead and shit. So baldy has a word with God and God magics up some she-bears that rip the kids limb from screaming bloody limb. No, really. Do the words "death" and "destruction" not apply in this scenario, Sonny? You beatifically grinning fool?
The second part of this tri-split super-God is, of course, Jesus H Christ. This poor bastard preached wealth distribution, international socialism and universal brotherly love. So The Man whipped him, stripped him, stuck a crown of thorns on his head, nailed him to a cross and then stuck a spear in his side. You may have heard about it. It is in fact the founding myth of the Christian religion. But presumably Sonny doesn't read that bit of the Bible because it's too horrid. Too full of that icky death and destruction stuff. Maybe he's had a special Bible made - one which misses out all the death and destruction. And all the pain and suffering and insanity and madness and stupidity. Which would leave you with what - about 50 pages, tops? So I'm guessing that Sonny's padded things out a bit with some nice stories. Like when Jesus and Sting helped the Smurfs solve the mystery of the missing Christmas tree. Because, as the Philadelphia Inquirer informs us; "Where most of their competition traffics in grim odes of death, destruction and seething anger, the San Diego Ozzfest veterans address notions of unity and brotherhood, keeping one's word and maintaining grace in the face of adversity".
What the fuck has any of that got to do with Christianity? I despair of so-called Christian musicians. From Cliff to Bonio that testicular-cancer faced rat-fuck out of Coldplay, they're all such a bunch of bent-over-backwards, please fuck me up the arse, turn the other cheek, happy clappy, tambourine-tapping mouse cocks. If you're going to be a Christian then you might as well be a proper Christian i.e. a "born-again" Christian i.e. a whirly eyed nutter who believes every single word in King James version of the Bible was actually written by the insane god God himself. Dude, born-agains are totally rock'n'roll. They gibber insanely while possessed by the spooky "Holy Ghost" with all like snakes writing all over them. And then the vicar comes along and touches them on the forehead and they just collapse and writhe on the floor having orgasms. Cool or what? I mean fuck Satanism. Satanists are wankers. As is anybody who defines themselves entirely through negatives. Like all those whining losers who call themselves Leeds or Liverpool fans but are actually primarily motivated by a hatred of Manchester United. Tossers.
But imagine a Christian rock combo fuelled by the same insane sense of showmanship and froth-gobbed monomaniacal blood lust as The Lord God Almighty Himself. Imagine the gigs! You'd have a big lake of fire in the middle and bouncers would wade into the audience and grab hindus, catholics, jews, buddhists, moslems and atheists or people who make graven images or covet thine neighbours asses and throw them into the fire - just like it tells you to do in the Bible. Then maybe the bouncers could round up all the gays, or women with uncovered heads or bastards who eat meat on Friday and, I dunno, drop the ceiling on them or something.
But sadly P.O.D are fronted by an anaemic crusty who peppers his interviews with quotes like: "We always say that rock-and-roll doesn't define us as people. We don't need to be stars, we're not in it to be famous. For me the biggest change is now when I go to the store, I buy the sturdy paper plates instead of the flimsy ones and the three-ply toilet paper."
To which, of course, the only sane response is - Jesus H Christ Junior getting his fucking face bitten off by a rabid donkey while his mum's off round the back sharing a spit-roast with the Three Wise Men, get a grip, P.O.D front man Sonny Sandoval! You should be buying AK 47's and claymore mines and napalm with which to smite the stormtroopers of gay liberation, young girls who have abortions and all those who shit in the face of the insane god, God. That would rock. That would be intensely fucking rock and/or fucking roll. But as things stand you are a disgrace and an embarrassment to both your religion and your chosen genre. And if you don't desist sucking immediately, God will almost certainly kill you. The fucking nutter.
--Steven Wells, www.Playlouder.com
Dear reader, I feel it is my duty to drawn your attention to an article in the Philadelphia Inquirer which boasts the headline: "Scorning nihilist clichés. P.O.D infuses the genre with ideals" It starts thus:
"P.O.D front man Sonny Sandoval was in Manhattan the other day when he spotted one of those rock band promotional stickers that read "Keep Rock Evil." It made him mad. "I thought it was the stupidest sticker because the kind of music I like is the kind that makes me feel good - The Police or something, where the minute it comes on you're like - yes! That to me is all about good energy. If I want death and destruction I'll turn on the news." The mind boggles. Sonny is a Christian. This means he "believes" in the desert god psychopath Jehovah AKA the all-time undisputed heavy weight champion of insanely screaming death and utterly defenceless mega-fucking destruction. Remember the bit about Noah? Some people are acting a bit naughty - so God decides to destroy the entire fucking planet!!!! Um, hello? Remember Sodom and Gomorrah? Bit of same-sex love action going down, nutter fucking nukes the place. And then there's the bit where some bald bloke is on his way to the temple and he's teased by some delinquent juves who call him a slaphead and shit. So baldy has a word with God and God magics up some she-bears that rip the kids limb from screaming bloody limb. No, really. Do the words "death" and "destruction" not apply in this scenario, Sonny? You beatifically grinning fool?
The second part of this tri-split super-God is, of course, Jesus H Christ. This poor bastard preached wealth distribution, international socialism and universal brotherly love. So The Man whipped him, stripped him, stuck a crown of thorns on his head, nailed him to a cross and then stuck a spear in his side. You may have heard about it. It is in fact the founding myth of the Christian religion. But presumably Sonny doesn't read that bit of the Bible because it's too horrid. Too full of that icky death and destruction stuff. Maybe he's had a special Bible made - one which misses out all the death and destruction. And all the pain and suffering and insanity and madness and stupidity. Which would leave you with what - about 50 pages, tops? So I'm guessing that Sonny's padded things out a bit with some nice stories. Like when Jesus and Sting helped the Smurfs solve the mystery of the missing Christmas tree. Because, as the Philadelphia Inquirer informs us; "Where most of their competition traffics in grim odes of death, destruction and seething anger, the San Diego Ozzfest veterans address notions of unity and brotherhood, keeping one's word and maintaining grace in the face of adversity".
What the fuck has any of that got to do with Christianity? I despair of so-called Christian musicians. From Cliff to Bonio that testicular-cancer faced rat-fuck out of Coldplay, they're all such a bunch of bent-over-backwards, please fuck me up the arse, turn the other cheek, happy clappy, tambourine-tapping mouse cocks. If you're going to be a Christian then you might as well be a proper Christian i.e. a "born-again" Christian i.e. a whirly eyed nutter who believes every single word in King James version of the Bible was actually written by the insane god God himself. Dude, born-agains are totally rock'n'roll. They gibber insanely while possessed by the spooky "Holy Ghost" with all like snakes writing all over them. And then the vicar comes along and touches them on the forehead and they just collapse and writhe on the floor having orgasms. Cool or what? I mean fuck Satanism. Satanists are wankers. As is anybody who defines themselves entirely through negatives. Like all those whining losers who call themselves Leeds or Liverpool fans but are actually primarily motivated by a hatred of Manchester United. Tossers.
But imagine a Christian rock combo fuelled by the same insane sense of showmanship and froth-gobbed monomaniacal blood lust as The Lord God Almighty Himself. Imagine the gigs! You'd have a big lake of fire in the middle and bouncers would wade into the audience and grab hindus, catholics, jews, buddhists, moslems and atheists or people who make graven images or covet thine neighbours asses and throw them into the fire - just like it tells you to do in the Bible. Then maybe the bouncers could round up all the gays, or women with uncovered heads or bastards who eat meat on Friday and, I dunno, drop the ceiling on them or something.
But sadly P.O.D are fronted by an anaemic crusty who peppers his interviews with quotes like: "We always say that rock-and-roll doesn't define us as people. We don't need to be stars, we're not in it to be famous. For me the biggest change is now when I go to the store, I buy the sturdy paper plates instead of the flimsy ones and the three-ply toilet paper."
To which, of course, the only sane response is - Jesus H Christ Junior getting his fucking face bitten off by a rabid donkey while his mum's off round the back sharing a spit-roast with the Three Wise Men, get a grip, P.O.D front man Sonny Sandoval! You should be buying AK 47's and claymore mines and napalm with which to smite the stormtroopers of gay liberation, young girls who have abortions and all those who shit in the face of the insane god, God. That would rock. That would be intensely fucking rock and/or fucking roll. But as things stand you are a disgrace and an embarrassment to both your religion and your chosen genre. And if you don't desist sucking immediately, God will almost certainly kill you. The fucking nutter.
--Steven Wells, www.Playlouder.com
Wednesday, November 26, 2003
Gig Review
From: Neil
Date: Wed Nov 26, 2003 8:04 am
Went to the Buffalo Bar last night. It's a small bar in Highbury, North London, but on Tuesday nights a wonderful gang of brothers going under the http://www.artrocker.com banner put on gigs for next to no money. This week's artistes were The Midnight Evils and The Dirty. I've copied this straight from the Artrocker mailout because (a) I'm lazy and (b) it really is an excellent summary.
THE MIDNIGHT EVILS (Minneapolis USA)
As their name suggests , this Minneapolis four-piece may well not leave the Buffalo Bar standing, but will have a good time throughout. If you like The Datsuns or White Stripes so-called 'rock' then these guys are the real deal. Fast and heavy in the spirit of Motorhead and more recently The Hellacopters, The Evils breath new life into Highway Rock (think Radar Love or Born to be Wild) with a scuzz and careless abandon that Subpop's Catheters and In The Red's Hunches have shown. they are not affraid to maul classics either from Standells garage rock to AC/DC un-pc blues-rock. New album "Straight til Morning" is on ESTRUS RECORDS(along with SYMPATHY, the true home of US underground rock'n'roll) and features a steal of Radio Birdman's "Murder City Nights" ..... "Twin City Nights", a fitting tribute.
THE DIRTY
Fierce and rocking fourpiece and fresh out of the blocks of The New London Rock'n'Roll scene of The Rocks / Beatings / The Hells. In front of a classic Stooge-punk wall of noise , Kyrill struts and swaggers his angsty self with style and wit, a real David Johansen for 2003 ! Primal and street-fighting, low-down, bluesy and .... Dirty.... of course ! The Dirty impressed PJ, supporting The Mooney Suzuki recently at his DIRTY WATER CLUB (London haunt of Billy Childish and Jack White's Stripes), he agreed to release a 7" "Black Sugar / Cinnamon"- The very first DIRTY WATER RECORDS Release out now. "garage punk assault, coming on like Ian Svenonius fronting a pissed off Mudhoney this makes all the right (in the red) noises. Great!" ROUGH TRADE
I picked up the ME CD and Dirty single, and I like both. Unfortunately, I haven't a clue how to transpose vinyl to MP3, and almost certainly haven't got the cabling, so I can't post a Dirty track, but if anyone wants to hear a ME one give me a holler. The Evils really caught my attention. One of their guitarists looks just like Hunter S Thompson, the singer/bass player was a bear clone, but wore an Austin "Beerland" trucker cap and a Greenhornes tee, so you know his heart is in the right place!! The Dirty are much more akin to the bands of appeal to this list, but they are still pretty young and need more gigs, but will be well worth checking if they ever get gigs outside the UK.
-- NeilM
Date: Wed Nov 26, 2003 8:04 am
Went to the Buffalo Bar last night. It's a small bar in Highbury, North London, but on Tuesday nights a wonderful gang of brothers going under the http://www.artrocker.com banner put on gigs for next to no money. This week's artistes were The Midnight Evils and The Dirty. I've copied this straight from the Artrocker mailout because (a) I'm lazy and (b) it really is an excellent summary.
THE MIDNIGHT EVILS (Minneapolis USA)
As their name suggests , this Minneapolis four-piece may well not leave the Buffalo Bar standing, but will have a good time throughout. If you like The Datsuns or White Stripes so-called 'rock' then these guys are the real deal. Fast and heavy in the spirit of Motorhead and more recently The Hellacopters, The Evils breath new life into Highway Rock (think Radar Love or Born to be Wild) with a scuzz and careless abandon that Subpop's Catheters and In The Red's Hunches have shown. they are not affraid to maul classics either from Standells garage rock to AC/DC un-pc blues-rock. New album "Straight til Morning" is on ESTRUS RECORDS(along with SYMPATHY, the true home of US underground rock'n'roll) and features a steal of Radio Birdman's "Murder City Nights" ..... "Twin City Nights", a fitting tribute.
THE DIRTY
Fierce and rocking fourpiece and fresh out of the blocks of The New London Rock'n'Roll scene of The Rocks / Beatings / The Hells. In front of a classic Stooge-punk wall of noise , Kyrill struts and swaggers his angsty self with style and wit, a real David Johansen for 2003 ! Primal and street-fighting, low-down, bluesy and .... Dirty.... of course ! The Dirty impressed PJ, supporting The Mooney Suzuki recently at his DIRTY WATER CLUB (London haunt of Billy Childish and Jack White's Stripes), he agreed to release a 7" "Black Sugar / Cinnamon"- The very first DIRTY WATER RECORDS Release out now. "garage punk assault, coming on like Ian Svenonius fronting a pissed off Mudhoney this makes all the right (in the red) noises. Great!" ROUGH TRADE
I picked up the ME CD and Dirty single, and I like both. Unfortunately, I haven't a clue how to transpose vinyl to MP3, and almost certainly haven't got the cabling, so I can't post a Dirty track, but if anyone wants to hear a ME one give me a holler. The Evils really caught my attention. One of their guitarists looks just like Hunter S Thompson, the singer/bass player was a bear clone, but wore an Austin "Beerland" trucker cap and a Greenhornes tee, so you know his heart is in the right place!! The Dirty are much more akin to the bands of appeal to this list, but they are still pretty young and need more gigs, but will be well worth checking if they ever get gigs outside the UK.
-- NeilM
Friday, November 07, 2003
The Rapture
From: demhopkins
Date: Fri Nov 7, 2003 1:43 am
Very late show. I skipped the first two bands but went to see Gil Mantera's Party Dream (primary support) and walked into a sold out house completely digging two guys--one in a G-string and the other in bikini underwear dancing their asses off and touching themselves in ways that Michael Jackson has only contemplated. But, the music was fucking great--keyboards and syth and a front man who did some guitar work (occasionally awesome). Hysterically funny with musical integrity. The act (and it is an act) was so good that they won the room. I've seen a number of bands try to pull this off musically (at CMJ alone) but this band really did. An amazing live show (not sure I would by the product but I wouldn't run screaming from the room if somebody put it on--the way I would with most (all) 2 piece guitar/synth bands. My first time seeing The Rapture and I am happy I waited. What once seemed formula and discoish to me, now seems driven and focused. Much of the focus is dance music--but I can no longer write off the genre because these boys do it so well. Brilliant sax and lead vocals that bring to mind everything from Robert Smith to John Lydon to Jeff Buckley to (fill in the blank). They absolutely know how to adapt vocal style to the music--and the range is impressive on both counts. Great funk and Rock n Roll Part 3 as the finale actually worked. They closed the set (before encore) with an extended version of House of Jealous Lovers that still has me awed. I went with a friend who usually stands and watches the shows--he threw his leather on the floor and danced his ass off. This band is having more fun than any working people ought to have. Also, at one point mid-show--there was a hassle up front and the singer saw a woman get punched by some asshole dude. He stopped in mid song and took control of the room. He explained what had happened and announced it wasn't going to happen at one of their shows. Security handled it at the direction of the band. (I wish more bands were this responsible). It cast a shadow--couldn't help but wonder if the band could immediately recaptutre the momentum they had built--and they did so within seconds. I'm digging the music and really digging their style. Knock me over with a feather!
