The Libertines 2nd Album Preview

The Libertines second album release Exclusive Sneak Preview CD Review 14 tracks (August 2004 release date) Pete, Carl, band brilliance

There’s something about the ability to create music that is emotional, big, hard, stripped down, not too dressed up but definitely dressed for an outing, while at the same time, enormous in delivery. To call The Libertines just a rock band, just a bunch of kids, just another sound in the new resurgence of 60s rock and 70s punk, would be equivalent to witnessing a tsunami and calling it another day the beach. The influences of many are heard within the latest Libs release, but there is a unique desperation in their music that stands apart. I would have to say the most appealing thing about all Libertines music is inside pain that manifests such beauty, as much will, there is never an indication of insincere sentimentality. No hidden agendas. Poets, artists, edge-walkers, harnessed rage, tumultuous energy infinitum. The Libertines, they can rock you into frenzy and then pull you into a Mexico sand bar sunset, lamentations of lost love or love on the verge. Then without a thought, back to the beat driven riffs, shock into the grit of naked bulb reality. Yes, you’re back, but you’re different. Anyone inclined to classify The Libertines with the phrase of just another anything need go no further than this CD for a new set of values. This latest creation is nothing short of witnessing a birth, one that will change the expectations of bands to follow. And so I take a slight departure to review not all, but most, of the tracks on The Libertines self titled second release.

The Libertines Can’t Stand Me Now
“If you wanna try, if you wanna try…there’s no worse you could do.” They start with a wonderful loss of love song; some head bobbing beats, harmonicas, vocals that send a little tingle. A voice that always makes think of the inherent heartache in sending away the very sweet thing that is so soft, yet dangerous enough in flirty innocence to be forever forgiven. 

The Libertines Don’t Be Shy
The Kinks all over the place. What a wonderful track. Playful harmonies, almost Beatles harmony on top of it, reminiscent of Rubber Soul sounds. Some raw jiggly riffs that make you want to shake your ass enough to forget that you might be shy.

The Libertines To The Man Who Would Be King
“I’ve been told if you want to make it in this game, gotta have the luck, you gotta have the look… I’d quite like to make it through the night.” Some great blues influence that is not what you’re used to hearing, but my god they pull it off and play it like it was always theirs. “I lived my dreams today. I lived it yesterday. I’ll be livin’ yours tomorrow, so don’t look at me that way.” Some great Clash screams out of nowhere, a little la-la-la-la chorus sing-along, whistles, turn tail breeze for the transitional end, leave you stool seated, the end of a smoke-filled 4am bar, freeform jazz jam sessions swirl with the dreamy smoke rings. Stoned reflection of the lonely, the wayward, the destitute romantics. Transitions like this, well, you don’t find them often. And as is obvious throughout this latest release, The Libertines have created a new signature sound.

The Libertines Music When the Lights Go Out
A beauty, and a stunning track to compliment To The Man Who Would Be King. This is the most touching song I’ve heard in a long while. A heartbreaker, that late night realization while staring at your lover sleeping quietly against indifference—the one you’ve staked your heart on is over. Enough.... The guitar weeps through the song. “Is it cruel or kind not to speak my mind and to lie to you, rather than hurt you? Well, I’ll confess of all my sins after several large gins… oh won’t you please forgive me? I no longer hear the music.”

Then onto a little bit of rocking blues again….

The Libertines Narcissist
Clapping juke joint, cheap gin and cheaper sex. Whistling solos, happy upbeat tempo, you wanna get up and dance, while the lyrics add cynicism enough to merit the title. “You’re going to be so old. You’re going to grow so old. Your skin’s so cold.”

And so we roll seamlessly into…

The Libertines The Ha-Ha Wall
Some of the best lyrics I’ve ever heard. “If you get tired of just hanging around, pick up a guitar and spin a web of sound. And then you could be stronger all day with lovers and clowns. Now I find myself hanging around. It’s been a long wall. We’re so tired and dirty, still, am I dirty enough for you?” Spectacular transitional guitar work midway pulls you through the winding clocks of waiting, watching it all blow by. More screams unleashed in a good Clash “ee-hallaaa!” You must listen to this track for the guitar transitions alone. To me, this song would be indicative of the new signature sound that will mark them unmistakably Libertines.

The Libertines Arbeit Macht Frei
All I can say here is one giant bar fight. Yeah it’s the Clash influence, but it’s The Libs too, and they’ve got broken bottles. They win…two minutes flat.

The Libertines Campaign Of Hate
Something stark, something simple, something lovely. The swinging guitar riffs, I can see bending metal, intricate stret work and transition into a bluesy chorus. End the song with a speeding tempo, “There’s a campaign of hate waiting at the school gate.” Spiral to an end in as much of a spin out as the problem it attacks.

The Libertines What Katie Did
“Shoop shoop, shoop de lang de lang.” Yep, The Libertines sing about polka dots. Be not afraid if you are on the rocking side of the Libs—this song is a wonderful mix of cabaret doo-wop, down to a little love harmonies, song chimes, a happy sun day, my love… you can almost laugh with this one, tongue in cheek lyrics as it goes on in all its wonderful jaded innocence. “Safety pins are none too strong Katie, they hold my life together, and I never say never….”

The Libertines Tomblands
Okay this guitar work is truly amazing…. It’s all over the place in fret work, fast but not showy, and damned if it doesn’t just come at your front, then as you feel it go, it’s already behind you. Put on some headphones and get ready for this one. Again just two minutes, but you’ll safely find a home.

The Libertines Road to Ruin
This starts Clash… all of a sudden I’m hearing Jack White… then I’m inside Von Bondies… now we’re visiting the Doors…. then we’re back to Clash; but it’s all visitors inside The Libertines haven. I’ve said it over and over, but this guitar work doesn’t stop in its impressive intricacy. A whistling solo—it works, one of many touches you’ll find dazzled about the entire CD, little gems you don’t expect and love for the surprise. This is such 60s rock: even some light moog style keyboards in the background that round out the song to a pipe organ gothic finish reminiscent of House of the Rising Sun. I don’t know... it seems anything is possible on this CD as I am into the 13th track. I love it and welcome all twists. This auditory trip has taught me that I will not get what I expect, except that what I will get is better than I could imagine.

Of course, let us never forget endings….

The Libertines Whatever Happened To The Likely Lads
A choice, a reconciliation of nows and thens, this is a great ending track, one too beautiful to write. Just sit back feel this song, don’t think it, and you’ll experience the whispers of actual pain. I feel like you can’t even sing this song too strongly or it would fall apart; the resigning dialog of trying to find a nook inside an ocean. “What became of the dreams we had? What became of forever? We’ll never know.”

As I end this CD, I’m thinking that it’s nice to hear musicians get together and just make music. A seemingly obvious goal, but many times an album can feel less like musicians making music and more about production that cleans house so well, it’s almost lonely when you get home. This CD is a seedling mix of brilliance that grows exponentially within each listen. And like any wild thing that grows, it’s always less tame than the rest for the wilderness, but it knows itself enough to allow the growth to happen. After discussing this with other members of OZ Beat, I have to agree that this album feels as though it were created and executed as if it were the last. I can only say I hope it is not. Within these sounds—so emotionally raw, lyrically poetic, unforgiving in observations, the entire album sings of forgiveness and unconditional understanding—it achieves its own transcendence. I find myself feeling that this album was necessary, and I don’t mean in the sense that people claim music to be necessary, as it is oftentimes used to define music of an era. No. I mean necessary for the sheer expression, necessary as is a heart to find the thing that kills, and also to become the thing that finally releases. Dare I even call it a concept album? The more I go through this, the more it feels like it is. I am driven to listen repeatedly for the experience it conveys.

