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
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
Monday, June 30, 2003
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
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