--Dem
Date: Fri Nov 7, 2003 1:43 am
Very late show. I skipped the first two bands but went to see Gil Mantera's Party Dream (primary support) and walked into a sold out house completely digging two guys--one in a G-string and the other in bikini underwear dancing their asses off and touching themselves in ways that Michael Jackson has only contemplated. But, the music was fucking great--keyboards and syth and a front man who did some guitar work (occasionally awesome). Hysterically funny with musical integrity. The act (and it is an act) was so good that they won the room. I've seen a number of bands try to pull this off musically (at CMJ alone) but this band really did. An amazing live show (not sure I would by the product but I wouldn't run screaming from the room if somebody put it on--the way I would with most (all) 2 piece guitar/synth bands. My first time seeing The Rapture and I am happy I waited. What once seemed formula and discoish to me, now seems driven and focused. Much of the focus is dance music--but I can no longer write off the genre because these boys do it so well. Brilliant sax and lead vocals that bring to mind everything from Robert Smith to John Lydon to Jeff Buckley to (fill in the blank). They absolutely know how to adapt vocal style to the music--and the range is impressive on both counts. Great funk and Rock n Roll Part 3 as the finale actually worked. They closed the set (before encore) with an extended version of House of Jealous Lovers that still has me awed. I went with a friend who usually stands and watches the shows--he threw his leather on the floor and danced his ass off. This band is having more fun than any working people ought to have. Also, at one point mid-show--there was a hassle up front and the singer saw a woman get punched by some asshole dude. He stopped in mid song and took control of the room. He explained what had happened and announced it wasn't going to happen at one of their shows. Security handled it at the direction of the band. (I wish more bands were this responsible). It cast a shadow--couldn't help but wonder if the band could immediately recaptutre the momentum they had built--and they did so within seconds. I'm digging the music and really digging their style. Knock me over with a feather!
--Dem
Monday, October 27, 2003
CMJ: Pretty Girls Make Graves and The Gossip
From: dem
Date: Mon Oct 27, 2003 6:27 pm
I got to the Knitting Factory in time to catch Dance Disaster Movement. Two guys, all in white, one on drums and the other on keyboards/synth. The music is definitely dance and the lead man--keyboardist never let the crowd forget it. definitely not my type of music but they did keep my attention. All loops are done live on stage--nothing is canned. Good beats, good loops, good drumming made it OK. Others seemed to like it much more.
PRETTY GIRLS MAKE GRAVES: I went in liking this band but not crazy about them. I left liking them very, very much and looking forward to seeing them again. PGMG understand CMJ and they spent the week promoing their show and making friends everywhere they went. The place was packed beyond anything I have ever experienced and the thought of death by fire was on my mind. Andrea is the most likeable singer I have seen in awhile. This band is no act and neither is she. Everything they do is so authentic. They immediately connect
with the crowd and deliver the goods. Tight set with more biting power than I expected. The bands name has always put me off some. Andrea has a style truly her own as she delivers the lyrics with a grace rarely seen outside of jazz and makes sure every word and emotion is felt. The band sparkles throughout. Of all the performers I saw at CMJ--this is the band I would most like to hang out with, especially Andrea, who by the time she left the stage had managed to personally touch every one in the room with her charm. This band
rocks both in music and lyrics. Intelligent but not snooty. Probably more CMJers with badges at this show than any other I attended. My second favorite performance of the marathon.
YOUNG PEOPLE: They followed PGMG and were so bloody awful I beg anybody in this group who likes them, for the love of God--tell me why. A horrible snooty woman behind the drums does the vocals as she taps the drums with one hand accompanied by two irritating shoe-gazing guitarists. Lyrics range from The Man Who Got Away (kinda) to other babble. The packed house is now about 1/3 full (thank God for room to breathe) and the few left are tired and not in the mood to be polite to this act. This insufferable woman leaves the drum to play the bass--but doesn't know how to plug it in and the show stalls. She then proves she can't play bass either. They mercifully do a short set. I guess this is some kind of art rock--lacking any artistic merit and never rocking.
THE GOSSIP: The crowd who had disappeared for Young People came back in force for The Gossip. Beth fronts this band (an Arkansas girl with a voice not to be believed). The band was not tight--stopping between each song to decide what to play next. The songs are short and the musicianship is acceptable, not stellar. But Beth's voice makes it all okay. She complains a little about being tired and playing at 8:00 in the morning--but she delivers the goods throughout the set. The crowd loves it even though it is 8 o'clock in the morning and everybody is ragged and exhausted. Beth dances with more energy than anybody should have at this end of this marathon and we dance with her, knowing it is the end. She is nothing less than brilliant. Unfortunately, I don't feel that way about the guitarist and drummer backing her up. The best female voice I have heard among our bands deserves better backing. The music is derivative of itself--only Beth's voice and her presence keeps it completely satisfying throughout the set. Yeah, I'd see them again in a minute--but don't think I'll find complete satisfaction in what they do until they either add a guitarist or Beth finds a new backing band.
--Dem
Date: Mon Oct 27, 2003 6:27 pm
I got to the Knitting Factory in time to catch Dance Disaster Movement. Two guys, all in white, one on drums and the other on keyboards/synth. The music is definitely dance and the lead man--keyboardist never let the crowd forget it. definitely not my type of music but they did keep my attention. All loops are done live on stage--nothing is canned. Good beats, good loops, good drumming made it OK. Others seemed to like it much more.
PRETTY GIRLS MAKE GRAVES: I went in liking this band but not crazy about them. I left liking them very, very much and looking forward to seeing them again. PGMG understand CMJ and they spent the week promoing their show and making friends everywhere they went. The place was packed beyond anything I have ever experienced and the thought of death by fire was on my mind. Andrea is the most likeable singer I have seen in awhile. This band is no act and neither is she. Everything they do is so authentic. They immediately connect
with the crowd and deliver the goods. Tight set with more biting power than I expected. The bands name has always put me off some. Andrea has a style truly her own as she delivers the lyrics with a grace rarely seen outside of jazz and makes sure every word and emotion is felt. The band sparkles throughout. Of all the performers I saw at CMJ--this is the band I would most like to hang out with, especially Andrea, who by the time she left the stage had managed to personally touch every one in the room with her charm. This band
rocks both in music and lyrics. Intelligent but not snooty. Probably more CMJers with badges at this show than any other I attended. My second favorite performance of the marathon.
YOUNG PEOPLE: They followed PGMG and were so bloody awful I beg anybody in this group who likes them, for the love of God--tell me why. A horrible snooty woman behind the drums does the vocals as she taps the drums with one hand accompanied by two irritating shoe-gazing guitarists. Lyrics range from The Man Who Got Away (kinda) to other babble. The packed house is now about 1/3 full (thank God for room to breathe) and the few left are tired and not in the mood to be polite to this act. This insufferable woman leaves the drum to play the bass--but doesn't know how to plug it in and the show stalls. She then proves she can't play bass either. They mercifully do a short set. I guess this is some kind of art rock--lacking any artistic merit and never rocking.
THE GOSSIP: The crowd who had disappeared for Young People came back in force for The Gossip. Beth fronts this band (an Arkansas girl with a voice not to be believed). The band was not tight--stopping between each song to decide what to play next. The songs are short and the musicianship is acceptable, not stellar. But Beth's voice makes it all okay. She complains a little about being tired and playing at 8:00 in the morning--but she delivers the goods throughout the set. The crowd loves it even though it is 8 o'clock in the morning and everybody is ragged and exhausted. Beth dances with more energy than anybody should have at this end of this marathon and we dance with her, knowing it is the end. She is nothing less than brilliant. Unfortunately, I don't feel that way about the guitarist and drummer backing her up. The best female voice I have heard among our bands deserves better backing. The music is derivative of itself--only Beth's voice and her presence keeps it completely satisfying throughout the set. Yeah, I'd see them again in a minute--but don't think I'll find complete satisfaction in what they do until they either add a guitarist or Beth finds a new backing band.
--Dem
CMJ: The Cooper Temple Clause
From: dem
Date: Mon Oct 27, 2003 10:59 am
From the minute the words "Did you miss me" filled a packed Irving Plaza, this band owned the room. I came to the show loving them--and left somewhere beyond loving them. I don't know of any band today incorporating so many influences and doing it so well. Liz mentioned a while back that the great bands now still seem to be missing the edge that the bands had in the 1970s--not The Coopers who have an edge to everything they do. The keyboards and synths are done to perfection. As an avowed 2 guitar and drum kind of guy overall, anything added has to be done very well to impress me. The possibilities that The Coopers naturally see and incorporate into their brand of rock and roll very much impressed me. While a number of bands seem to be reinventing themselves or modifying their sound for CMJ (e.g. Jet), TCTC featured the full range of what they do. "Musicbox" was beautiful and in its lulls as powerful as anything TCTC has ever done. Ben Gautrey's vocals are my favorite in rock n roll today. With the added vocals of Daniel, the harmonies continued to haunt me long after the show ended. TCTC can bring it down to just a harmonica and Ben's voice and transport you to a smoky cabaret room in feel and performance--the room hushed. The ability to bring the music to a
Gavin Friday type lounge sound and immediately come back with power I have rarely felt since Killing Jokes very first shows so long ago amazed me. Back to keyboards and synths--beyond the lush orchestrations that were added to the music, watching Kieran and Tom play the boards and turn the knobs was a show unto itself--exciting with a sense of adventure that recalled Eno's days with Roxy. What should be a hodge-podge of music is so carefully crafted and then woven into something that feels completely original to me--in spite of the many obvious influences. The live performance is so much bigger than the two magnificent CDs. Ben delivers a lyric filled with venom, all with a knowing smile and then steps back momentarily to catch a breath. The music continues with cold, calculated certainty that continues to warm the room in the most intimate way. As the show ends, the jaded crowd (not jaded people--just so many bands to see) continues to applaud well after the band leaves the stage inn spite of knowing there will be no encore. Total appreciation for a job very well done. In 1972, Roxy Music was the band that changed my life and perception of what rock and roll could be. I have a feeling that
TCTC might be doing that for some other teenager right now. My favorite show of the year without question. The two bands that created huge buzz for themselves (from feedback I got at the CMJ conference and later shows were TCTC and British Sea Power. I stayed at Irving and listened to one song from Longwave. No disrespect to them at all--but after TCTC nothing would have worked for me so I left and walked the 3 miles back to my hotel happy in my numbness. Sir Neil, if TCTC isn't back on US soil soon (they could only get a 3 day work VISA to come here--I guess they have some problems to work out like the Libs did)--you may be seeing me in the UK soon. I've got to see this band again--one hour was just not enough.
--Dem
Date: Mon Oct 27, 2003 10:59 am
From the minute the words "Did you miss me" filled a packed Irving Plaza, this band owned the room. I came to the show loving them--and left somewhere beyond loving them. I don't know of any band today incorporating so many influences and doing it so well. Liz mentioned a while back that the great bands now still seem to be missing the edge that the bands had in the 1970s--not The Coopers who have an edge to everything they do. The keyboards and synths are done to perfection. As an avowed 2 guitar and drum kind of guy overall, anything added has to be done very well to impress me. The possibilities that The Coopers naturally see and incorporate into their brand of rock and roll very much impressed me. While a number of bands seem to be reinventing themselves or modifying their sound for CMJ (e.g. Jet), TCTC featured the full range of what they do. "Musicbox" was beautiful and in its lulls as powerful as anything TCTC has ever done. Ben Gautrey's vocals are my favorite in rock n roll today. With the added vocals of Daniel, the harmonies continued to haunt me long after the show ended. TCTC can bring it down to just a harmonica and Ben's voice and transport you to a smoky cabaret room in feel and performance--the room hushed. The ability to bring the music to a
Gavin Friday type lounge sound and immediately come back with power I have rarely felt since Killing Jokes very first shows so long ago amazed me. Back to keyboards and synths--beyond the lush orchestrations that were added to the music, watching Kieran and Tom play the boards and turn the knobs was a show unto itself--exciting with a sense of adventure that recalled Eno's days with Roxy. What should be a hodge-podge of music is so carefully crafted and then woven into something that feels completely original to me--in spite of the many obvious influences. The live performance is so much bigger than the two magnificent CDs. Ben delivers a lyric filled with venom, all with a knowing smile and then steps back momentarily to catch a breath. The music continues with cold, calculated certainty that continues to warm the room in the most intimate way. As the show ends, the jaded crowd (not jaded people--just so many bands to see) continues to applaud well after the band leaves the stage inn spite of knowing there will be no encore. Total appreciation for a job very well done. In 1972, Roxy Music was the band that changed my life and perception of what rock and roll could be. I have a feeling that
TCTC might be doing that for some other teenager right now. My favorite show of the year without question. The two bands that created huge buzz for themselves (from feedback I got at the CMJ conference and later shows were TCTC and British Sea Power. I stayed at Irving and listened to one song from Longwave. No disrespect to them at all--but after TCTC nothing would have worked for me so I left and walked the 3 miles back to my hotel happy in my numbness. Sir Neil, if TCTC isn't back on US soil soon (they could only get a 3 day work VISA to come here--I guess they have some problems to work out like the Libs did)--you may be seeing me in the UK soon. I've got to see this band again--one hour was just not enough.
--Dem
Sunday, October 26, 2003
CMJ Reviews: TCTC, PGMG and The Gossip
From: dem
Date: Sun Oct 26, 2003 7:16 pm
I took brief notes throughout the shows at CMJ and will post from them tomorrow. I'll send separate messages so you can read about the bands you care about. Neil, the idea to take notes was good—and trying to decipher them is turning out to be priceless. I stayed up from Saturday morning through my flight out Sunday around 10:30 and must get sleep. One last note on The Carlsonics. It was the only band at CMJ that impressed me enough to buy their CD (a lot of the bands I already own their releases). The shrink wrap has a sticker on it that impressed me in so many ways. It is a quote from Tony Fletcher, author of Keith Moon: A Biography. He says "The Carlsonics sound like -----, move like ------ and rock like The -------." The Carlsonics obviously don't like being compared to other bands so they blacked out (with magic marker) all the other band references. I guess I'll never know who Fletcher compared them to--but I like that The Carlsonics want the listener to take them as they are without comparisons. I haven't had a chance to spin their disc yet but it is top priority tomorrow.