I would surmise anyone who picks up this CD for its August 2004 release date will find it hard to simply skip tracks and pick a favorite. Pick one, pick another and realize this album doesn’t beg for the listen, it simply becomes what it was meant to be, and we are merely here to play witness. As to The Libertines, I can only reference Up The Bracket as I cherish this latest release: “But if you’ve lost your faith in love and music, the end won’t be long. Because if it’s gone for you, I too may lose it and that would be wrong…. There were no good old days. These are the good old days.” I thank you for that sentiment.

In the heat of rumored endings, let us also never forget the importance of beginnings and now. This is about the best we’ll hear in 2004, possibly years beyond, and one can only hope it will stand as the transition piece of a band that fills its own void with the music that so obviously permeates their very being as they move forward in this new direction. I would say after a few listens straight through, play the first track, Can’t Stand Me Now, and then the last track, Whatever Happened To The Likely Lads, right up against each other. These two songs, at least for me, encompass a complete love song to The Libertines themselves. Lending to the inherent circular motion of this album, another reason I can’t stop playing it—in its ending, it’s just beginning.

With that, I feel another listen coming on as well as a heartfelt thank you to The Libertines for allowing this simply to be.
--Becky

Scissor Sisters

Not my favorite concert of the year--Muse and TCTC still rank one and two. But, this was the best live stage performance that I have seen in a lot of years. I've been hanging on to the belief that The Butthole Surfers were the best live show around since the early 80's (and I think they were). They have been de-throned. Scissor Sisters is the hardest working band in music today. I had heard about three songs and was interested in seeing the show. I bought tickets the day they went on sale in Chicago--mostly because I knew from the tracks that I had heard that my boyfriend would love them. They had just come off two previous dates (Detroit and Cleveland) where they had only drawn 15 people. Chicago didn't sell them out but probably had a good 400 show up in support (and many who had ordered the music via UK and really knew them -- unlike me). They were so thrilled at the size of the crowd. All their current hype is UK (but they did make US network television the last two days).

So a few hours later (after the show), Scissor Sisters are my favorite new band of the year they have been around for awhile, but they broke this year). I expected the disco-influenced sounds to bore me right away. Talk about misreading this band. The music, the musicians, the stage show, the lyrics, the versatility is beyond what anyone can really expect from a band in this most modern age.

A nearly two-hour show without a single weak moment or song. Jake is everything I want in a rock star. And his counterpart (Anna?) is so fucking hot, talented, and the perfect partner for their brilliant performance in front of a band that is as complete and tight and as exciting as any band I have seen since the early Strokes days. Watching Jake and his female counterpart—in sync at every second of the show, complimenting each others perfomances from start to finish—and I have to mention again—the sex, the sex in both appeal, eroticism and intimacy between them makes the show hypnotizing. This gorgeous (truly beautiful) man and this curvy woman that takes you back to the days (1950's and 1960's) when sex appeal was hips and tits and asses—in great proportion (Marilyn, Jayne, Mamie) is perhaps retro—but in the here and now—it is goddamn groundbreaking.

Universal Records has just signed the band and the US release is scheduled for July 27. I ordered it out of UK tonight and then downloaded it (after hours of figuring this I-music crap from those nasty Mac people). Substances added to much of what they did tonight--but 4 hours after the show (substances wearing off) I just keep cranking it. The last time I had a CD on random for this long was actually vinyl, after people would be crashing at my place for about a week (early 80's) and I wanted to get them out, I put on Buzzcocks and told everyone in my space that it was the only thing I wanted to hear over and over and over. In time, the crowd did thin.

Scissor Sisters has been presented as somewhat of a novelty act. They have the glitz, the glimmer and the glam--but they will knock you out with the substance. I can name at least 40-50 1970-1980 influences that they very openly cop from. But, every moment is completely their own. I never expected to leave this show loving their music so much. I hate disco, not a big Leo Sayer fan, Elton (liked the first three albums), Sylvester (well, I worshipped him) but the whole dance/disco 1970's bored me so much that I ended up a punk rocker (after glam had run its course) owning and running a punk club--the most legendary Chicago punk club—OZ.

So Scissor Sisters are the about polar opposites to what I was listening to or playing in my club. And pretty different from anything I have listened to since the 70's (and then it was usually because I was in a club playing disco crap) Yes, to me, Scissor Sisters have all the dreaded 1970 and 80's influences and more, and they fucking own it. And they present it in a way that is everything that it should have been 30 years ago. If Scissor Sisters had founded disco--it would have been such a different trip instead of the awful 128 bpms that it became (or pretty much always was).

There is not another band today doing what this band does. Since disco and techno took over every queer club's musical focus--there has been a real lack of innovative bands seeking to get gay bar play. SS are going for it. Scissor Sisters may, at last, get queers to return to the indie scene where they have fucking always belonged. New music, in terms of the US, still gets broken in the queer clubs. What a shame because gay clubs were once the trendsetters giving us Bowie, T. Rex, Jobriath, Wayne County, etc (and it was the only place to hear it). Unfortunately, they quickly buckled under to the Gloria Gaynor and any bitch with a syth and doing the beats per minute--only to turn it in to techno and live there for the last eternity. Queer club music has been basically stagnant since 1976--they can change the name--techno, bass and drums, etc--but Christ, it is just more shitty disco crap.

Scissor Sisters is going to force gay dance bars to reconsider some of their music. The crowd tonight was overwhelmingly hetero--but this bands target is obvious--people wanting to dance their ass off, enjoy some of the best retro, original music that is a soundtrack of some of our lives (even if we didn't really like the soundtrack the first time around).

This band is about some substances, tons of sex, recreating Warholian street people living and surviving in NYC. And doing it with fucking style. The trannies, the hos, the gender benders, the back seat blow jobs, the pretty boys, the country boys getting off the Greyhound, the totality of lower east side Manhattan in 1974 (and hopefully, a solid piece of that still exists there).

Instead of presenting it like Andy (Paul Morrissey did in Trash), Scissor Sisters present it like a big budget Broadway production. The show itself is so spectacular that I can't wait to see them in the bigger rooms, with a budget and creating a magical fantasyland for everybody (as they have done so well in their videos).

I'll shut up now. I fell in love with this band so unexpectedly. The music is fucking overpowering. Jake's voice is as brilliant to me as Jobriath, T. Roth, Marc Bolan. He can dance like a diva and break your heart with a song. The sexiest man I have seen on stage in so long—probably since T. Roth, Marc Bolin and Jobriath. Gay or straight, man or woman—try getting your eyes off this beautiful, talented, and totally-committed-to-entertaining-in-any-way-possible-on-stage, individual. And when the senses are overwhelmed—watch his female counterpart who is every bit as awesome. You can download the CD now for $9.99 through their web site which takes you to I-music (some horrible Mac crap with tons of sign ups and no part of anything making any sense.) But worth it—I needed the music now—and I did figure it all out in about 2 hours. Once I knew how to get it, it downloaded in about 10 minutes and burned really nice.

MAIN POINT: Chicago was the third stop on the Us tour--they have a lot of dates coming up. To miss this band at this stage in their development while they are working hard for their rep would really be a loss. This IS the tour that you want to see this band--because the next one is going to be hi-tech, flashy, and much larger rooms. This is seeing a band as they prepare to conquer. It is the warm-up for what will be all over MTV and in arenas--if there is any justice in the industry. Yeah, I hate MTV and all that shite but I want this band to conquer the tried, boring and true corporate controlled video channels. Seeing this band anywhere will pull people away from the belief that what is out there is obvious. If they see this band—maybe they will start to wonder and do a little work about finding other bands they like—instead of waiting for it to flow through Clear Channels. Scissor Sisters has the potential (like none out there right now) to reintroduce a stagnant music crowd to the value, diversity and the fucking reality--if you want good music, go fucking find it. Because the gay bar down the street has no interest in playing anything but what is popular--and that simply goes for the straight pubs too.

The band is taking the time to really relate to the crowds and they are amazingly generous in a comfortable shared conversation that never detracts from the stage show. This kind of band-audience intimacy happens so rarely, and really requires a club of certain size. These kids are giving of themselves in every way you could ask an artist to give. They will be known as the hardest working band in the biz, because from what I saw tonight, there is not a band that comes close for delivering the spectacle. This is the most fun show I have seen in years—but the substance of what they do will at times bring you to tears. Fun serious gay straight disco Sylvester Elton Bee Gees (as they may have imagined themselves) Broadway, sad songs occasionally (but always with the warning, "now, don't get too sad") and Jake going from falsetto to the wide eyed innocent with a voice of power and deepness and commitment and so quickly being able to bring you up to a whole new intensity. This band has the potential to slam down the doors of all types of clubs that keep feeding us crap music. Maybe the Strokes opened the door, but this band could really change the dynamic. JUST DON'T MISS THIS BAND. I guarantee it will rank among your best shows of the year.
--Dem

Magnus CD review in The Big Takeover

Magnus Sleepwalker
(on Nefarious Records)

One goes through a thoroughly depressing pile of 46 CDs by unknown artists utterly bereft of advanced talent and imagination, calling "Next!," hoping against hope there might be one like this hidden there. Wherefore art though, Cinderella trying to get noticed behind her wretched stepmom/sisters? But at last, here she is, not too late for the ball!

What they remind of is early 1990s (i.e. comeback) Comsat Angels, with some Adam and Eve Catherine Wheel too. It's that marvelous swirling guitar edge, bonded to hard pop tunes that slowly but forcefully unfold and then implode, the pensive touches (love the trumpets and bits of piano, like on "Drinking With Baron," and the feeding back cello on "Awake"), the clear and clear-eyed singing, the long languid passages that give way to building storms, and riffs that catch you from first play. Excellent!

This Chicago group won't fall in line with prevailing indie rock elements, putting up a false intensity. They just let the delighting, surprising turns in their tightly-written and executed music speak volumes. I can't remember the last time I heard such inventive guitar passages from an American band that doesn't ape Neil Young, yet seems like they might have heard Brian Eno's Here Come the Warm Jets or Radiohead's Ok Computer along the way, and understood the dynamic trichotomies of beauty, brain, and aggression inherent in both. I know next to nothing about Stephen and David Wade, George Patrick, or Scott Schaafsma (and Simon Hunt) other than that they had a 2002 debut EP I really need to get. But after playing their LP so much, I might write them a fan letter (and see if the slipper fits).

With music of this striking power right under our noses, the rest of America rock and its overwhelming mediocrity just lost its excuse.
--Jack Rabid

links:
http://www.magnusmusic.net
http://www.nefariousrecords.com

Busted at OZ: Effigies, Raygun, DOA, Strike Under, Silver Abuse

Check out http://www.ozbeatmusic.com for the latest on this one. Tracks will be uploaded in the future, but you've gotta sign upi for this one. Other great bands on the site, links, music news, early concert warnings, and archived reviews as well.

The Fuse

Saw this west coast hard-core band at the Empty Bottle. The place was empty because International Pop Overthrow is in town. The band's CD is very good and the live show even better. Makes me want to revisit the CD. But, the standout of the night was the drummer. He sat so high above the kit that you could see him from knees--up. The cymbols were so high up that he could just reach them -- or when needed--stand up and bash the fuck out of them. I assumed he was either 7 feet tall with no legs--or 4 feet tall with gorilla arms. In fact, he was human. The band left the stage after a great set--and I cornered the drummer. The dude was completely modest, somewhat taken aback, and so happy that I was asking him about every thing he did behind the drum kit. It turns out that it is simply the way he bangs the drums. You don't have to love this band--although I'm getting close--to fully appreciate an extraordinary drummer. Front man tries hard--drummer steals the show! I couldn't take my eyes off him--even when the front man was writhing on the floor at my feet.
--Dem

Weird War / The Rapture / BRMC

The set started strong with 3 cuts from the Scene Creamers CD but quickly turned into a bore. A band that one year ago did one of the most inspired sets I have ever seen, was disappointing last fall and kind of a wate of time last Friday. The new material is very weak and the band seems to be involving into a funk band. That would be just fine--if they could play funk. I love good funk but when it is bad (quite frequently it seems) it is torture. I'm also not getting much of a spark from Ian and his performance has to be at top-level or the band's show to come off. It probably wasn't as bad as I am making it out to be--it was the high expectations that I went to the club with that made the performance seem all that much more lackluster. However, Friday's dismal show was more than made up for last night by BRMC and The Rapture--both bands putting on high-energy tight shows and The Rapture turning in a perfect set from start to finish.
--Dem

Eagles Of Death Metal/ Pixies dates

Run, run, run to get this CD. Produced by Josh Homme of Queens of the Stoneage, it is butt-shaking great rock n roll. These songs are going to translate so well on stage. Solid beats, great vocals and a whole lot of fun. Might be my highest recommendation of a CD for this new year. The CD is fine throughout--but is worth the price for "Miss Alissa" alone. Nothing fancy--just great music. Also, Pixies announced US tour dates--Chicago is November 13th at the Aragon. I don't think on-sale date has been released yet for the
Fall part of the US tour.
--Dem

Magnus/ Franz Ferdinand/ The Darkness

From: demhopkins
Date: Sun Mar 28, 2004 2:11 pm

Three shows--threedays. Magnus on Thursday was a lot of the band shaking the rust off. They have stripped down from a five-piece to four and have done a great job of it, although a touch awkward at time, still very impressive. They performed material from the recently released CD, which is getting a really nice response. A nice warm-up to the CD release April 30. The material is so good, but have to get this band to look a little more enthusiastic on stage. Once they start selling the music as performers--there is no stopping them. Franz Ferdinand on Friday was an amazing performance by a new band hitting Chicago for the first time. They sold and then sold harder. Even some of the weaker material worked because there was no way not to love this band's charm, presence and ability to rock. Influences on their sleeves--Starting off sounding like XTC, moving into a Fall-type-song and doing a tune that was spot-on "Blue Monday" by New Order (Ilene and I really thought they were doing it as a cover when it started). But, none of the obvious influences takes anything away from this band and what they accomplish on stage. Heidi, I was shaking my ass. The sold-out crowd loved this band; I'm looking forward to seeing them in June. My guess is that they will grow up a lot in a very short time period (ala Datsuns). Saturday--The Darkness. Neil, I heeded your warning and left the brain outside the door. Completely packed house at a medium sized club (2000 or so is my guess). I found the show really entertaining/funny for most of it. Hated the crowd, who seemed to think it was the second coming of something. This band had to begin as a parody, or outright joke, but from last night they are very serious about it now. One Chicago paper that recommended the show said to see them now because they will be exposed if they do a second album (it also urged them NOT to do a second album). All bets are off--The Darkness announced that they ARE doing a second album. I'm not surprised. I walked out of the show thinking that the 4 major labels are already hunting to find 87 bands just like them. That is something that I would truly hate to see happen. Fun--five stars. Music--barely a twinkle.