--Dem
Date: Sun Oct 26, 2003 7:16 pm
I took brief notes throughout the shows at CMJ and will post from them tomorrow. I'll send separate messages so you can read about the bands you care about. Neil, the idea to take notes was good—and trying to decipher them is turning out to be priceless. I stayed up from Saturday morning through my flight out Sunday around 10:30 and must get sleep. One last note on The Carlsonics. It was the only band at CMJ that impressed me enough to buy their CD (a lot of the bands I already own their releases). The shrink wrap has a sticker on it that impressed me in so many ways. It is a quote from Tony Fletcher, author of Keith Moon: A Biography. He says "The Carlsonics sound like -----, move like ------ and rock like The -------." The Carlsonics obviously don't like being compared to other bands so they blacked out (with magic marker) all the other band references. I guess I'll never know who Fletcher compared them to--but I like that The Carlsonics want the listener to take them as they are without comparisons. I haven't had a chance to spin their disc yet but it is top priority tomorrow.
--Dem
The Carlsonics at CMJ
From: dem
Date: Sun Oct 26, 2003 7:02 pm
I saw them play the daystage on Friday afternoon. This is a five-piece out of D.C. (3 guitars, drum, front man). This band was my favorite "new" dicovery at CMJ. The front man is the most unlikely rock star--preppy, boyish enthusiasm and a dorkish kind of movement that charmed the crowd (along with his blond bowl-like haircut). Pop music with some hard edges and throughout the performance (30 minutes) a great sense of humor. The woman on base added occasional backing that caught everyone off guard. Expecting a little-girl voice and getting a growl is always cool. These are very talented musicians and the occasional tendency to play solos really worked for them. The front man (sorry, I'm to zonked to find his name) knows he has a great band and took pleasure in sharing the stage with them and letting them have time in the spotlight while he watched from the side of the stage before reclaiming his place with his bouncing, pogoish movement that always looked like he was as likely to fall over as land on his feet. Songs like Ice People, I Dig the Bushwack, Senator Rudge and the Clap Division, and Tonight We Dine on Fumes as well as their fine performance should get this band some attention.
--Dem
Date: Sun Oct 26, 2003 7:02 pm
I saw them play the daystage on Friday afternoon. This is a five-piece out of D.C. (3 guitars, drum, front man). This band was my favorite "new" dicovery at CMJ. The front man is the most unlikely rock star--preppy, boyish enthusiasm and a dorkish kind of movement that charmed the crowd (along with his blond bowl-like haircut). Pop music with some hard edges and throughout the performance (30 minutes) a great sense of humor. The woman on base added occasional backing that caught everyone off guard. Expecting a little-girl voice and getting a growl is always cool. These are very talented musicians and the occasional tendency to play solos really worked for them. The front man (sorry, I'm to zonked to find his name) knows he has a great band and took pleasure in sharing the stage with them and letting them have time in the spotlight while he watched from the side of the stage before reclaiming his place with his bouncing, pogoish movement that always looked like he was as likely to fall over as land on his feet. Songs like Ice People, I Dig the Bushwack, Senator Rudge and the Clap Division, and Tonight We Dine on Fumes as well as their fine performance should get this band some attention.
--Dem
Saturday, October 25, 2003
CMJ Reviews -- NMM NYC
Got to NYC at 4 PM Thursday. I hadn't heard from The Bamboo Kids and needed to reach them to get a CMJ badge. Karma is amazing. I walked into the lobby of my hotel and there was Chris from BKs standing there talking to Heidi's UK photographer friend in the lobby. Turns out he was staying at the same hotel (very eerie). First show was a few hours later at Irving Plaza.
BILLY TALENT:
A 4-piece out of Toronto with a total poseur front man. They actually made The Used look not-so-bad. The screeching front man should be shot but bullets would not kill his ego. The music consisted of attacking music critics and tradition Someone called him a sellout and his brilliant response was "sell-out, fuck shit pussy." I have no idea what that was meant to mean. Definitely my nominee for worst voice of the year. Just crap--avoid at all costs.
STORY OF THE YEAR:
See above--marginally better but still total shit pseudo-hardcore. Who booked these bad hardcore acts to open for Jet.
JET: Awesome. They came on strong as compared to the Grand Rapids show opening with Cold Hard Bitch. None of the slow stuff until two-thirds through the set when they did On the Radio. The crowd was into them immediately (it was a 92 cent show and scalpers were asking $75 in front of the venue. I'm running out of time so will write more later.
--Dem
BILLY TALENT:
A 4-piece out of Toronto with a total poseur front man. They actually made The Used look not-so-bad. The screeching front man should be shot but bullets would not kill his ego. The music consisted of attacking music critics and tradition Someone called him a sellout and his brilliant response was "sell-out, fuck shit pussy." I have no idea what that was meant to mean. Definitely my nominee for worst voice of the year. Just crap--avoid at all costs.
STORY OF THE YEAR:
See above--marginally better but still total shit pseudo-hardcore. Who booked these bad hardcore acts to open for Jet.
JET: Awesome. They came on strong as compared to the Grand Rapids show opening with Cold Hard Bitch. None of the slow stuff until two-thirds through the set when they did On the Radio. The crowd was into them immediately (it was a 92 cent show and scalpers were asking $75 in front of the venue. I'm running out of time so will write more later.
--Dem
Tuesday, October 21, 2003
Leeds - a bit late
From: suzel
Date: Tue Oct 21, 2003 1:00 pm
i wanted to give you a feedback of Leeds. I spent a week in london before the big carling festivals. In london, I only saw one band, The Prosaïcs. Has anybody ever written about them? I had the feeling I already knew this name. The venue, The Metro, was small, very small and the sound wasn't great. But The Prosaïcs managed to deal with it greatly. We didn't stay for the second band which was pretty lame. I couldn't say much more cuz my attention was often disturbed. :p
Then Leeds... great, excellent.. i didn't see as many bands as last year cuz our crew was big (8 persons) so we were constantly looking for the others. But my highlights have been first : Calla. Beautiful, awesome, brilliant: my new fave band !!! They tour in Europe again at the moment. They supported Interpol so some of you might have seen them. I also really enjoyed Franz Ferdinand and The Hiss. For the Hiss, some of their songs sound a bit Datsuns to me and others are beautiful ballads. I really advise you to check their record. Franz Ferdinand has really 2 types of songs, according to what i felt during the 30 minutes they played. Some songs really sound 80s coldwave and others nearly heavy metal. My main disappointment came from the YYYs. I was waiting for the gig for over 1 year (which partly explains my disappointment maybe). Anyway, Karen's voice wasn’t right. She was more screaming than singing her lyrics... maybe too much champagne or tension or both ??! Oh and i saw one song by McLusky but we had to leave for Interpol. I hate to have to chose but this time the decision was made!! Interpol was brilliant.. ok, i have a totally biaised opinion but!!!! it was really their best gig i've seen.The crowd was singing the words with Paul, on songs like the Specialist, which isnt on the album. Paul was less static.. He even grab the mike !! come on boy !!! lol They were all enjoying the gig as we could noticed some smiles from time to time. i guess the area of Leeds gathers a lot of their fans. Manchester isnt far ;-)
British Sea Power were as usual: mad.. doing crazy things like climbing at the top of the tent with a guitar in one hand and a piece of wood in the other...They played 2 nites in Leeds. The second was the music of a documentary which was broadcasted on the sides of the stage. this was a great experience, worth missing the Polyphonic Spree.
the whole weekend is a bit far away now so sorry if i cant give you more details about the bands i saw.
But i met The Bamboo Kids in the most amazing circumstances. We were in the guest area with my friends. one of my friend who was with Eric (Interpol) has been introduced to Dee and Vince by him. I guess they had a business together ;-). Then she came to ask me to play a game with them.. . when I arrived we begin to talk and suddenly discovered we knew each other thanks to you Dem! i guess i pronounced "i cant believe it" about 100 times .. same for "it's incredible!" .. Anyway, I'm sorry for the guys, we couldn't help them as we had no tent. Actually we decided to go to Leeds on thursday and the festival begin on friday. We had nothing prepared and without Martin, a friend of the organization crew, we wouldn't have had tix and tents.. So we couldn't help them for the beds. :-(
We were happy to notice they were alive the next day when we left. I hope they managed to get contacts for a future european tour.
oh before i forget, check also Jeffrey Lewis .. he reminds me of Beck when he was young.. nothing amazing but a certain talent for doin a pretty good song with 2 chords and a voice.. http://www.thejeffreylewissite.com/ .. his lyrics are often funny like "last time i was on acid, i became insane" or "dont let the record label take you out to lunch" .. he signed on rough trade and did a great song about it. The site is under construction though :( oh and he has a huge talent in drawing.. all the drawings you'll see about him are his own.. and he does videos with them.. but that's another story...
--Suzel
PS: Catpower (thursday), Calla, The Warlocks, Franck Black and probably
many others soon :))))
Pss: sorry, I really dislike the Darkness' music...the funny thing is that everybody told us to check them during Leeds even though they admitted they didn’t like their music... They're said to be awesome on stage... Hot Hot Heat aren’t that great on stage...good pop songs.
Date: Tue Oct 21, 2003 1:00 pm
i wanted to give you a feedback of Leeds. I spent a week in london before the big carling festivals. In london, I only saw one band, The Prosaïcs. Has anybody ever written about them? I had the feeling I already knew this name. The venue, The Metro, was small, very small and the sound wasn't great. But The Prosaïcs managed to deal with it greatly. We didn't stay for the second band which was pretty lame. I couldn't say much more cuz my attention was often disturbed. :p
Then Leeds... great, excellent.. i didn't see as many bands as last year cuz our crew was big (8 persons) so we were constantly looking for the others. But my highlights have been first : Calla. Beautiful, awesome, brilliant: my new fave band !!! They tour in Europe again at the moment. They supported Interpol so some of you might have seen them. I also really enjoyed Franz Ferdinand and The Hiss. For the Hiss, some of their songs sound a bit Datsuns to me and others are beautiful ballads. I really advise you to check their record. Franz Ferdinand has really 2 types of songs, according to what i felt during the 30 minutes they played. Some songs really sound 80s coldwave and others nearly heavy metal. My main disappointment came from the YYYs. I was waiting for the gig for over 1 year (which partly explains my disappointment maybe). Anyway, Karen's voice wasn’t right. She was more screaming than singing her lyrics... maybe too much champagne or tension or both ??! Oh and i saw one song by McLusky but we had to leave for Interpol. I hate to have to chose but this time the decision was made!! Interpol was brilliant.. ok, i have a totally biaised opinion but!!!! it was really their best gig i've seen.The crowd was singing the words with Paul, on songs like the Specialist, which isnt on the album. Paul was less static.. He even grab the mike !! come on boy !!! lol They were all enjoying the gig as we could noticed some smiles from time to time. i guess the area of Leeds gathers a lot of their fans. Manchester isnt far ;-)
British Sea Power were as usual: mad.. doing crazy things like climbing at the top of the tent with a guitar in one hand and a piece of wood in the other...They played 2 nites in Leeds. The second was the music of a documentary which was broadcasted on the sides of the stage. this was a great experience, worth missing the Polyphonic Spree.
the whole weekend is a bit far away now so sorry if i cant give you more details about the bands i saw.
But i met The Bamboo Kids in the most amazing circumstances. We were in the guest area with my friends. one of my friend who was with Eric (Interpol) has been introduced to Dee and Vince by him. I guess they had a business together ;-). Then she came to ask me to play a game with them.. . when I arrived we begin to talk and suddenly discovered we knew each other thanks to you Dem! i guess i pronounced "i cant believe it" about 100 times .. same for "it's incredible!" .. Anyway, I'm sorry for the guys, we couldn't help them as we had no tent. Actually we decided to go to Leeds on thursday and the festival begin on friday. We had nothing prepared and without Martin, a friend of the organization crew, we wouldn't have had tix and tents.. So we couldn't help them for the beds. :-(
We were happy to notice they were alive the next day when we left. I hope they managed to get contacts for a future european tour.
oh before i forget, check also Jeffrey Lewis .. he reminds me of Beck when he was young.. nothing amazing but a certain talent for doin a pretty good song with 2 chords and a voice.. http://www.thejeffreylewissite.com/ .. his lyrics are often funny like "last time i was on acid, i became insane" or "dont let the record label take you out to lunch" .. he signed on rough trade and did a great song about it. The site is under construction though :( oh and he has a huge talent in drawing.. all the drawings you'll see about him are his own.. and he does videos with them.. but that's another story...
--Suzel
PS: Catpower (thursday), Calla, The Warlocks, Franck Black and probably
many others soon :))))
Pss: sorry, I really dislike the Darkness' music...the funny thing is that everybody told us to check them during Leeds even though they admitted they didn’t like their music... They're said to be awesome on stage... Hot Hot Heat aren’t that great on stage...good pop songs.
Wednesday, October 15, 2003
Mars Volta / Saul Williams
From: demhopkins
Date: Wed Oct 15, 2003 11:07 am
Saul Williams, the poet, opened for Mars Volta. It was my first time seeing him live and he, alone, was worth the price of admission. Powerful words (with what some describe as a hip hop delivery) that hushed a packed house. The politic of his work comes from things that are so personal to him. Don't miss him if you get the chance. Mars Volta gave the crowd a solid, sometimes brilliant, 2 hour show. Early sound problems pissed off Cedric and he commented that the Riviera Theater was "a beautiful place but the people working here are assholes." Sound got worked out but was never as good as the band deserved. I don't hear as much "prog" as I thought I did when I first listened to the CD. A lot of funk and Latin rhythms--great keyboard. They played Comatorium pretty much straight through. Omar and Cedric have yet to write their masterpiece and have yet to perfect their stage show. But both the CD and last night's show were excellent. I expect that I will enjoy the CD more now that I have seen them (I hope) but I will also wish that it would change with each listen to incorporate what Omar and the band do on stage.
--Dem
Date: Wed Oct 15, 2003 11:07 am
Saul Williams, the poet, opened for Mars Volta. It was my first time seeing him live and he, alone, was worth the price of admission. Powerful words (with what some describe as a hip hop delivery) that hushed a packed house. The politic of his work comes from things that are so personal to him. Don't miss him if you get the chance. Mars Volta gave the crowd a solid, sometimes brilliant, 2 hour show. Early sound problems pissed off Cedric and he commented that the Riviera Theater was "a beautiful place but the people working here are assholes." Sound got worked out but was never as good as the band deserved. I don't hear as much "prog" as I thought I did when I first listened to the CD. A lot of funk and Latin rhythms--great keyboard. They played Comatorium pretty much straight through. Omar and Cedric have yet to write their masterpiece and have yet to perfect their stage show. But both the CD and last night's show were excellent. I expect that I will enjoy the CD more now that I have seen them (I hope) but I will also wish that it would change with each listen to incorporate what Omar and the band do on stage.