The Darkness

I wouldn’t dissuade anyone from seeing this show for the sheer entertainment factor. Having attended some metal concerts in my past and run the gauntlet of musical tastes that I’m sure would be considered “bad,” I can appreciate the fun that something like The Darkness offered. I was excited to see them work it. From the beginning of the show, they built the drama of the entertainment factor. The packed room swelled with fans donning their matching Darkness shirts, all swirling in the build, mesmerized by the large white curtain strung across the stage only adding to the anticipation. Lights dim and against the white sheet shielding the stage, a giant shadow of a man posing with a guitar appears. Immediately the crowd blew into an applause I haven’t heard matched (sadly) by many of the concerts I’ve attended this year.

I was certain that some pyrotechnics might be a nice touch at the beginning, but this was amiss, probably because it did not swing the venue guidelines. Instead as the music started the curtain was dropped from the top down and fell dramatically to reveal the lightshow extraordinare along with The Darkness. Enough long hair to make for a dramatic head bang, one guitarist in his Thin Lizzy t-shirt and the bass player with his handkerchief headband wrapped around his puffy dark hair--looking strikingly similar to the bass player in Spinal Tap. I thought oh yes! This is going to be fun. They started the set with a purely instrumental opening, sounding much like the beginning of an AC/DC intro riff -- except that was the whole song. The crowd went insane at this intro-turned-full-length song while the people next me were screaming “yeah! What a great way to start the show!!” With his white fuzzy low cut vest, the lead singer only wore this shirt for under a minute and off it came to expose tattoos and his black ultra low spandex complete with glitter butterfly sweeping out from the crotch area. More insanity from the crowd.

My favorite song in the entire set was “Get Your Hands Off Of My Woman, Motherfucker.” This was pretty much the whole song… if ever you hear it, you will be able to sing along with confidence. Speaking of, they actually had a little audience interaction on this one and it goes like this, “I saw ‘mother,’ you say ‘fucker.’ Some back and forth with the microphone to the audience and we all sang along. Motherfucker was the word he ended out doing high notes scales. Never heard the word done like before, but it was effective.

Favorite costume change was costume number two: A glitter blue swirly spandex with giant feather sticking out from the spine. Best band interaction: The guitar player and front man rant toward each other, did a jump and high five combo during the song. Best audience member comment: “These guys are fucking amazing… yeah!” Best heavy metal memory: I saw girls sitting on top of their boyfriends shoulders holding up lighters. A long standing metal tradition I had forgotten because I can’t imagine this ever happening at any of the shows I’ve seen lately. And I surmise it’s difficult to maintain balance mobility with your girlfriend on your shoulders in the mosh pit.

The Darkness instructed everyone to get out their lighters for their ballad, and this audience was amazing. They all had lighters up in seconds and he was counting them out. Anytime the singer would do anything (he was fond of the thumbs-up sign), the audience immediately mimicked it back. Even down to the sign of Satan, all gave the sign back, and he even took time to nicely explained to us all what that meant. I was starting to question the audience at this point. I don’t think they took Neil’s advice, but really were taking them seriously as musicians. Many people around us were not laughing and they were quite upset at the laughter coming from Dem and I (one guys next to us was laughing. Three out of 2000 isn’t bad.) This thought was only later confirmed when while by the bar (after feeling the need to back away from our front stage position to avoid an increasingly ravenous crowd), I overheard three people talking about the band. One saying “You know he [the lead singer] is really working hard and not too happy with the way this tour is going. He’s such perfectionist. But I have to say this album is the best I’ve heard in 20 years.”

The problem I see with The Darkness is this: possibly they did take themselves too seriously because of all the hype and because of how seriously the audience was taking it. They finished out the encore with “(I Believe) in a Thing Called Love.” We were way at the back of the venue by then because the crowd was ravenous, but it turned out to be a good thing even though that’s the song I wanted to hear. I made the mistake of looking at the stage for the last costume change and was blinded momentarily by the flood wall of white lights that were probably used to simulate spacecraft lighting for the film Close Encounters. I might have been blinded, but the people up front probably had radiation burns.


I found myself having a lot of fun and digging on some of the tunes until The Darkness announced “Here’s a brand new one that we’ve never played before in our lives, one that we’d like to include on our second album. It’s called up shit creek without a paddle.” Uh oh. I do hope that statement was all a part of the fun. I started to get a little lost when I felt maybe they weren’t kidding and although it may have started as a wonderful concept band, they may have actually bought their own act. This required some thought on my part (after I left the show, sorry, I couldn’t help myself).

Things the Darkness might want to consider adding to future gigs to sustain the extravanganza if they are serious about a second album and tour:

1) Stuffing of the crotch (Dem’s idea). I believe this to be a brilliant idea and one that should be practiced often in these cases. With each costume change by the front man—he did three—his low cut spandex swept along his pubic line to show off his flames tattoo coming off a not so impressive package. If the flames on your tattoo run the risk of being bigger than the actual package they’re coming off of, I’d say it’s time for a new suit or a bigger sock.

2) Don’t just throw guitar picks into the audience, maybe throw the actual guitars too, because I wonder if they were needed anyway.

3) Drum solo. Where the hell was that? I was anticipating it all night long and it never came. Any self-respecting 80s throwback should know that this is the reason everyone comes to the show.

4) Additional love lost ballad. My friend Bill always told me that the only reason metal bands included them in their set was because it afforded the boyfriends time to get more drinks and make a bathroom stop. They had one ballad, which reminded me of Journey, but it just wasn’t enough.

5) More mid-air jumps ending with high-fiving on stage between guitarists. This is just fun to watch and seems to get the audience revved for the next round of one-chord solos.

6) Guitar solos played with body parts. They had the guitar solo being played behind the back, which works if you are Jimi Hendrix because you are already a guitarist. But when your pink glitter guitar has stopped being the major focal point, and you are actually trying to play the guitar, things like playing with tongues, your butt, or maybe your hair. If they had piled high 80s glam metal hair, it would have been stiff enough to pick out a couple chords.

7) Gymnastics lessons. The lead singer attempted many David Lee Roth high splits jumps (and I have seen David Lee Roth pull them off live), but he ended up looking a little like a sad rendition of leap frog or possibly kindercare tumble mat hour. Unless that was the point, then kudos Darkness for the comedy. They should add more slip and falls to the show, it might be even better.

8) Not sure if it can be done, but I might like to see a tragic gardening accident occur onstage with the drummer. Maybe he could practice horticulture while doing his drum solo and then self-combust…. And they could pull someone out of the audience to go on tour with them as replacement drummer. It would be a combination of the movies Spinal Tap and Rock Star.

9) Try to hide the surprised expression that you are actually onstage playing music. Mr. Thin Lizzy t-shirt man reminded me throughout of someone saying, “Hey everybody look at me… I’m playing a guitar!” I swear when he had to do the third guitar change, he was still feeling around inspecting the guitar like “Where the heck does this thing unplug from?” Then the roadie had to help him figure it out, so it’s good that they have some assistance.

10) Go to 11.

--Becky

The Cooper Temple Clause

Date: Tue Mar 16, 2004 9:34 pm

The best of plans--go so awry. I got to see TCTC in Toronto and it ranks as one of the best shows in my life. What I saw in NYC (about a 40-45 minute show) was not just doubled--but 10-fold. 15 songs stretching over 1.5 hours and all on fire. Was lucky to be standing at the stage in a great club--Lee's Palace. Even copped the set list. The crowd screamed for more after the band left and the music was turned up and the lights on. The band literally brought tears to my eyes. Songs like "Did You Miss Me" completely changed when used toward the end of the set instead of an opener like in NYC. Music Box continues to be one of the most amazingly performed live songs I have seen. I will use the October review comparison--no band has done this to me since Roxy Music in early 1970s. Didz has to be the best bassist in rock and great to look at. Ben is the front man extraordinaire--mouthing nothing but feeling where the music is going until his next line. The smiles from the entire band, knowing their words are coming from Ben's mouth and being completely comfortable allowing him to voice their poetry. At the same time, every band member except the drummer mouthing every word whether they are near a microphone or not. Again, except the drummer, everybody in the band performs whatever function is necessary to achieve the sound. The CDs just can't do them justice--even blaring on headphones. I love this band so much that having to miss them in Detroit and Chicago justs eats at me. But, shit happens. The Toronto show was total magic and if I didn't have to work I would follow this band wherever they go. I feel so fortunate to have just seen them again. I can't wait too long for another fix.
--Dem

Libs/Franz/BSP

From: Neil
Date: Tue Mar 9, 2004 12:12 pm

Saw the Libertines on Saturday, the middle of three London gigs that rounded off their UK tour. They filled the 5,000 capacity venue for all three, so it probably marks their entrance to a higher plane of rock notoriety or, if you prefer, fame. We spent most of the afternoon in the pub chatting to all and sundry, among them four lads who had traveled down from Liverpool. They'd already seen the band in their own city but were so stoked they had to see them again. I know how they feel! I'm afraid that gig details are sketchy because of the aforementioned pub stop and various Libs-style indulgences, but suffice to say they are still on top form and the new stuff sounds as interesting and idiosyncratic and energetic as ever.

Glad Dem & Co liked BSP. I like them too, but can see they are very much an acquired taste, so Heidi may find they are not for her. Their shows are always a spectacle and it sounds like the Chicago one was no exception. Did the giant bear make an appearance?

I trust all you Americans will be making every effort to see Franz Ferdinand on their current US tour. Trust me - it will be worth it. And remember - it's leather for leisure and velcro for sport!
--NeilM

British Sea Power (Empty Bottle, Chicago)

"Bring me...... a shrubbery!!"
"A shrubbery?"

Yes, a shrubbery! And there was no lack of it at The Bottle Saturday night. I've been sick as shit all week and had to talk my way out of a hospital stay on Thursday, but there was no way I was going to miss BSP on Saturday! I wanted taxidermy animals and a hefty side order of shrubbery and I was going to get it! Damn it!

Standing at the stage had it's advantages and disadvantages. Advantage: we were able to grab the keyboard player's shrubbery ourselves and wave it around for a while- (we feared pissing people off, but figured to hell with it! Wave the shrubbery!! Wave it! Share it!! Pass it!) Disadvantage: getting a face full of dandelion heads and assorted feathers and other really bad things to breath as the band came on stage and dumped a big old bag full of forest findings on the front row faithful.

I agree whole heartedly with Dem, the musicianship demonstrated was absolutely amazing, but as usual, what struck me was how much fun these guys were having on stage! My favorite, was at the end of the show when the keyboardist jumped up from the milk crate he'd been riding hobby horse style all evening, (adorned in our stolen shrubbery and a fallout helmet with a duck and some leaves stenciled on it) grabbed the guitarist and flipped him over his back, holding him upside down while the dude kept playing, then they both tumble to the ground, somersaulting around the stage, (still playing mind you)....brilliant! They blew me away too! Well worth the health risk kids!

Opening act Kaito UK (?) were an interesting flashback for me. Reminding me at times of The Slits, The B-52's, X-Ray Specs and as Becky pointed out Belinda Carlisle (of The Go-Go's). Wish they had varied their sound a little more, but I really did like what I heard and saw.
--Sky

British Sea Power

From: dem
Date: Sat Mar 6, 2004 7:57 am

An old AB Fab line--the genius of Jimi Hendrix was that he could stand up at all. British Sea Power, I expected the insanity and got a double dose. I didn't expect the intensity, focus, and musicianship that I saw tonight. But, after replaying the CD--The Decline, I don't know how I could have missed the obvious. Even so, there is no describing what this band does as a closing and when the set is done it is done. Asking for an encore would be completely without class. Asked anyway through applause but never expected them to return. If you like or love the CD--this band will blow you the fuck away. If you don't dig it, the show may not win you over--but it is so very worth checking them out at least one time.
These kids seem very young, and I have wondered whether The Decline might have been all they had to offer--kind of a very brilliant and lucky start--but what now. The new material is so much more and the working of the old material was to a T. Insanity and modesty. They seemed genuinely concerned about pleasing the crowd, and for the unsure--they put on the best show so far in this very new year. Another great guitar band that understands how to use the keyboards. Tight, tight, tight throughout the show. Never so tight that it didn't seem like total madness. Don't miss this show if you can help it and also don't miss the opener KAITO (another post in itself).
--Dem

The Gossip

“Well I guess today’s the day…. It’s been a” week “ago today” since The Gossip came to play “and sometimes it still gets to me”. I know Beth will forgive me for playing with her lyrics for my intro. I just couldn’t resist.

Chicago was graced with 2 Gossip shows last week at The Bottom Lounge. Thursday night was a tightly timed all ages event with a surprisingly small percentage of young fans in attendance. The 3 support acts were timed down to the minute, set changes were swift and orderly and there was no time for fooling around. Though I had never heard of them before, The Tyrades impressed me with their high energy, ballsy, post punk 20-minute assault of a set.

As expected, The Ponys delivered a strong set of alt/pop confections. I was pleased to see they have moved toward a more balanced and nuanced set that moves away from simply aping Television and Richard Hell and now features more vocals from their 2nd guitar player (Ian?) and their lovely female bass player. Luckily, I had the good fortune to only have to stand through one dirge by Young People, (who you may or may not remember as the band that Dem voted worst band he had to muddle through at CMJ this year.)

Beth and Co. arrived late (which as Beth joked later is fairly standard) and were only given a line check before they began their set. Someone is doing something right over at the Bottom Lounge, because the sound was perfect. Beth’s vocals were strong and crisp but surprisingly ethereal and sweet, as she let loose with the first few lovelorn bars of “Yesterday’s News” in answer to Nathan’s off key guitar cum bass line crunch and Kathy's rock solid beat. The band seemed harried due to the strict 10pm curfew; and even though I loved every short minute, I never felt like they ever really hit her stride Thursday night.