--Dem
Saturday, October 11, 2003
Scene Creamers
From: demhopkins
Date: Sat Oct 11, 2003 6:56 am
I know this is a band that you love or don't. The Scene Creamers show at Fireside last night just reaffirmed what I felt last March--they are my favorite touring band at this moment in time. Great new song "AK-47" to wrap up the show. If you dig the band you will love this show--if you don't dig the band you will love this show.
--Dem
Date: Sat Oct 11, 2003 6:56 am
I know this is a band that you love or don't. The Scene Creamers show at Fireside last night just reaffirmed what I felt last March--they are my favorite touring band at this moment in time. Great new song "AK-47" to wrap up the show. If you dig the band you will love this show--if you don't dig the band you will love this show.
--Dem
Wednesday, October 08, 2003
Polyphonic Spree
From: demhopkins
Date: Wed Oct 8, 2003 11:00 am
Corn Mo opened. He was named as funniest new musician by Village Voice but he was profoundly unfunny and over-miced last night. Starlight Mints were less than I was expecting. Sometimes very on-the-mark with their 1960's Kinks derivative tunes but other songs just completely missed--usually because the band was overly cute with them. It was PS' last leg of the tour with the Mints and Corn Mo. Hollywood Films was recording their show and cameras and equipment were everywhere. Bright pin-spots from the stage blinded the crowd and it looked like our comfort and enjoyment of the show was being sacrificed for the sake of video. But, PS didn't let that happen.
Amazing show with songs extended into orgiastic excess and even repeated later in the show. The same love-in cultish crowd as last time and a very personal connection between the audience and the members of PS. Two hour set climaxing with Five Years (still the best version I've ever heard). But wait--there was more--the final song was from Hedwig—Wig in a Box--and the place was up for grabs!! A final short selection from the Harp player with the band all sitting on stage and listening. I never thought I would see a crowd at Metro so quietly listening to a Harp. Then screaming applause from an adoring crowd and the night was over. I still can't listen to the CD but am looking forward to the DVD that will be released from last night's show.
--Dem
Date: Wed Oct 8, 2003 11:00 am
Corn Mo opened. He was named as funniest new musician by Village Voice but he was profoundly unfunny and over-miced last night. Starlight Mints were less than I was expecting. Sometimes very on-the-mark with their 1960's Kinks derivative tunes but other songs just completely missed--usually because the band was overly cute with them. It was PS' last leg of the tour with the Mints and Corn Mo. Hollywood Films was recording their show and cameras and equipment were everywhere. Bright pin-spots from the stage blinded the crowd and it looked like our comfort and enjoyment of the show was being sacrificed for the sake of video. But, PS didn't let that happen.
Amazing show with songs extended into orgiastic excess and even repeated later in the show. The same love-in cultish crowd as last time and a very personal connection between the audience and the members of PS. Two hour set climaxing with Five Years (still the best version I've ever heard). But wait--there was more--the final song was from Hedwig—Wig in a Box--and the place was up for grabs!! A final short selection from the Harp player with the band all sitting on stage and listening. I never thought I would see a crowd at Metro so quietly listening to a Harp. Then screaming applause from an adoring crowd and the night was over. I still can't listen to the CD but am looking forward to the DVD that will be released from last night's show.
--Dem
Sunday, September 28, 2003
BRMC
From: demhopkins
Date: Sun Sep 28, 2003 5:23 am
I wasn't going to go to this show but their sophmore release is so strong I had to check them out. What I have heard for the past year+ was that they were boring on stage and dangerously close to a shoegazer band (in spite of the brilliant songs). They played the Metro which had sold out an earlier hardcore show. Doors were supposed to be 11PM and opening act at 11:30. After well over an hour in the cold waiting in line (yeah, it's cold in Chicago right now) the doors opened at midnight. I've been in this situation before--and at least this time I got to hear the soundcheck while shivering on the street. 12:30 on the dot--BRMC took the stage. The club decided to have BRMC play immediately and the opening act (Stratford 4 play after them--don't think many stayed for that—I sure didn't).
I expected to be into the music but not the band. These kids must have grown up quickly. Absolute confidence from the moment they took the stage. In your face guitar work with the heads held high. A friend I was with said that head down=boring and head up=rock star. Based on this show, it would be unimaginable that BRMC would be lumped into the shoegazer category ever again. They did a nice balance between the 1st and 2d album. I know from their Yahoo group that a lot of their fans dislike "Whatever Happened to My Rock n’ Roll." It was absolutely amazing as the last song before the encore. Their set was so well-paced and they played an hour and a half. The most striking thing about them was not the trade off on vocals. What blew me away was that they were able to trade vocals off within the songs--and able to do it with out playing off each other. I just don't see many bands writing material where vocalists go back and forth within a song anymore. Second highlight--the absolute best encore since The Datsuns!! Granted, this band is never going to be the most exciting visual band that you will ever see--but rock solid drumming and some awesome guitar work that included bass work from Robert that was very unfamiliar to me. Rhythm coming out of the bass that was unbelievable. And when Robert jumped into the crowd and worked the room--the crowd parted to give him the space to show his stuff. Catch them if you can. Their new release is a must have!
--Dem
Date: Sun Sep 28, 2003 5:23 am
I wasn't going to go to this show but their sophmore release is so strong I had to check them out. What I have heard for the past year+ was that they were boring on stage and dangerously close to a shoegazer band (in spite of the brilliant songs). They played the Metro which had sold out an earlier hardcore show. Doors were supposed to be 11PM and opening act at 11:30. After well over an hour in the cold waiting in line (yeah, it's cold in Chicago right now) the doors opened at midnight. I've been in this situation before--and at least this time I got to hear the soundcheck while shivering on the street. 12:30 on the dot--BRMC took the stage. The club decided to have BRMC play immediately and the opening act (Stratford 4 play after them--don't think many stayed for that—I sure didn't).
I expected to be into the music but not the band. These kids must have grown up quickly. Absolute confidence from the moment they took the stage. In your face guitar work with the heads held high. A friend I was with said that head down=boring and head up=rock star. Based on this show, it would be unimaginable that BRMC would be lumped into the shoegazer category ever again. They did a nice balance between the 1st and 2d album. I know from their Yahoo group that a lot of their fans dislike "Whatever Happened to My Rock n’ Roll." It was absolutely amazing as the last song before the encore. Their set was so well-paced and they played an hour and a half. The most striking thing about them was not the trade off on vocals. What blew me away was that they were able to trade vocals off within the songs--and able to do it with out playing off each other. I just don't see many bands writing material where vocalists go back and forth within a song anymore. Second highlight--the absolute best encore since The Datsuns!! Granted, this band is never going to be the most exciting visual band that you will ever see--but rock solid drumming and some awesome guitar work that included bass work from Robert that was very unfamiliar to me. Rhythm coming out of the bass that was unbelievable. And when Robert jumped into the crowd and worked the room--the crowd parted to give him the space to show his stuff. Catch them if you can. Their new release is a must have!
--Dem
Saturday, September 20, 2003
Interpol
From: demhopkins
Date: Sat Sep 20, 2003 3:52 pm
Interpol played the sold-out Riv Theatre (about 1800, I think). The Stills opened and had an amazing knack for starting every song (just a few notes) as if it were an Interpol song and then they took it somewhere completely different. They played a very solid set with keyboards that didn't overpower the guitar work. Drums were set off to the right and the five mebers spaced themselves so that all of their work was plainly in view. They were, at times, borderline shoegazers but seemed to catch themselves and reconnect with a very appreciative crowd. They have a 4-song EP out that I tried to buy-- but they had sold out of them (not good for a band on the road that needs merch sales to survive).
Interpol did the (now typical delay) before coming out. The room was packed and I was bitching at the delay--until they took the stage. It was definitely the most animated that I have seen them. Carlos playing off Paul and using the entire stage. He also played off the drummer. Paul talking a little and actually smiling at the response the band received. The boys seemed very comfortable. The laser light show enhanced the music and was never a distraction. Two new songs. The second (Love something?) has a great riff to start off and the song returns to it throughout. I'm not sure that they were more polished than the last three times I've seen them this year--but they were definitely having more fun. I guess the year-long tour ends next month in NYC and then they head back to the studio. This tour is doing a lot for their sales. 50+ weeks after the release—it is back in the Billboard top 25 charts for both Heatseekers and Indies. My highlight--Stella was a diver. A friend said that if all they had done was play that song all night--it would have been worth it. Second highlight--seeing the boys getting along so well.
--Dem
Date: Sat Sep 20, 2003 3:52 pm
Interpol played the sold-out Riv Theatre (about 1800, I think). The Stills opened and had an amazing knack for starting every song (just a few notes) as if it were an Interpol song and then they took it somewhere completely different. They played a very solid set with keyboards that didn't overpower the guitar work. Drums were set off to the right and the five mebers spaced themselves so that all of their work was plainly in view. They were, at times, borderline shoegazers but seemed to catch themselves and reconnect with a very appreciative crowd. They have a 4-song EP out that I tried to buy-- but they had sold out of them (not good for a band on the road that needs merch sales to survive).
Interpol did the (now typical delay) before coming out. The room was packed and I was bitching at the delay--until they took the stage. It was definitely the most animated that I have seen them. Carlos playing off Paul and using the entire stage. He also played off the drummer. Paul talking a little and actually smiling at the response the band received. The boys seemed very comfortable. The laser light show enhanced the music and was never a distraction. Two new songs. The second (Love something?) has a great riff to start off and the song returns to it throughout. I'm not sure that they were more polished than the last three times I've seen them this year--but they were definitely having more fun. I guess the year-long tour ends next month in NYC and then they head back to the studio. This tour is doing a lot for their sales. 50+ weeks after the release—it is back in the Billboard top 25 charts for both Heatseekers and Indies. My highlight--Stella was a diver. A friend said that if all they had done was play that song all night--it would have been worth it. Second highlight--seeing the boys getting along so well.
--Dem
Thursday, September 04, 2003
Andrew W.K.
From: demhopkins
Date: Thu Sep 4, 2003 4:13 am
Brilliant show. I'm not sure I'd buy the album--but one of my top 5 shows of the year. A 950 person mosh pit and when I went falling on my ass the kids that knocked me over quickly picked me up and said "that's not good." I actually went into the crowd to get thrown around for a while and laughed throughout the night. It was massive amounts of fun from the moment A.W.K. took the stage. Highly recommended for the entire family. :)
--Dem
Date: Thu Sep 4, 2003 4:13 am
Brilliant show. I'm not sure I'd buy the album--but one of my top 5 shows of the year. A 950 person mosh pit and when I went falling on my ass the kids that knocked me over quickly picked me up and said "that's not good." I actually went into the crowd to get thrown around for a while and laughed throughout the night. It was massive amounts of fun from the moment A.W.K. took the stage. Highly recommended for the entire family. :)
--Dem
Friday, August 29, 2003
Magnus
From: demhopkins
Date: Thu Aug 28, 2003 10:43 pm
I refrained from posting about Magnus after their August 21 headlining gig in Chicago at Beat Kitchen because I have a bit of a bias. Don't we all. After not playing out for many months—Magnus justified all of their recent bravado-speak with one of the best musical shows of the year. Keyboards firmly in place--not swirling. Great guitar work. Confident vocals. And drums that held this very intense band together. Certainly some room to tighten up--but the material is as good as any band I've seen this year. Magnus is pushing pop in the way that Mars Volta has pushed "prog." They see the possibility and seize it. Terminus Victor was on the bill—and said after the show that "we have almost nothing in common with Magnus--but we can't wait to play with them again." Terminus is setting up some gigs for Magnus (very nice of them). What this leads to is that Magnus is HEADLINING at the Abbey Pub on Saturday, September 6. This is almost unheard of for a Chicago band that has been away from the clubs and in the studio for so many months.
--Dem
Date: Thu Aug 28, 2003 10:43 pm
I refrained from posting about Magnus after their August 21 headlining gig in Chicago at Beat Kitchen because I have a bit of a bias. Don't we all. After not playing out for many months—Magnus justified all of their recent bravado-speak with one of the best musical shows of the year. Keyboards firmly in place--not swirling. Great guitar work. Confident vocals. And drums that held this very intense band together. Certainly some room to tighten up--but the material is as good as any band I've seen this year. Magnus is pushing pop in the way that Mars Volta has pushed "prog." They see the possibility and seize it. Terminus Victor was on the bill—and said after the show that "we have almost nothing in common with Magnus--but we can't wait to play with them again." Terminus is setting up some gigs for Magnus (very nice of them). What this leads to is that Magnus is HEADLINING at the Abbey Pub on Saturday, September 6. This is almost unheard of for a Chicago band that has been away from the clubs and in the studio for so many months.
--Dem
Sunday, August 17, 2003
The Strokes/ The Barbs/ Miscellaneous
From: Neil
Date: Sun Aug 17, 2003 4:56 am
The Strokes have been getting plenty of UK press lately... Last week's NME had an eight page glossy centrespread full of Strokes pics, all seen before in the paper but never pulled together or printed on glossy paper.
This week's mag gives a review of on of the Japan gigs, and a review of a few rough mix versions of tracks that are to be on the new album due in Oct (yeah....right! Christmas appears on record company release schedules Nov 2!). Mojo magazine has The Strokes on the cover - dunno about the actual content yet cos I didn't pick up a copy, but will do soon.
Spent Saturday at "Parklife", a local free festival put on by Medway Council. You might have heard of King Adora, Easyworld, Sexton Ming and Chumbawumba, all of whom performed. However, the stars of he show were The Barbs, whose singer is a local lad. I'll post a snippet of their soon-to-be-released debut single so you can make your mind up. Kinda B52s meet Pixies via the Rezillos, if you ask me.
All the best,
NeilM
Date: Sun Aug 17, 2003 4:56 am
The Strokes have been getting plenty of UK press lately... Last week's NME had an eight page glossy centrespread full of Strokes pics, all seen before in the paper but never pulled together or printed on glossy paper.
This week's mag gives a review of on of the Japan gigs, and a review of a few rough mix versions of tracks that are to be on the new album due in Oct (yeah....right! Christmas appears on record company release schedules Nov 2!). Mojo magazine has The Strokes on the cover - dunno about the actual content yet cos I didn't pick up a copy, but will do soon.
Spent Saturday at "Parklife", a local free festival put on by Medway Council. You might have heard of King Adora, Easyworld, Sexton Ming and Chumbawumba, all of whom performed. However, the stars of he show were The Barbs, whose singer is a local lad. I'll post a snippet of their soon-to-be-released debut single so you can make your mind up. Kinda B52s meet Pixies via the Rezillos, if you ask me.