This was not the case on Friday! Maybe it was the incredible energy generated by support act, Mahjongg, who presented a super funkafied set of upbeat dance music that blended, “Fear of Music” era Talking Heads (think “I Zimbra” and you’re there), tribal rhythm mayhem with an angular, choppy, Gang of Four guitar squawk and bass heavy stomp…. maybe it was something as simple as not having to rush to the venue and get on stage without a proper sound check, or being pinned in by an all ages curfew. Maybe it was because moments before the set began Beth realized she was bleeding all over her brand new underwear…… but The Gossip let out all the stops on Friday. Beth was more playful, the band played a longer more varied set, and really seemed more relaxed. Still absent from the set were fan favorites like Lesson Learned, Sweet, Sweet Baby, Where The Girls Are, Heartbeats, and Southern Comfort. But the band delivered stripped down, power versions of Jason’s Basement, Fire Sign, No, No, No, Don’t Make Waves, Dangerer and Light, Light Sleep from Movement as well as Swing Low, Got all This Waiting, and Bring it On, off That’s Not What I Heard plus Arkansas Heat, Gone Tomorrow and Ain't it The Truth from the Arkansas Heat EP.

I’m fortunate to hear a lot of great music in my daily life, but few bands that have come up over the last 10 years have managed to touch me the way that The Gossip have. Perhaps it’s the way they distill the basic essence of roots/gospel/blues swagger and smash it together with raw, stripped down guitar/bass riffs (Nathan only played with 4 of his 6 strings both nights) and straight ahead bombastic drum lines, which create the perfect backing for Beth’s super soulful, Joplin reincarnated vocal blasts and the real, honest, heart felt emotion behind her lyrics. This simple, sparse 3 piece really achieve a perfect balance that I feel would be tainted by big production values or more professional/slick backing players. Not to mention, they are really genuine, nice people!
--Sky

Puddle of Muck does a Creed

Subject: And the crap nu-metal slowly disintegrates!

Puddle of Mud vocalist WES SCANTLIN has been charged with disorderly conduct, and pelted offstage by 'fans'.

The band were playing at the Headliners Club in Toledo, when the drunken singer, confessing he was "too fucked up to perform," threw abuse at the crowd as they pelted him with random objects.

The rest of the band had already walked off stage after performing four songs, but Scantlin remained on for an hour and a half, playing indistinguishable tunes to an agitated crowd, before dropping his guitar onstage, reports Dotmusic.

The frontman was arrested on returning to his dressing room for 'disorderly conduct-intoxication', and then earned himself another charge for spitting in the police car on the way to the station.

Scantlin was later released on bail for $150. No comment has been made by the band.
--Dem

The Carlsonics (at Schubas, Chicago)

Monkey Paw (Chicago band) opened for Carlsonics, a good time overall. A lot of fast drums and matching beat line bass, and then change up to a whole other beat, then string you back to the first lines. There were a few songs that stuck in my head Hey Sailor, Go Fuck Your Mother (the opening song), White People and some new ones they played that I didn't catch the name. I can see now why Monkey Paw took a break from their hiatus to take advantage of playing with The Carlsonics. Yet another sign that they're a cool band, they came out to support a touring band they knew was good, despite not being ready, and set up a great show for them. Check them out if they stop in a city near you when they officially tour.

Entree The Carlsonics. First, I have to say I dug deep into my pocket for the $10 CD, despite not having much cash to spend, because these guys deserve support. They had a little crowd around the merch table afterwards--it really showed what an effect this band had on the room. Many a merch table I have seen band members sit lonely, but not these guys. This 5-piece fucking rocked and pulled off a sound that was so huge that they easily blew away some of the bigger names I've seen in even bigger venues. I think they could pull off a large stage even now. Schuba's is a very small venue, but wow, for a Tuesday night, they really had a nice crowd... I surmise many for the local band Monkey Paw, but no fast departures here. Instead, the crowd grew.

A slight departure: I met the band before the show while they talked with Dem and Ilene. To describe them is strange because they are pretty nondescript. All of them wearing T-shirts, jeans and looked like they just came from hanging out at the corner 7-11 with Coca Cola Slurpees. They were all very nice people, talking lots of music and very excited about what was going on in sounds, until the lead singer decided to wander off and play some vintage Atari games. In all the bands I've seen in the past year, this band proved one thing to me: offstage and onstage are two very distinct worlds. We all know it's true, but you have to see this metamorphosis to believe it. They blew the lid off of the phrase "leading double lives." And I wouldn't change a thing about them ... their look is exactly as it should be.

The lights go down, music starts, and Mr Atari jumps off the stage (I'm thinking, what the hell, that dude is the singer? okay then.) and literally pulls the front-row standers toward the stage, bridging the 20-foot gap immediately. Everyone moves up, how can you refuse? I think he won the audience right there within the first minute. The singer jumps back on stage in his cords and tshirt and proceeds to mutate from vintage video gamer geek (bowl cut and all) into Mick Jagger, in the best of ways. But then he's also got this jumping thing going on, maybe he has his own personal trampoline built into his shoes, I don't know. Pure energy, not only from him, but the entire band. It was like flipping a transformer, all hum and wattage, which grew exponentially throughout the show. The music was so huge, they might as well have started the set by throwing a giant blanket over us all, nailed down the edges to light a whole other universe as our new reality; it was instantaneous. Sensory deprivation tanks? Who needs 'em. Just see The Carlsonics and get ready for a saline floating sound waves and pay no attention to that live wire flipping precariously close to the water's edge ... yeah, you'll get a jolt and be better for it. You'll want more. Shock treatment never felt better.

After two minutes I turned to Dem and said, "I know exactly why you said it doesn't look like this sound should come out of them." As a unit, they were breathtaking to watch. One of my personal favorites were "Great Cat!" "Senator Trudge and The Clap Division" "Malaria Drive Through" and "Gene Jacket" (very Pixies) both on the CD and live. And let me tell you, what you hear on the CD translates beautifully, but you have to see them live.


The bass player, a tiny woman looking very quiet, but onstage she ripped the bass to shreds and pounded out sound three times her size to match the drummer, who's clearly insane. The boy moved so fast that it was unbelievable. The two guitarists very switchy into the changes of much melody and then smashing into walls with vintage feedback riffs that remind me of watching big cats stalk prey. It's sexy, primal, hypnotizing. Then there's the other sounds of guitars, bass, drums and vocals all coming together into a crazy jump up and down tantrum. At one point they went off on some trippy tangent music, no vocals ... and end this great 3-minute interlude with the audience screaming for more. The singer says, "What are you all hippies or something?" More interaction with the audience and between themselves onstage, they were really into each other and had so much fun and love going on together onstage it was seamless, naturally flowing to the audience. If you're that wrapped up in each other, I find it's infectious, the whole room joins the affair.


Toward the end, the singer switched up with the bass player for a song, and he starts playing the guitar and then the bass, able to play both roles. Impressive, but never taking themselves too seriously, the drummer yells out "Someone take that bass away from him." They finished the show with the bass player singing, and the singer playing bass, to everyone's favorite tune, "So Long, Farewell" from The Sound Of Music. hahahhaha. And the audience screaming "More!" Much fun.


All I can say is: DC rock, holy crap--what happened here? Some of my favorite bands. First Weird War (formerly Scene Creamers), then The Apes, and now The Carlsonics. It's something in the water, it's something in the DC brain gray matter, possibly it's due to living amidst the paranoid political secrets of the nation that has borne this geological shift music. Like watching the earth open, at the edge, I want to jump in just to see what’s happening below the surface in Molten Lava Town. Oooo, hot.