All the best,
NeilM
Saturday, July 26, 2003
JET
From: Ell
Date: Sat Jul 26, 2003 2:51 pm
saw JET back at the mercury lounge back in may. I had to convince my best friend to go with me because she was rather reluctant to go to a gig that night, but afterwards i felt quite pleased with myself when she was talking about how much she enjoyed it and how glad she was that we went.
so, needless to say we had a fantastic time. although the crowd was shitty and filled with stodgy record company people, at the very least you should show even the slightest sign that you're enjoying the music.
we were the only ones rocking out. im so sick of too cool for school nyc hip kids standing still and just nodding their head slightly...
they sound a lot like the stones and there is one song of theirs that made me think (when they were first starting the song) that they were going to do a cover of lust for life... but ah well. they put on a good show and their melodies are well constructed so the songs are pretty solid.
nothing new but good music nonetheless.
peace the fuck out!
--Ell
Date: Sat Jul 26, 2003 2:51 pm
saw JET back at the mercury lounge back in may. I had to convince my best friend to go with me because she was rather reluctant to go to a gig that night, but afterwards i felt quite pleased with myself when she was talking about how much she enjoyed it and how glad she was that we went.
so, needless to say we had a fantastic time. although the crowd was shitty and filled with stodgy record company people, at the very least you should show even the slightest sign that you're enjoying the music.
we were the only ones rocking out. im so sick of too cool for school nyc hip kids standing still and just nodding their head slightly...
they sound a lot like the stones and there is one song of theirs that made me think (when they were first starting the song) that they were going to do a cover of lust for life... but ah well. they put on a good show and their melodies are well constructed so the songs are pretty solid.
nothing new but good music nonetheless.
peace the fuck out!
--Ell
Thursday, July 24, 2003
Mower
From: Neil
Date: Thu Jul 24, 2003 7:15 pm
Fans of Ikara Colt, The Buzzcocks, and (at a stretch) The Strokes should look out for Mower. They are signed in the UK to Graham "ex-Blur" Coxon's Transcopic label. Their single (just released over here) "The Morning After" is awesome, excellent and fabulous. So there.
--NeilM
Date: Thu Jul 24, 2003 7:15 pm
Fans of Ikara Colt, The Buzzcocks, and (at a stretch) The Strokes should look out for Mower. They are signed in the UK to Graham "ex-Blur" Coxon's Transcopic label. Their single (just released over here) "The Morning After" is awesome, excellent and fabulous. So there.
--NeilM
Thursday, July 03, 2003
BRMC club tour, motherfucker, fourth of july, vue in nyc
From: Ell
Date: Thu Jul 3, 2003 6:51 pm
yo! i know i havent posted in quite some time. eeep. *hangs head* glad to hear everyone is having good times at the white stripes shows. i cannot wait for their summerstage show in nyc and their indoor gigs here as well...
is anyone going to any of BRMC's small club gigs? i am going to try my best to get into the nyc ones, although i know it will be extremely difficult. *wish me luck*
tonight is motherfucker, a fun monthly party in nyc and there is a FANTASTIC band called the fever playing it. (i think i have mentioned them before) they are one of my favorite bands at the moment. their live show rocks, the music has a little bit of sass that separates them from any other band out there right now, and they have a bad ass cover of sheila e's 'glamorous life'. i believe they are going on tour with hot hot heat on the 7th, which is exciting and also a bit sad because i KNOW that they will blow everyone who sees them away and that this will probably be the tour that garners them a lot of attention outside of the city (they have already been featured in countless publications, like time out ny and the voice, and compilations - the 'YES NEW YORK' one and the NEW YORK CITY NEXT WAVE one to name a few). ive seen them play more than 5 times and i never get sick of seeing them. check them out, and find out about my semi-well kept (but not for long) secret that is the fever. www.thefeveronline.com they have an ep out right now that you can buy online but try and see them live if you can because they do not fail to disappoint.
I’m sure many of you know about The Vue. They’re originally from cali. but apparently they have taken up extremely strong holdings in nyc because they have played 6 gigs in june in nyc (one of which was the slasher indie prom which i have to say was fantastic) and 5 of their 7 scheduled gigs in july are during a 7 day period. (the 2nd to the 8th of july) what is up with this band? have they taken up residency here? or are they just making enough money to make it home to the west coast once theyre done touring with HHH? hrmm... interesting question to ponder. another aside note... i seem to see them everywhere i go. bars, clubs, parties, perhaps they are following me? Hehe juuuust joshin!
i will assuredly see them on the 4th of july when they are playing a HUGE rooftop (40,000 sq. ft) party in brooklyn along with a bunch of other bands and djs. should be a good time. moving units are also playing as are the secret machines, vietnam, dead meadow, bad wizard, and cass mccombs...should be a fun 4th of july. hooray.
peace the fuck out!
--Ell
Date: Thu Jul 3, 2003 6:51 pm
yo! i know i havent posted in quite some time. eeep. *hangs head* glad to hear everyone is having good times at the white stripes shows. i cannot wait for their summerstage show in nyc and their indoor gigs here as well...
is anyone going to any of BRMC's small club gigs? i am going to try my best to get into the nyc ones, although i know it will be extremely difficult. *wish me luck*
tonight is motherfucker, a fun monthly party in nyc and there is a FANTASTIC band called the fever playing it. (i think i have mentioned them before) they are one of my favorite bands at the moment. their live show rocks, the music has a little bit of sass that separates them from any other band out there right now, and they have a bad ass cover of sheila e's 'glamorous life'. i believe they are going on tour with hot hot heat on the 7th, which is exciting and also a bit sad because i KNOW that they will blow everyone who sees them away and that this will probably be the tour that garners them a lot of attention outside of the city (they have already been featured in countless publications, like time out ny and the voice, and compilations - the 'YES NEW YORK' one and the NEW YORK CITY NEXT WAVE one to name a few). ive seen them play more than 5 times and i never get sick of seeing them. check them out, and find out about my semi-well kept (but not for long) secret that is the fever. www.thefeveronline.com they have an ep out right now that you can buy online but try and see them live if you can because they do not fail to disappoint.
I’m sure many of you know about The Vue. They’re originally from cali. but apparently they have taken up extremely strong holdings in nyc because they have played 6 gigs in june in nyc (one of which was the slasher indie prom which i have to say was fantastic) and 5 of their 7 scheduled gigs in july are during a 7 day period. (the 2nd to the 8th of july) what is up with this band? have they taken up residency here? or are they just making enough money to make it home to the west coast once theyre done touring with HHH? hrmm... interesting question to ponder. another aside note... i seem to see them everywhere i go. bars, clubs, parties, perhaps they are following me? Hehe juuuust joshin!
i will assuredly see them on the 4th of july when they are playing a HUGE rooftop (40,000 sq. ft) party in brooklyn along with a bunch of other bands and djs. should be a good time. moving units are also playing as are the secret machines, vietnam, dead meadow, bad wizard, and cass mccombs...should be a fun 4th of july. hooray.
peace the fuck out!
--Ell
Tuesday, July 01, 2003
Loretta Lynn / Jack White
(7/1/03, 10 a.m. ET) -- Jack White, one half of the White Stripes duo, continues his fascination with one of his heroes, country music star Loretta Lynn.
White is producing tracks for Lynn's next album, reports the Detroit Free Press. The seeds for the unlikely match were sown when Lynn's daughter discovered that the White Stripes' album White Blood Cells was dedicated to the country superstar. The Stripes also recorded a version of Lynn's "Rated X," which was released as a b-side.
After being invited to Loretta Lynn's house, Jack White and Lynn hit it off, and he then asked Lynn to perform with the White Stripes at an April show at New York City's Hammerstein Ballroom. Lynn sang "Rated X" with the band, and White joined Lynn for two of her hits, "Fist City" and "Louisiana Woman, Mississippi Man."
White told the Detroit Free Press, "We really hit it off. There's some kind of connection with us. I feel really comfortable with her, and I think she feels really comfortable with me, which I'm really glad for because I could see someone like me--the way I look or whatever--not being appealing to her thinking that maybe I wasn't down with the kind of music she does... She could tell we had the same love for the same things about music." He added of the album, "I wanted to cry when I heard these songs. She's still writing amazing songs."
There's no word at press time on when Lynn's next effort will hit stores, or when the White Stripes and Lynn will next team up for a show.
White Stripes' latest album, Elephant, is currently at number 27 on the Billboard 200 album chart.
White is producing tracks for Lynn's next album, reports the Detroit Free Press. The seeds for the unlikely match were sown when Lynn's daughter discovered that the White Stripes' album White Blood Cells was dedicated to the country superstar. The Stripes also recorded a version of Lynn's "Rated X," which was released as a b-side.
After being invited to Loretta Lynn's house, Jack White and Lynn hit it off, and he then asked Lynn to perform with the White Stripes at an April show at New York City's Hammerstein Ballroom. Lynn sang "Rated X" with the band, and White joined Lynn for two of her hits, "Fist City" and "Louisiana Woman, Mississippi Man."
White told the Detroit Free Press, "We really hit it off. There's some kind of connection with us. I feel really comfortable with her, and I think she feels really comfortable with me, which I'm really glad for because I could see someone like me--the way I look or whatever--not being appealing to her thinking that maybe I wasn't down with the kind of music she does... She could tell we had the same love for the same things about music." He added of the album, "I wanted to cry when I heard these songs. She's still writing amazing songs."
There's no word at press time on when Lynn's next effort will hit stores, or when the White Stripes and Lynn will next team up for a show.
White Stripes' latest album, Elephant, is currently at number 27 on the Billboard 200 album chart.
Monday, June 30, 2003
The Apes
From: demhopkins
Date: Mon Jun 30, 2003 10:25 am
Great live show with a drummer who did not miss a beat from the opening blast. Amanda on keyboards creating hard rocking orchestrations that Ilene immediately identified as Rick Wakeman at his peak. Erick, frontman, had the power, charisma and demanded the same attention that Scene Creamers frontman did. In fact, the band live reminded me very much of Scene Creamers. The difference is that The Apes CD holds up much better when played at home (although I still dig the SC's CD). Neil reviewed the Apes a while ago and he was right on target. We would not have gone but for that review. I had only heard a couple of songs going into the show--and it didn't do justice to the overall quality of the material--especially the material from ODDEYESEE. They are one of a growing line of do-not-miss bands.
--Dem
Date: Mon Jun 30, 2003 10:25 am
Great live show with a drummer who did not miss a beat from the opening blast. Amanda on keyboards creating hard rocking orchestrations that Ilene immediately identified as Rick Wakeman at his peak. Erick, frontman, had the power, charisma and demanded the same attention that Scene Creamers frontman did. In fact, the band live reminded me very much of Scene Creamers. The difference is that The Apes CD holds up much better when played at home (although I still dig the SC's CD). Neil reviewed the Apes a while ago and he was right on target. We would not have gone but for that review. I had only heard a couple of songs going into the show--and it didn't do justice to the overall quality of the material--especially the material from ODDEYESEE. They are one of a growing line of do-not-miss bands.
--Dem
The Apes
Saw them at The Fireside in Chicago. This band was so similar in content and emotional response to Scene Creamers that I believe the two, if ever they meet on the same stage, would be a phenomenal trip into the neither lands of transcendental soul fuck. Unlike Scene Creamers, there was not a lot in The Apes show that hinged as heavily on the theater of presentation to get across the point of the music, I admit The Apes holds up a little better on CD than SCs (there are definitely highlights in Scene Creamers that I think do hold really well, just less of a studio production than The Apes). But the one thing they both have in common is their inherent ability to capture the force of sound and pour it into every person in the audience, drawing them into spheres that have no use for lines or definition, truly intimate.
This show melted from one take into the next, not a lot of talking within the set, but there was a natural transitive effect between each song that swelled into chaotic oneness. The instrumental unity showcased a frenzied outpouring of blissfully sweaty vibrations from the front man that really brought the entire set together. To watch this man perform was like watching the tide build in an ocean, seemingly harmless at first but approaching the shore, it's intensity becomes overwhelmingly obvious and inescapable. Once again as with SC, what I saw happening on stage was four separate instruments expand into one hypnotic pulse, a relationship completely based on trust in free-falling.
The thing I really liked about "Aboard the Ark," "Children of Rainbow and Brainbo" and "Crystal Coco Tech" was that they reproduced the hard-hitting drum portions within the songs so tightly, following the beats with such precision, that I don't even think the CD does justice to the kind of groove these people created onstage. The drummer and bassist were so together in every way that you couldn't help but literally fall into the notes, as if hands were pulling you down right along with each deep hit. For me, that's when the wave finally broke, spilling energy over everything in the room. It reminded me of what it means for people to really leave consciousness behind and just become absolute creation.
And while I usually hate keyboards in music (it often reminds me of some sort of grateful dead trip that sustains annoyance more than anything else) but this use of keyboards really sent me. Listening to the CD it lends everything from a pipe organ creepiness that feels like sliding through light speed tunnels and also the dreaminess of pinballing in space. She was a sight to see as well as hear, something like a mad chemist comes to mind.
Oddeyesee, The Apes latest CD, is aptly named, as odd eyes and odd minds (in the very best way) created such a unique meeting of sounds. I'm not sure what it is with me and decrepit bowling alleys, but I've gotten lucky at this place more than once. This show left me feeling like I could fuck for about a month straight--the music just keeps coming. I hate to keep making the Scene Creamers comparison, but it's true. These two are probably some of the best live acts I've seen as far as transformation is concerned ... and I love the feeling of being spun inside a cocoon and released into something entirely new. The Apes are definitely a show to experience.
--Becky
This show melted from one take into the next, not a lot of talking within the set, but there was a natural transitive effect between each song that swelled into chaotic oneness. The instrumental unity showcased a frenzied outpouring of blissfully sweaty vibrations from the front man that really brought the entire set together. To watch this man perform was like watching the tide build in an ocean, seemingly harmless at first but approaching the shore, it's intensity becomes overwhelmingly obvious and inescapable. Once again as with SC, what I saw happening on stage was four separate instruments expand into one hypnotic pulse, a relationship completely based on trust in free-falling.
The thing I really liked about "Aboard the Ark," "Children of Rainbow and Brainbo" and "Crystal Coco Tech" was that they reproduced the hard-hitting drum portions within the songs so tightly, following the beats with such precision, that I don't even think the CD does justice to the kind of groove these people created onstage. The drummer and bassist were so together in every way that you couldn't help but literally fall into the notes, as if hands were pulling you down right along with each deep hit. For me, that's when the wave finally broke, spilling energy over everything in the room. It reminded me of what it means for people to really leave consciousness behind and just become absolute creation.
And while I usually hate keyboards in music (it often reminds me of some sort of grateful dead trip that sustains annoyance more than anything else) but this use of keyboards really sent me. Listening to the CD it lends everything from a pipe organ creepiness that feels like sliding through light speed tunnels and also the dreaminess of pinballing in space. She was a sight to see as well as hear, something like a mad chemist comes to mind.