Lyrics are also awesome. I can't find anything bad to say. Go see The Carlsonics, you will not be disappointed! Definitely a band to watch and to stalk. Thank you for reading my review. :) Can't help myself when I like a band as much as I did these guys.
--Becky

Nightfreak and the Sons of Becker

From: dem
Date: Wed Feb 4, 2004 4:54 pm

I really started getting into The Coral about fall of last year and caught up on music by them that I had missed. The new limited release "Nightfreak and the Sons of Becker" is the most fun thing they have done to date. Very simple song structures; but what they do within them is so wonderful. Not the least overproduced and from stories I read this release was kind of a spur of the moment decision on their part while they work on releasing what is supposed to be their "real" album. If you like The Kinks circa Village Green / Arthur--you will love this album. This is the most purely entertaining album I've heard in this very young new year. There is only one pressing of 75,000 copies of this (again, from what I have read) and I haven't seen it in Chicago. I ordered out of either Tower or Amazon UK. Definitely a must for Coral fans and a great play at any party.
--Dem

Another Pretty Face

From: dem
Date: Wed Jan 28, 2004 10:52 pm

First Listen Review:
1973, NYC, there was a band called Another Pretty Face (APF). They were huge on the east coast. Music magazines didn't understand glam any more than they understand music now. There were great write-ups and pictures and lots of "sings like Bowie, sounds like Roxy" comparisons. I actually liked those references. APF is my favorite glam band of all time. I am biased a bit because T (front man) was my boyfriend and I spent some time living with him and the band. I have had these songs in my head all these years and have tracked down T's current project (Zen For Primates), as well as a 1980 APF release that didn't do the band justice at all. I have always wanted that 1973 APF sound on my turntable instead of just a memory. All these years later, it is finally being released. It is produced by Ed Stasium, and it is the real first thing that he produced.

His bio:
Producer Ed Stasium first surfaced in 1970 fronting the band Brandywine, appearing on their sole LP Aged. When he returned to the music industry three years later, it was as a recording engineer, working on a wide variety of projects ranging from the Chambers Brothers' Unbonded to Barry Miles' Magic Theater to Sha Na Na's Sha Na Na Now. Stasium's long affiliation with American punk and new wave -- and the latter-day alternative rock they jointly inspired -- began in 1977, the year he engineered both the Ramones' Leave Home and Talking Heads' Talking Heads '77. His production career began a year later with the Ramones' Road to Ruin, followed in 1979 by work on the group's It's Alive and the soundtrack to the film Rock 'N Roll High School. Stasium enjoyed perhaps his greatest success during the latter half of the 1980s -- in addition to engineering Mick Jagger's Medium Cool, he scored a major hit with Living Colour's Vivid, and also produced acclaimed outings from Soul Asylum (Hang Time), the Long Ryders (Two Fisted Tales) and Julian Cope (Saint Julian). In 1990, he helmed the Smithereens' hit 11, reuniting with the group a year later for Blow Up; Marshall Crenshaw's Life's Too Short and Motorhead's 1916 appeared around the same time. Productions from acts including the Hoodoo Gurus (Crank) and the Reverend Horton Heat (Space Heater) followed as the decade progressed. ~ Jason Ankeny, All Music Guide

I'll be posting more about the APF release as the issue date nears--looking like 6-8 weeks. T sent me a copy (pre-final mix) but it is brilliant. The great lost glam album and, perhaps, the definitive glam statement. As queer as Jobriath, as musical as Roxy, and as a band they were absolutely unafraid to cover a good song. Versions of Bang A Gong and Da Do Ron Ron are not to be believed. Can't wait to share this with you.
--Dem

Big Day Out plus -- Sydney

From: melanie
Date: Mon Jan 26, 2004 7:02 pm

Here is a rambling Sydney Big Day Out account.... I went to side shows all week, then went to both Fri and Sat BDO.

Having seen the Darkness 3 times in the last week, OMG they are amazing live!!!!!! I don't care if they are serious or not, I think they are serious, but in a very knowing theatrical way. One of the lycra jump suits on Saturday had a devil's tail on it - you don't allow that if you can't appreciate the humour of it. I saw them in a small club, and they put on the most amazing show. Saw them twice at the BDO, 1pm, relatively few people there and they just owned that stage. They are probably one of the most entertaining bands I've ever seen. Music totally derivative, still rock, but they've put the "show" back in showbiz. I think they are more theatre than band, but what fun!! They were followed by The Datsuns, who were really good, made me forget The Darkness for a while, but after they'd finished I was back to The Darkness was my highlight.

Also saw The Strokes 3 times, 2 BDOs and a 5000 punter hall. There were very tight, but only Julian had any interaction with the crowd, it was almost like an incredible backing band, with the singer. The lights were very pretty to look at, but added to the non-personality on stage - they whole stage was continually awash with almost a single colour, nothing was picked out. I did enjoy them a lot though - the 2 BDOs I watched them form the VIP area in the stands – very glad I did the first night since a huge thunderstorm came over mid set, amazing pink sky with the lightening, and it poured. The Saturday BDO, still watched them from the comfort of the stands, and kept being accused of enjoying them too much - jaded industry people...

Saw Muse at a smallish 1200 punter club show, and most of their sets at the BDOs, very dramatic and tortured. Seeing Muse and Lost Prophets, I can sort of understand what TCTC came out of, I think I wasn't keeping up with English music there for a while...

JET were amazing (keep using that word) They've got a keyboard player for some of the set now and it's filled out the sound a lot. Their confidence level has gone up, and they didn't have the weak vocalist singing any songs in the 45min set - very hard, and obviously enjoying themselves. Pia from the Dandy Warhols played tambourine for Are you Gonna be my Girl? Members of The Strokes, and Kings of Leon watched from the side. They played on a side stage, but would've done OK on the main stage. They certainly pulled a lot of people off to the sidestage - the most packed I saw it both days.

I managed 2.5 songs of Metallica before retreating to the saftey of a KISS cover band on a small stage - I find Metallica a bit too fierce to cope with.

Flaming Lips were the last band of the day they were on the same side stage Jet played earlier - the Friday night show they had Peaches and entourage in costumes, Saturday was The Strokes (Fab with Drew), Jet, KoL, and others. Delightful show, made everyone very warm and fuzzy and hugging everyone they bumped into afterwards :)

Saw a lot of other stuff, but nothing outstanding (except Kamahl which would probably mean nothing to anyone other than Australians, so I won't bother with that bit... his t-shirts sold out by the 2nd day of his 4 BDO appearances...)