Oddeyesee, The Apes latest CD, is aptly named, as odd eyes and odd minds (in the very best way) created such a unique meeting of sounds. I'm not sure what it is with me and decrepit bowling alleys, but I've gotten lucky at this place more than once. This show left me feeling like I could fuck for about a month straight--the music just keeps coming. I hate to keep making the Scene Creamers comparison, but it's true. These two are probably some of the best live acts I've seen as far as transformation is concerned ... and I love the feeling of being spun inside a cocoon and released into something entirely new. The Apes are definitely a show to experience.
--Becky
Friday, June 27, 2003
Anti-Flag
From: Andrew
Date: Fri Jun 27, 2003 4:56 pm
Well, Anti Flag played at Metro on Thursday night. They played along with The Vacancy, A Static Lullaby, and Darkest Hour, but the lead singer from Darkest Hour couldn't make it because he was bit by a poisonous spider--go figure. When we got into Metro, it was packed. We caught the ending of the second band that played. They were okay, but there wasn't much of a mosh pit going for them. A Static Lullaby took forever to set up their equipment. And it wasn't worth the wait. For some odd reason, the lead singer was squawking like a Chicken, but it wasn't even funny. It was rather pathetic. They sounded like one of those Blink 182 wannabees. Very pathetic. Well, at least Anti-Flag was worth it. They had a very nice mosh pit going on. They tried to lead one giant circle mosh pit, but according to them, and the rest of us, Chicago doesn't know the difference between a circle and a straight line. The whole room merged into one pit, and it was great. They talked a bit much in between songs, but I kind of expected them to. For a 7 hour drive, Anti Flag was very much worth it. I thought they put on a nice show, and wow, when they play guitar, they jump massively high.
--The Gecko
Date: Fri Jun 27, 2003 4:56 pm
Well, Anti Flag played at Metro on Thursday night. They played along with The Vacancy, A Static Lullaby, and Darkest Hour, but the lead singer from Darkest Hour couldn't make it because he was bit by a poisonous spider--go figure. When we got into Metro, it was packed. We caught the ending of the second band that played. They were okay, but there wasn't much of a mosh pit going for them. A Static Lullaby took forever to set up their equipment. And it wasn't worth the wait. For some odd reason, the lead singer was squawking like a Chicken, but it wasn't even funny. It was rather pathetic. They sounded like one of those Blink 182 wannabees. Very pathetic. Well, at least Anti-Flag was worth it. They had a very nice mosh pit going on. They tried to lead one giant circle mosh pit, but according to them, and the rest of us, Chicago doesn't know the difference between a circle and a straight line. The whole room merged into one pit, and it was great. They talked a bit much in between songs, but I kind of expected them to. For a 7 hour drive, Anti Flag was very much worth it. I thought they put on a nice show, and wow, when they play guitar, they jump massively high.
--The Gecko
Thursday, June 05, 2003
Rocket From the Tombs quick review
From: demhopkins
Date: Thu Jun 5, 2003 1:01 am
As a rule, I don't do nostalgia shows, but this one was very different. RFTT is arguably the first US punk band and they came out of Cleveland, Ohio (1975). They were together less than a year, never recorded an album, and played less than 10 gigs. The three key members were Richard Lloyd (Television), Cheetah Chrome (Dead Boys) and David Thomas (Pere Ubu). Songs like Sonic Reducer, Thirty seconds Over Tokyo, Final Solution, What love Is, etc. were first done by this band. Cheetah Chrome said that he really loved The Dead Boys--but loved this band more.
What this reunited band did last night before a over sold house that came to worship them was fucking unbelievable. This is the tour they never did--and it had the edge and energy of the early punk bands. They made it very obvious to me that the new bands, overall, really are missing an urgency in their music. But it wasn't a nostalgia show to them because they never had the opportunity to do it until now. David Thomas scowling over a sound problem early on and leaning on his cane with one arm and sipping from his flask with the other. Richard Lloyd laying down guitar licks that prove once again that Television was anything but a one man (Tom Verlaine) band. Cheetah Chrome--wailing on guitar and occasionally taking lead on vocals so that Thomas could show his ability to supplement straightforward singing with his own brand of weirdness. Thomas also showing, on tunes like Sonic Reducer, that he can wail and flail with the best of them. The packed house was a great mixture of people from 21-60--all going fucking nuts together. It was seeing the best of Dead Boys, Television, and Pere Ubu--all in one show. I don't know what their schedule is--but they are on tour. For younger members--if you want to know what 1976 felt like--this is the band that will get you there (because it is their first time touring with this material--and they are only doing their original 1975 material).
As a bonus, Cobra Verde is opening up for them. I haven't seen Cobra Verde in about 5 years. They are less glam and a little more raw sounding. Fucked up. They will always be a band's band. Drunk. Hysterical--as in locking the keys in their van and begging anybody who might be a locksmith or car thief to help them out. Also, very cool when they said they were going to do a song by another Ohio band, Devo, and then went right into Teenage Kicks by The Undertones. I'll always dig Cobra Verde--but RFTT definitely made this one of my top three shows this year--maybe the best. Too soon to tell and I am a sweaty mess who needs rest. Watch for this band! Oh, sweet bonus--they gave out free tickets to the Buzzcocks show afterwards. I was not planning on going to see The Buzzcocks (two nostalgia shows in a month is way too much)--but doesn't look like anything else is happening that day so I'll use the free ticket. I don't expect much from the Buzzcocks at this stage of their game. Hope they surprise me.
--Dem
Date: Thu Jun 5, 2003 1:01 am
As a rule, I don't do nostalgia shows, but this one was very different. RFTT is arguably the first US punk band and they came out of Cleveland, Ohio (1975). They were together less than a year, never recorded an album, and played less than 10 gigs. The three key members were Richard Lloyd (Television), Cheetah Chrome (Dead Boys) and David Thomas (Pere Ubu). Songs like Sonic Reducer, Thirty seconds Over Tokyo, Final Solution, What love Is, etc. were first done by this band. Cheetah Chrome said that he really loved The Dead Boys--but loved this band more.
What this reunited band did last night before a over sold house that came to worship them was fucking unbelievable. This is the tour they never did--and it had the edge and energy of the early punk bands. They made it very obvious to me that the new bands, overall, really are missing an urgency in their music. But it wasn't a nostalgia show to them because they never had the opportunity to do it until now. David Thomas scowling over a sound problem early on and leaning on his cane with one arm and sipping from his flask with the other. Richard Lloyd laying down guitar licks that prove once again that Television was anything but a one man (Tom Verlaine) band. Cheetah Chrome--wailing on guitar and occasionally taking lead on vocals so that Thomas could show his ability to supplement straightforward singing with his own brand of weirdness. Thomas also showing, on tunes like Sonic Reducer, that he can wail and flail with the best of them. The packed house was a great mixture of people from 21-60--all going fucking nuts together. It was seeing the best of Dead Boys, Television, and Pere Ubu--all in one show. I don't know what their schedule is--but they are on tour. For younger members--if you want to know what 1976 felt like--this is the band that will get you there (because it is their first time touring with this material--and they are only doing their original 1975 material).
As a bonus, Cobra Verde is opening up for them. I haven't seen Cobra Verde in about 5 years. They are less glam and a little more raw sounding. Fucked up. They will always be a band's band. Drunk. Hysterical--as in locking the keys in their van and begging anybody who might be a locksmith or car thief to help them out. Also, very cool when they said they were going to do a song by another Ohio band, Devo, and then went right into Teenage Kicks by The Undertones. I'll always dig Cobra Verde--but RFTT definitely made this one of my top three shows this year--maybe the best. Too soon to tell and I am a sweaty mess who needs rest. Watch for this band! Oh, sweet bonus--they gave out free tickets to the Buzzcocks show afterwards. I was not planning on going to see The Buzzcocks (two nostalgia shows in a month is way too much)--but doesn't look like anything else is happening that day so I'll use the free ticket. I don't expect much from the Buzzcocks at this stage of their game. Hope they surprise me.
--Dem
Sunday, May 25, 2003
Starlight Mints
From: demhopkins
Date: Sun May 25, 2003 10:27 am
If you need a quick fix of some 1960's/early 70's Kinks this is the band and out of Oklahoma of all places. Here is the link: http://starlightmints.com/
Go to "multimedia" for a generous selection of tunes. I'm hearing Ray Davies all over it--but some other interesting influences too. They will be playing in Chicago at the Q101 Belmont street fair on June 1 or 2 with Interpol. A very interesting billing.
--Dem
Date: Sun May 25, 2003 10:27 am
If you need a quick fix of some 1960's/early 70's Kinks this is the band and out of Oklahoma of all places. Here is the link: http://starlightmints.com/
Go to "multimedia" for a generous selection of tunes. I'm hearing Ray Davies all over it--but some other interesting influences too. They will be playing in Chicago at the Q101 Belmont street fair on June 1 or 2 with Interpol. A very interesting billing.
--Dem
Thursday, May 22, 2003
The Bamboo Kids tour update
From: demhopkins
Date: Thu May 22, 2003 6:02 pm
Chris from Bamboo Kids just called--they are in Alabama and recovering from their almost-gig in San Antonio, Texas. Turns out some skinheads (in the US it equals neo-Nazis) didn't dig the opening band, came into the club, attacked the opening act on stage, tore up the club (a fucking riot) and then went into the parking lot and slashed the tires of every band vehicle. Fortunately, The Bamboo Kids vehicle was spared and so was their equipment. But, these skinhead fucks tore up the club so badly that the sound equipment was trashed and the BKs couldn't play. What to do? They tied one on--and then about 1:30 AM another band asked them if they wanted to do a gig (right then) down the street. They wisely took a pass.
The point of this story: When I had OZ in Chicago back in the late 70's early 80's we had a real neo-Nazi/skinhead problem--my staff was instructed to kick the shit out of neo-Nazis at every opportunity and my club ended up without windows from throwing Nazis through the plate glass. I haven't noticed much of a neo-Nazi influence in the "punk" scene for years. Are there still parts of the country and world where neo-Nazis still attempt to recruit within the punk scene. I guess I would like to think that kids today have so much more sense that kids 25 years ago. Please, somebody--tell me that I am right about the scene today--that neo-Nazis don't hold much sway.
--Dem
Date: Thu May 22, 2003 6:02 pm
Chris from Bamboo Kids just called--they are in Alabama and recovering from their almost-gig in San Antonio, Texas. Turns out some skinheads (in the US it equals neo-Nazis) didn't dig the opening band, came into the club, attacked the opening act on stage, tore up the club (a fucking riot) and then went into the parking lot and slashed the tires of every band vehicle. Fortunately, The Bamboo Kids vehicle was spared and so was their equipment. But, these skinhead fucks tore up the club so badly that the sound equipment was trashed and the BKs couldn't play. What to do? They tied one on--and then about 1:30 AM another band asked them if they wanted to do a gig (right then) down the street. They wisely took a pass.
The point of this story: When I had OZ in Chicago back in the late 70's early 80's we had a real neo-Nazi/skinhead problem--my staff was instructed to kick the shit out of neo-Nazis at every opportunity and my club ended up without windows from throwing Nazis through the plate glass. I haven't noticed much of a neo-Nazi influence in the "punk" scene for years. Are there still parts of the country and world where neo-Nazis still attempt to recruit within the punk scene. I guess I would like to think that kids today have so much more sense that kids 25 years ago. Please, somebody--tell me that I am right about the scene today--that neo-Nazis don't hold much sway.
--Dem
Wednesday, May 21, 2003
Magnus
From: demhopkins
Date: Wed May 21, 2003 9:15 pm
I had the good fortune to see Magnus band a few months back--and met with three of their members at my house tonight. They are currently in the studio finishing their first album--and it is going to be a very fine, diverse product (in a good way--not like The Vines being all over the place). Rarely have I seen a band so committed to the process of making a great first album--most bands seem to want to get it out so quickly. I found it funny that they repeated that they see themselves as much more of a European band--they meant it in the best way possible. They are not a raw garage band--and their instrumentation sets them apart from any Chicago band I have heard in quite awhile. I am pushing them to give me one track I can post here--and, the good news is this group will hear it first. I hope to upload a song from their album within 2-3 weeks. Sometimes, I feel really good about the US heartland--Magnus did it for me tonight.
--Dem
Date: Wed May 21, 2003 9:15 pm
I had the good fortune to see Magnus band a few months back--and met with three of their members at my house tonight. They are currently in the studio finishing their first album--and it is going to be a very fine, diverse product (in a good way--not like The Vines being all over the place). Rarely have I seen a band so committed to the process of making a great first album--most bands seem to want to get it out so quickly. I found it funny that they repeated that they see themselves as much more of a European band--they meant it in the best way possible. They are not a raw garage band--and their instrumentation sets them apart from any Chicago band I have heard in quite awhile. I am pushing them to give me one track I can post here--and, the good news is this group will hear it first. I hope to upload a song from their album within 2-3 weeks. Sometimes, I feel really good about the US heartland--Magnus did it for me tonight.
--Dem
Wednesday, May 07, 2003
The Bamboo Kids
From: demhopkins
Date: Wed May 7, 2003 5:40 pm
Amazing show last night and it will be a better one tonight. Chris, Dwight, and Vince are the best band kids that I have hung with since the early Black Flag/DOA days (late 1970s). These kids are talented, amazingly modest, committed, and as kind and appreciative of their audience as I have seen. But what about the fucking music? It is the perfect synthesis of 1977 NYC and UK punk that I have seen. I think I have said that before. They don't pay a whole lot of attention to what is happening with current bands. Kind of charming--because they don't know how they fit in to the picture. They have found a niche that is uniquely their own--for the time being. They are planning the next tour that will be taking them through Kansas, Texas, NM, (LA dates are set) and then to SF, Seattle and Portland in June and early July). I'll have dates they are looking for posted tomorrow—I know this post is way off topic--but, after last night's show, I also know this band is worth it. And the merch--high quality, way cool!
--Dem
Date: Wed May 7, 2003 5:40 pm
Amazing show last night and it will be a better one tonight. Chris, Dwight, and Vince are the best band kids that I have hung with since the early Black Flag/DOA days (late 1970s). These kids are talented, amazingly modest, committed, and as kind and appreciative of their audience as I have seen. But what about the fucking music? It is the perfect synthesis of 1977 NYC and UK punk that I have seen. I think I have said that before. They don't pay a whole lot of attention to what is happening with current bands. Kind of charming--because they don't know how they fit in to the picture. They have found a niche that is uniquely their own--for the time being. They are planning the next tour that will be taking them through Kansas, Texas, NM, (LA dates are set) and then to SF, Seattle and Portland in June and early July). I'll have dates they are looking for posted tomorrow—I know this post is way off topic--but, after last night's show, I also know this band is worth it. And the merch--high quality, way cool!
--Dem
Wednesday, April 30, 2003
Trail Of Dead
From: demhopkins
Date: Wed Apr 30, 2003 9:52 am
TOD took the stage last Thursday to a sold-out Metro crowd. It was a big step for them to sell out this venue. They brought some of their own lighting and amid lights and smoke (dry ice to keep them cool in a very warm room--not full smoke effect) they immediately felt the love from the crowd. Conrad's guitar work was perfect and he exhibited much more confidence working the stage than I have seen of him in past shows. Jason's drumming was, as always, amazing to watch and even more powerful than at previous shows. Unfortunately, when Jason took the mic and Conrad moved to drums--Jason's material was lacking something. Story has it that Jason had tied one on earlier in the day and although he was sober for the show--it had taken its toll on him. Because his material is much more hard-core, the crowd didn't seem to mind him being a little off--and to the large group of people seeing the band for the first time, it was probably unnoticeable. The show confirmed the obvious--Conrad is a much better guitarist than Jason and Jason is a much better drummer. But the switch-offs keep the show very interesting and allow the band added dimensions it would not otherwise have. The new material from the EP is very strong live. I had heard some critcism of it as being weaker than Source Tags from college radio stations--but I didn't feel that at all when they performed the new stuff. The band has a much bigger sound going on and that seems to be the trend with all of our bands with each show. Also, much more interplay among band members than last show--where interplay was pretty confined to Jason and Conrad. For all that they have grown since I saw them 10 months ago--there is still a rawness and edge to their material that I hope they never lose. I hear a lot of people discussing the fact that our new crop of bands are excellent musically but lack the edge that the initial punk bands had. I agree with this for the most part--but TOD seemed like the exception to me and still do. It was their edge that turned what would have been a very good performance into a memorable one for me. Can't wait to see them again.
--Dem
Date: Wed Apr 30, 2003 9:52 am
TOD took the stage last Thursday to a sold-out Metro crowd. It was a big step for them to sell out this venue. They brought some of their own lighting and amid lights and smoke (dry ice to keep them cool in a very warm room--not full smoke effect) they immediately felt the love from the crowd. Conrad's guitar work was perfect and he exhibited much more confidence working the stage than I have seen of him in past shows. Jason's drumming was, as always, amazing to watch and even more powerful than at previous shows. Unfortunately, when Jason took the mic and Conrad moved to drums--Jason's material was lacking something. Story has it that Jason had tied one on earlier in the day and although he was sober for the show--it had taken its toll on him. Because his material is much more hard-core, the crowd didn't seem to mind him being a little off--and to the large group of people seeing the band for the first time, it was probably unnoticeable. The show confirmed the obvious--Conrad is a much better guitarist than Jason and Jason is a much better drummer. But the switch-offs keep the show very interesting and allow the band added dimensions it would not otherwise have. The new material from the EP is very strong live. I had heard some critcism of it as being weaker than Source Tags from college radio stations--but I didn't feel that at all when they performed the new stuff. The band has a much bigger sound going on and that seems to be the trend with all of our bands with each show. Also, much more interplay among band members than last show--where interplay was pretty confined to Jason and Conrad. For all that they have grown since I saw them 10 months ago--there is still a rawness and edge to their material that I hope they never lose. I hear a lot of people discussing the fact that our new crop of bands are excellent musically but lack the edge that the initial punk bands had. I agree with this for the most part--but TOD seemed like the exception to me and still do. It was their edge that turned what would have been a very good performance into a memorable one for me. Can't wait to see them again.
--Dem
Tuesday, April 01, 2003
Ikara Colt/Spoon
From: demhopkins
Date: Tue Apr 1, 2003 3:04 am
Couldn't stay for Rocket from the Crypt last night--because I hate them. Ikara Colt was the show. I hadn't even found Ilene yet in the crowd when I heard her scream when Ikara Colt said they were kinda locked in to a short set because they were low on the bill. Ilene fills the room with "No way--we have been waiting 6 months for you to play here." My friend Ed and I followed with "you should be headlining." The band loved it and thanked us from stage. Watching a room full of people who really don't know this band get into them was a thrill. After their set I stayed through Sahara Hotnights only because I was looking for the band members from Ikara to thank them. Couldn't find them so we left the club and went to the bar next door to drink. About an hour later, Ikara Colt appears on the street doing some photos. We ran out of the bar screaming Ikara Colt. They turned toward us--perhaps out of fear. It was some of the most fun chat I have had with a band yet. They so much want to please--and on this US tour they need some affection. It is a shitty bill. The show itself--I expected to see a talented but mopey front man (think Mark E. Smith) and instead I'm staring at the new Iggy. Fucking flawless in concert and what a charming band. Spoon tonight was very generous in delivering new material. It is still the best pop around but they have added an edge that I haven't seen or heard from them before tonight. The new material (both songwriting and performance) reminded me of seeing Costello on the This Years Model tour. As wiped as I am feeling--Spoon did it. The band that played before Spoon tonight deserves nothing less than death--I even called the club so Ilene and I could miss them—but the club lied to me about set times and we were stuck with their entire performance. I would say it was "bad Neil Diamond" but that would be redundant. It sounded like just like Neil Diamond—fucking awful!!
--Dem
Date: Tue Apr 1, 2003 3:04 am
Couldn't stay for Rocket from the Crypt last night--because I hate them. Ikara Colt was the show. I hadn't even found Ilene yet in the crowd when I heard her scream when Ikara Colt said they were kinda locked in to a short set because they were low on the bill. Ilene fills the room with "No way--we have been waiting 6 months for you to play here." My friend Ed and I followed with "you should be headlining." The band loved it and thanked us from stage. Watching a room full of people who really don't know this band get into them was a thrill. After their set I stayed through Sahara Hotnights only because I was looking for the band members from Ikara to thank them. Couldn't find them so we left the club and went to the bar next door to drink. About an hour later, Ikara Colt appears on the street doing some photos. We ran out of the bar screaming Ikara Colt. They turned toward us--perhaps out of fear. It was some of the most fun chat I have had with a band yet. They so much want to please--and on this US tour they need some affection. It is a shitty bill. The show itself--I expected to see a talented but mopey front man (think Mark E. Smith) and instead I'm staring at the new Iggy. Fucking flawless in concert and what a charming band. Spoon tonight was very generous in delivering new material. It is still the best pop around but they have added an edge that I haven't seen or heard from them before tonight. The new material (both songwriting and performance) reminded me of seeing Costello on the This Years Model tour. As wiped as I am feeling--Spoon did it. The band that played before Spoon tonight deserves nothing less than death--I even called the club so Ilene and I could miss them—but the club lied to me about set times and we were stuck with their entire performance. I would say it was "bad Neil Diamond" but that would be redundant. It sounded like just like Neil Diamond—fucking awful!!
--Dem
Monday, March 31, 2003
Scene Creamers
From: demhopkins
Date: Mon Mar 31, 2003 7:40 am
Just did three shows in three days. Ikara Colt and D4 and a few other bands put on great shows-- but one band stole it all and did the best show that I have seen since the Butthole Surfers in 1983--The Scene Creamers. After 15-20+ years of bands that are anti-rock stars, it is time to have a band that is so fucking tight and talented that a they allow a rock god to shine through. Think Bowie as Ziggy. We have had one talented mope after another from before Kurt and through the 1990s. It is way over due for a bigger than life rock god. This is it. Influences that aren't worn on the sleeve but throughout the evening you end up hearing everything you have ever loved about rock and roll. Give it a listen and see what you hear. Big-balled rock star with the music, voice, and the act to back it up. Glam and then more. Funk not to be believed--especially from a white boy. Gospel in the soul and the dude can preach. So much confidence in a band--and a band with so much confidence in him. The band never once calls attention to themselves--they provide the platform for his act. And he never broke character except for a brief few seconds. I rave about bands a lot because I walk into a show wanting to love every band I see--this band earns it from the moment they hit the stage. It is the great show that I have wanted to see since the 1980's neutered rock n roll. The Scene Creamers have the CD to back it up--but the memory of seeing them live will last forever. I was somewhat familiar with the earlier work (The Make-Up). But everything the singer has done has led to this level. They upped it a notch for every band I will see for the next few years. There is not a band around that would want to play after the Scene Creamers.
The Scene Creamers are a band that you never expect to see when you walk into a club. It seems like every 10 years or so we deserve the big payoff for all the times that we sit through crap lineups. This band is the payoff. Not a better show going on. The Scene Creamers are the rebirth of the rock star--bigger than life and without apology. It is definitely an act--a brilliant one.
--Dem
Date: Mon Mar 31, 2003 7:40 am
Just did three shows in three days. Ikara Colt and D4 and a few other bands put on great shows-- but one band stole it all and did the best show that I have seen since the Butthole Surfers in 1983--The Scene Creamers. After 15-20+ years of bands that are anti-rock stars, it is time to have a band that is so fucking tight and talented that a they allow a rock god to shine through. Think Bowie as Ziggy. We have had one talented mope after another from before Kurt and through the 1990s. It is way over due for a bigger than life rock god. This is it. Influences that aren't worn on the sleeve but throughout the evening you end up hearing everything you have ever loved about rock and roll. Give it a listen and see what you hear. Big-balled rock star with the music, voice, and the act to back it up. Glam and then more. Funk not to be believed--especially from a white boy. Gospel in the soul and the dude can preach. So much confidence in a band--and a band with so much confidence in him. The band never once calls attention to themselves--they provide the platform for his act. And he never broke character except for a brief few seconds. I rave about bands a lot because I walk into a show wanting to love every band I see--this band earns it from the moment they hit the stage. It is the great show that I have wanted to see since the 1980's neutered rock n roll. The Scene Creamers have the CD to back it up--but the memory of seeing them live will last forever. I was somewhat familiar with the earlier work (The Make-Up). But everything the singer has done has led to this level. They upped it a notch for every band I will see for the next few years. There is not a band around that would want to play after the Scene Creamers.
The Scene Creamers are a band that you never expect to see when you walk into a club. It seems like every 10 years or so we deserve the big payoff for all the times that we sit through crap lineups. This band is the payoff. Not a better show going on. The Scene Creamers are the rebirth of the rock star--bigger than life and without apology. It is definitely an act--a brilliant one.
--Dem
Monday, March 24, 2003
The Warlocks
From: demhopkins
Date: Mon Mar 24, 2003 4:17 pm
I'll encourage Ilene to do a more detailed review. Heidi has been urging me to see this band for quite a while now--and I missed them last time they were here because I had done something like 5 shows in 4 days and just couldn't push myself to go to another show. Neil, I urge you to see this band. They are very much a psychedelic band but in drug terms--think heroin, not acid (not that I'm encouraging use of either). They have an amazing 1960's feel about them but don't really bring to mind any particular 60's band. With double drums and limited use of keyboards, the band's focus and greatest strength is the fact that they are first and foremost a guitar band. They create a wall of sound that is nothing like Phil Spector's vision. There is quite of bit of internal dissension in this band and they need some loving. The dissension did not hurt the music at all but probably impacted the feel of the show. The bands choice of guitars is very interesting--vintage Vox and the like. This is a band that really wants to please the audience and they did last night. I think the biggest problem this band is having is that really don't fit in with any bands garnering attention right now. Last night's show was an 18 and over (instead of the usual 21 and over) and most of the crowd seemed to be right in that 18-21 age group. The overall reaction from the crowd seemed to span from trance to some energy dancing and after seeing this band you will know why. It was nice to see such a great band that really is comfortable outside of the main stream and any other stream.
--Dem
Date: Mon Mar 24, 2003 4:17 pm
I'll encourage Ilene to do a more detailed review. Heidi has been urging me to see this band for quite a while now--and I missed them last time they were here because I had done something like 5 shows in 4 days and just couldn't push myself to go to another show. Neil, I urge you to see this band. They are very much a psychedelic band but in drug terms--think heroin, not acid (not that I'm encouraging use of either). They have an amazing 1960's feel about them but don't really bring to mind any particular 60's band. With double drums and limited use of keyboards, the band's focus and greatest strength is the fact that they are first and foremost a guitar band. They create a wall of sound that is nothing like Phil Spector's vision. There is quite of bit of internal dissension in this band and they need some loving. The dissension did not hurt the music at all but probably impacted the feel of the show. The bands choice of guitars is very interesting--vintage Vox and the like. This is a band that really wants to please the audience and they did last night. I think the biggest problem this band is having is that really don't fit in with any bands garnering attention right now. Last night's show was an 18 and over (instead of the usual 21 and over) and most of the crowd seemed to be right in that 18-21 age group. The overall reaction from the crowd seemed to span from trance to some energy dancing and after seeing this band you will know why. It was nice to see such a great band that really is comfortable outside of the main stream and any other stream.
--Dem
Saturday, March 22, 2003
Godspeed-You Black Emporer
From: demhopkins
Date: Sat Mar 22, 2003 3:35 pm
Manicman--the co-founder of this group turned me on to Godspeed about two years ago. I immediately shared his affection for their music and, like manicman, found there were times that it was the only music I wanted to hear. They became a niche band for me. After purchasing tickets to see them weeks ago (all 3 of their Chicago shows sold out) I worried that I wouldn't be into "their type of music" on a Friday night when I am used to a little more up-beat type of partying. Foolish me.
Last night Godspeed did a two hour show and then came back for an encore. It ranks as one of the fastest two+ hour shows that I have ever seen. Brilliance doesn't begin to describe what they did last night. Ten musicians (craftsmen seems more appropriate) layered a sound that reflected a single theme--Hope. The video behind them was in amazing sync with the music--even when presented in a scratchy old-movie type format. The concert began and ended with the word "Hope" slowly strobing across the screen. Their restrained use of feedback is something that any band attempting to incorporate feedback should study. It was never superfluous and always led into one of the great music swells that so defines this band. Two hours of music without a single word with the swells and lulls that never failed to hold ones attention. Many bands can own a room--but few can transform a room into an intimate setting where the crowd displays the type of respect that is usually reserved for occasions when we are with people we truly love. Two hours without a single word and I can't believe that anybody left the show not feeling that they really knew this band in terms of the music and the personalities behind the music. I am hoping Ilene will write more about the music itself--she has seen them once before and had more of an idea what to expect. What I saw was a band that was completely focused and had naturally incorporated strings, keyboards, guitar and drums (among other instrumental effects) into music that covered rock, gypsy/traditional, prog, classical, and the list could go on. This is the band that every "jam band" should strive to be--but it is a completely unfair analogy because this is by no means a jam band (much to focused and professional for sloppy play) and yet a friend, who did not know there music, was as completely caught up in their 15-20 minute pieces as those in the crowd who worshipped the band before arriving for this show.
I left knowing that this was the best show I have seen in quite a while--even better than Interpol in an intimate setting. But then I realized that the comparison is ridiculous. I don't think there is another band around today who is doing what Godspeed is doing--and, if so, certainly not on this level. The show made me realize that the occasional prodding from bands and critics to play certain recordings at maximum level isn't always a bunch of bullshit.
In the future, I will push my sound system as hard as I can when I listen to this band. Godspeed did do an encore and it seemed as if it was a decision they made because of the tragic bloodshed taking place in Iraq. The band finally spoke when they retook the stage. I am paraphrasing—they said:
Tonight there is a young man from Georgia who just bought a house and has furniture and a big screen TV that he is paying for on time standing in a desert and he isn't sure why. And tonight there is an Iraqi mother sitting in her house next to the body of her dead daughter wondering how to get her out of the house and buried. That was all they had to say. The crowd slowly responded and like Godspeed's music the applause swelled. It was a evening about HOPE--and at the end of the show it was specifically about the hope that we never again have to live through the brutality of bombs dropping and people killing each other as a means of communication.
--Dem
Date: Sat Mar 22, 2003 3:35 pm
Manicman--the co-founder of this group turned me on to Godspeed about two years ago. I immediately shared his affection for their music and, like manicman, found there were times that it was the only music I wanted to hear. They became a niche band for me. After purchasing tickets to see them weeks ago (all 3 of their Chicago shows sold out) I worried that I wouldn't be into "their type of music" on a Friday night when I am used to a little more up-beat type of partying. Foolish me.
Last night Godspeed did a two hour show and then came back for an encore. It ranks as one of the fastest two+ hour shows that I have ever seen. Brilliance doesn't begin to describe what they did last night. Ten musicians (craftsmen seems more appropriate) layered a sound that reflected a single theme--Hope. The video behind them was in amazing sync with the music--even when presented in a scratchy old-movie type format. The concert began and ended with the word "Hope" slowly strobing across the screen. Their restrained use of feedback is something that any band attempting to incorporate feedback should study. It was never superfluous and always led into one of the great music swells that so defines this band. Two hours of music without a single word with the swells and lulls that never failed to hold ones attention. Many bands can own a room--but few can transform a room into an intimate setting where the crowd displays the type of respect that is usually reserved for occasions when we are with people we truly love. Two hours without a single word and I can't believe that anybody left the show not feeling that they really knew this band in terms of the music and the personalities behind the music. I am hoping Ilene will write more about the music itself--she has seen them once before and had more of an idea what to expect. What I saw was a band that was completely focused and had naturally incorporated strings, keyboards, guitar and drums (among other instrumental effects) into music that covered rock, gypsy/traditional, prog, classical, and the list could go on. This is the band that every "jam band" should strive to be--but it is a completely unfair analogy because this is by no means a jam band (much to focused and professional for sloppy play) and yet a friend, who did not know there music, was as completely caught up in their 15-20 minute pieces as those in the crowd who worshipped the band before arriving for this show.
I left knowing that this was the best show I have seen in quite a while--even better than Interpol in an intimate setting. But then I realized that the comparison is ridiculous. I don't think there is another band around today who is doing what Godspeed is doing--and, if so, certainly not on this level. The show made me realize that the occasional prodding from bands and critics to play certain recordings at maximum level isn't always a bunch of bullshit.
In the future, I will push my sound system as hard as I can when I listen to this band. Godspeed did do an encore and it seemed as if it was a decision they made because of the tragic bloodshed taking place in Iraq. The band finally spoke when they retook the stage. I am paraphrasing—they said:
Tonight there is a young man from Georgia who just bought a house and has furniture and a big screen TV that he is paying for on time standing in a desert and he isn't sure why. And tonight there is an Iraqi mother sitting in her house next to the body of her dead daughter wondering how to get her out of the house and buried. That was all they had to say. The crowd slowly responded and like Godspeed's music the applause swelled. It was a evening about HOPE--and at the end of the show it was specifically about the hope that we never again have to live through the brutality of bombs dropping and people killing each other as a means of communication.
--Dem
Thursday, February 20, 2003
POD--read it and vomit
I wasn't going to post this--but it is just too fucked up to be missed by anybody at this group. When did POD put their lives on the line? I wish I had been there fighting on the other side working toward their most timely demise!!
2/20/03, 4 p.m. ET) -- P.O.D. and guitarist Marcos have gone their separate ways. Vocalist Sonny indicated to fans via an email that it was an amicable split.
The email reads: "As some of you may have already heard, Marcos has chosen to pursue his own vision apart from P.O.D. Never have we imagined P.O.D. without him, but we now know this vision is bigger than the four of us. I feel that there are still so many good things in store for those of us who have put our lives on the line for what we believe in."
Sonny continued, "As for P.O.D., we will continue with the amazing privilege that has been put before us. Only because of God's grace and goodness can we look toward tomorrow. Currently we are writing the lead single for The Matrix Reloaded. We will soon begin writing our third full-length record for Atlantic Records. Coming along side of us is a longtime friend and talented musician and songwriter, Jason Truby. He brings an excitement and a fire to the table that will take P.O.D. to the next level. Through great challenges come great rewards and we're more confident now than ever of where we are going. Please continue to keep P.O.D. and Marcos in your prayers. All our love is yours."
2/20/03, 4 p.m. ET) -- P.O.D. and guitarist Marcos have gone their separate ways. Vocalist Sonny indicated to fans via an email that it was an amicable split.
The email reads: "As some of you may have already heard, Marcos has chosen to pursue his own vision apart from P.O.D. Never have we imagined P.O.D. without him, but we now know this vision is bigger than the four of us. I feel that there are still so many good things in store for those of us who have put our lives on the line for what we believe in."
Sonny continued, "As for P.O.D., we will continue with the amazing privilege that has been put before us. Only because of God's grace and goodness can we look toward tomorrow. Currently we are writing the lead single for The Matrix Reloaded. We will soon begin writing our third full-length record for Atlantic Records. Coming along side of us is a longtime friend and talented musician and songwriter, Jason Truby. He brings an excitement and a fire to the table that will take P.O.D. to the next level. Through great challenges come great rewards and we're more confident now than ever of where we are going. Please continue to keep P.O.D. and Marcos in your prayers. All our love is yours."
Saturday, January 25, 2003
DOLL and Interpol
From: demhopkins
Date: Sat Jan 25, 2003 1:43 am
Division of Laura Lee were really shown up by the opening act-- Burning Brides. It was smart billing because neither band could have sold out the house--but a lot of people left after Burning Brides. Burning Brides were very tight and also very good when they weren't trying to be Kurt Cobain--and the singer's voice resembling Kurt may have been more accidental than it seemed. DOLL is definitely a work in progress and they must have either not shown up for soundcheck or pissed off the sound people because they got no favors. When the front man brought the vocals down--they were buried and at times they looked confused about what was happening (perhaps no monitors?). The Double Door is capable of doing great sound (and they did for Burning
Brides) but you wouldn't know it from DOLL's performance. I spent a lot of time checking out the sound booth and watched them completely sitting on their hands during the DOLL set. What most impressed me about DOLL is that other Swedish bands have taken so much of the MC5 Detroit sound and DOLL is clearly in the Iggy and Stooges camp. Not a huge difference to be sure--but very obvious on stage. I recommend seeing them--but they do need some work. Second Interpol gig in Chicago at Empty Bottle. It was a much more intimate venue on their second night here. Carlos was in the front room until time to go on stage shooting pool with fans (and if you get the chance to shoot pool with him --take it--he's not very good). Paul came out and mingled a bit and even talked to Carlos. The sound at the Empty Bottle that night was the best that I have ever heard it. Beyond what I thought the room was capable of. Paul's vocals were crystal clear--as fine as on the two concerts from France. The stage required them to interact some--and they did minimally. It was especially cool seeing Carlos working with the keyboard player (who I did not realize was not a part of the band). The set was the same as the night before with two songs reversed. They are clearly refining and selling a "set" set. Instead of letting down from playing a much larger venue the night before--they reached back and turned it up a notch. More conversation with the crowd and they were clearly much more comfortable on a smaller stage in a smaller venue. I don't see Paul as being one to warm up any room--he really is all about business--but the other guys really enjoyed being able to play it in our faces. As of today, Interpol has started hitting the "A" list on some commercial alt. stations and the odds of ever seeing them again in a venue that holds about 300 is slim. But they showed total integrity putting out as hard, if not harder, in a small room. It seems that they are beginning to transcend their own music and earn some stripes as a great band to see live. A few months ago it was only the music--they were something akin to shoegazers. Not anymore. They are committed to creating a live performance that captures the recording but also surpasses it. A couple months ago I was sure they would break up soon. I think they have found a great way to coexist.
They may not love each other--but on stage they are a unit. I can't wait to hear other members at this group post about the upcoming shows.
--Dem
Date: Sat Jan 25, 2003 1:43 am
Division of Laura Lee were really shown up by the opening act-- Burning Brides. It was smart billing because neither band could have sold out the house--but a lot of people left after Burning Brides. Burning Brides were very tight and also very good when they weren't trying to be Kurt Cobain--and the singer's voice resembling Kurt may have been more accidental than it seemed. DOLL is definitely a work in progress and they must have either not shown up for soundcheck or pissed off the sound people because they got no favors. When the front man brought the vocals down--they were buried and at times they looked confused about what was happening (perhaps no monitors?). The Double Door is capable of doing great sound (and they did for Burning
Brides) but you wouldn't know it from DOLL's performance. I spent a lot of time checking out the sound booth and watched them completely sitting on their hands during the DOLL set. What most impressed me about DOLL is that other Swedish bands have taken so much of the MC5 Detroit sound and DOLL is clearly in the Iggy and Stooges camp. Not a huge difference to be sure--but very obvious on stage. I recommend seeing them--but they do need some work. Second Interpol gig in Chicago at Empty Bottle. It was a much more intimate venue on their second night here. Carlos was in the front room until time to go on stage shooting pool with fans (and if you get the chance to shoot pool with him --take it--he's not very good). Paul came out and mingled a bit and even talked to Carlos. The sound at the Empty Bottle that night was the best that I have ever heard it. Beyond what I thought the room was capable of. Paul's vocals were crystal clear--as fine as on the two concerts from France. The stage required them to interact some--and they did minimally. It was especially cool seeing Carlos working with the keyboard player (who I did not realize was not a part of the band). The set was the same as the night before with two songs reversed. They are clearly refining and selling a "set" set. Instead of letting down from playing a much larger venue the night before--they reached back and turned it up a notch. More conversation with the crowd and they were clearly much more comfortable on a smaller stage in a smaller venue. I don't see Paul as being one to warm up any room--he really is all about business--but the other guys really enjoyed being able to play it in our faces. As of today, Interpol has started hitting the "A" list on some commercial alt. stations and the odds of ever seeing them again in a venue that holds about 300 is slim. But they showed total integrity putting out as hard, if not harder, in a small room. It seems that they are beginning to transcend their own music and earn some stripes as a great band to see live. A few months ago it was only the music--they were something akin to shoegazers. Not anymore. They are committed to creating a live performance that captures the recording but also surpasses it. A couple months ago I was sure they would break up soon. I think they have found a great way to coexist.
They may not love each other--but on stage they are a unit. I can't wait to hear other members at this group post about the upcoming shows.
--Dem
Saturday, January 18, 2003
Datsuns
From: melanie
Date: Sat Jan 18, 2003 2:53 pm
woohoo, they played Sydney last night and 'twas wonderful!!!!! Think there was only one new song in the set Cherry something, started with the Cheap Trick cover, which I love, but it left the crowd a bit puzzled because they didn't know it :) but then they got into the album stuff and it went off! God they were good - there is a newish review of them live on www.nme.com and I really have nothing to add. Had a very quick word with Dolf afterwards, and it's another very polite guy, though I have a terrible habit of touching peoples arms sometimes, and he was touching mine back, usually if I do do it (I try not to!), they look a bit stunned, and he just acted like touching this complete stranger on the arm was totally normal, and did it back. And he's a lot taller than I thought, considering how narrow shouldered he is, he's about 6ft, which isn't Strokes/TCTC height, but still a lot taller than musicians are in my memory, they sure must eat better than in my day (I always think back to The Cure who were just past my waist). The Casanovas supported and I am getting more and more impressed by them each time I see them. I think they are doing some UK dates before and after the Euro tour they are doing with the Datsuns, and then some US dates (not sure if that is with the Datsuns), might be the right timeframe for SXSW? Check 'em out! They have an EP out in Australia, which is fantastic - you like The Datsuns, You'll like these guys.
--Melanie
Date: Sat Jan 18, 2003 2:53 pm
woohoo, they played Sydney last night and 'twas wonderful!!!!! Think there was only one new song in the set Cherry something, started with the Cheap Trick cover, which I love, but it left the crowd a bit puzzled because they didn't know it :) but then they got into the album stuff and it went off! God they were good - there is a newish review of them live on www.nme.com and I really have nothing to add. Had a very quick word with Dolf afterwards, and it's another very polite guy, though I have a terrible habit of touching peoples arms sometimes, and he was touching mine back, usually if I do do it (I try not to!), they look a bit stunned, and he just acted like touching this complete stranger on the arm was totally normal, and did it back. And he's a lot taller than I thought, considering how narrow shouldered he is, he's about 6ft, which isn't Strokes/TCTC height, but still a lot taller than musicians are in my memory, they sure must eat better than in my day (I always think back to The Cure who were just past my waist). The Casanovas supported and I am getting more and more impressed by them each time I see them. I think they are doing some UK dates before and after the Euro tour they are doing with the Datsuns, and then some US dates (not sure if that is with the Datsuns), might be the right timeframe for SXSW? Check 'em out! They have an EP out in Australia, which is fantastic - you like The Datsuns, You'll like these guys.
--Melanie
Tuesday, January 14, 2003
When I Was Cruel
From: demhopkins
Date: Tue Jan 14, 2003 3:09 pm
The album is a little inconsistent but definitely one of my favorites by Elvis going all the way back to This Year's Model. I think at times Costello recaptures some of the magic that made This Year's Model one of my all time favorite albums and, by far, my favorite Costello album. That being said, I don't particularly like Funny Valentine either. He may have wanted to avoid being slammed for trying to completely revert to the 1977 version of Costello. But it is the songs that sound like they belong on This Year's Model that got me very excited about the album. I asked almost the identical questions about When I Was Cruel when I first bought it. It came highly recommended to me--and convinced me to really give it a chance (I'm very glad I did).
--Dem
Date: Tue Jan 14, 2003 3:09 pm
The album is a little inconsistent but definitely one of my favorites by Elvis going all the way back to This Year's Model. I think at times Costello recaptures some of the magic that made This Year's Model one of my all time favorite albums and, by far, my favorite Costello album. That being said, I don't particularly like Funny Valentine either. He may have wanted to avoid being slammed for trying to completely revert to the 1977 version of Costello. But it is the songs that sound like they belong on This Year's Model that got me very excited about the album. I asked almost the identical questions about When I Was Cruel when I first bought it. It came highly recommended to me--and convinced me to really give it a chance (I'm very glad I did).
--Dem
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