Anti-Flag

From: Andrew
Date: Mon Jan 19, 2004 5:27 pm

Wow, so much energy was put into that show, I can't even describe it. The opening band was Much the Same, followed by None More Black, Against Me!, Rise Against, and finally Anti-Flag. Not much happened while Much the Same was playing, there was an attempt to mosh, but the security guards were always breaking it up. They seemed like they were really tired up on stage. Well, NMB got up and they were even better than the last time I saw them. They played about 3 times faster than they recorded it. They were amazing. I managed to get surfed up on the stage, and took my first stage dive. Amazingly the crowd managed to catch every diver. The security guard saw me, so I got down. The mosh pit was really good- pure slam dancing, and no nazis, just the way I like it. Sadly NMB couldn't play longer, but Against Me had the crowd pretty aggravated. People were throwing a lot of random items at them including- water bottles, quarters, nickles, condoms, food, and paper. Musically they were okay, but not as fast as I hoped. The security at that point couldn't do anything about the mosh pit, so they went on the stage and tried to stop anyone from diving. They were catching quite a few people. Well after Rise Against started playing, this one kid got surfed up on to the stage and he waved at the guards, they took it full sprint at him, and he jumped into the crowd, the security had hold of his shirt, but he slipped away just in time. After he successfully dived the whole crowd cheered for him, and a few songs later, they just gave up on it--PUNKS WIN AGAIN!!!! Rise Against was very fast and aggressive, their lead singer leaning into the crowd was intense, and having us shout the words into the mic. and Anti Flag, when they took the stage it was madness. There was a huge circle pit, and at one point in time about 5 guys jumped into the crowd at the same time, like it was synchronized swimming. So I got on stage again, and started dancing around with the band. I ran up to the end of the stage, and took the biggest leap I could, the crowd surfed me for quite a while, and then some other guys went on stage and started singing into the mics, so by the end of the show there was a full sized mosh pit on the stage with the band. They closed with their song Die For Your Government which everyone knows the words to, and I and some other kids I met at the metro happened to recognize each other, and we were all at the same mic singing the words. It was awesome. Milwaulkee has got a great scene.

YYYs show in NYC

From: Becky Little
Date: Sat Jan 10, 2004 12:59 am

Saw one of the best YYYs shows so far. I’ve only seen them twice so this will make number three, but I must admit I was kind of looking forward to this show only for the fact that I was lucky enough to get a chance to see them in NYC. Started the set with the hidden track off Fever To Tell and that’s when I had to run all the way around the back of the room and off to the side for a better view. My sound wasn’t so hot standing off to the side, but I saw Karen the whole time parading her transparent glitter bodysuit, pink fuzzy boa, complete with leather belted bikini bottoms to match. No doubt this catchy ensemble was inspired by the amazing weather in NYC this weekend… it’s a tropical – 4 degrees wind chill. Parkas in the audience and Karen O in her happy home outfit, the audience may have loved her for that alone.
The sound was much better at Metro in Chicago, and if I could have put this show at the Metro, it would have been perfect (and probably warmer weather in Chicago right now, which is just sick and wrong). But then it wouldn’t have been this show, for the location lending to Karen’s energetic mood. She was all over the stage jumping around… very much her own cabaret and burlesque show all at once.

It was a little different in the sense that she was very quiet while at the same time screaming wonderful deep-throated desperation… and then back to short squealing and crystal vocals. After seeing YYYs in Chicago back in November, it was a little disappointing—an ill Karen and a short show. I have to say right off that about half-way through this show, I was looking at a packed room, listening to Karen O screaming like no other times I’ve seen, and one thought ran through my head. Karen loves NYC and NYC loves her, and she wants to make this special. About 10 minutes later, Karen said to the audience, "I just chipped my tooth on the microphone trying to impress you. Who gives a fuck, right? This is fucking NYC. It’s been sooooooo long. Look at how many people are here!" She just kept repeating NYC … NYC. Then went on to say, "I’d like to dedicate this next one to NYC but I’m not even sure if it’s good enough for you. But I dedicate it anyway." She launched into Art Star. She may have chipped more than a tooth on that one. Beautiful.

She hit almost every song off of Fever To Tell and the EP. Some highlights for me were Bang, Miles Away, and Y Control. But tonight’s version of Modern Romance was truly amazing. The vocals were perfection. It really got me. So clear, so heartfelt, as if serenading all of New York. That’s how she ended up the show (last song of a three-song encore). She made them get the disco ball going, swirling lights (gotta love the disco ball romance against a black backdrop), standing center stage quite still and just delivering her voice to fill the room scapes. I closed my eyes and let this one just filter through me. I guess Karen in her home town does make a difference. I was glad to have seen this show despite the many other theater attractions, and after all, tomorrow is another day. She couldn’t say enough about how glad she was to be at home and really gave herself. I just felt like it was very personal for her and I have no doubt that she was trying very much to impress her gratitude for NYC’s existence. It was clear freedom, and I loved her for loving us. Oh there’s nothing like a little music to make you feel right at home. I was so inspired, I walked the 14 blocks back to the hotel (I’m on a business trip) past trash bags piled on the front curbside city streets waiting for pick-ups, the leftover holiday lights, Times Square flash, all-night delis, angry buses, blaring horns, the XXX shows, Empire State Building popping it’s horizon, shoes on pavement of frozen spit; then quiet narrow side streets with their tiny parks, sleepy offices, and brilliant architecture, both old and new. And I think, how could you not love it all? Everything seems a serenade to wake in me the safety of dreams.

Flaming Lips/ The White Stripes

From: dem
Date: Sat Jan 3, 2004 12:46 am

The Aragon Ballroom is exactly that--a ballroom meant for orchestras, not electric music. I've been hanging there for 30 years and this show made me affectionate toward the space for the first time in a long time. Both the Lips and Stripes had done intensive soundchecks and from the minute the Lips took to the stage--it was obvious this was going to be a special night. The Lips did their usual trippy show with a good choice of material and all the psychedelics that one would expect. Then, they literally passed the baton to Jack White. I've seen the Stripes both brilliant and going through the motions in the past. They were on fire as Jack claimed his rightful place as the new guitar god. The stage was framed in red--almost as if the stage had become an intimate caberet. Jack had the spotlight on him throughout the night as well as the stage being lit. The Stripes had some very cool (and much appreciated) psychedelics of their own to turn loose on the crowd and Jack provided guitar solos that made it hard to decide between dancing to the beat or just staring in awe. All the potential that Jack has shown is suddenly very real.

Elephant hinted that Jack would confidently declare himself one of the world's great guitarists--and his performance backed it up. The song selection was decidedly upbeat, as a New Year's Eve show should be. Meg's Ann Margaret / Loretta Lynn persona was only topped by the mammouth sound she demanded from her drums. No, she isn't the greatest drummer--but, as Becky said--she is the right drummer for him at this time. Two CDs ago, it was imaginable to me that Jack would outgrow this "band." He may change lineups in the future—but it won't be because he has outgrown what he has going on right now. The show was simply Jack's guitar caberet and with all of the lights, commitment to performance, and Jack showing that he can deliver vocals with the best of them---it was still Jack and his fucking unparalleled guitar work. One Chicago critic said that Jack seemed awkward in this same room last July and so very at home just these few months later. I didn't get the sense he was out of place last July but I am sure that he has his sights set on much larger arenas--and almost to a person--the crowd that was at this show will follow. The Lips have built their following by delivering the goods live--Jack White proved he can fill those shoes.
--Dem

Flaming Lips/ White Stripes send me to 2004

From: Becky Little
Date: Fri Jan 2, 2004 9:45 pm

i missed Blanche altogether, but after vying for position in the center of the Aragon, Flaming Lips gathered onstage starting off the show with "Fight Test," one of my favorite songs off the new CD. the stage filled with colors and lights to either side of the stage, a giant movie screen backdrop with a naked woman shimmy dancing, surrounded by 20-foot macy's parade balloon figures: happy faced sun, planets, topless females wearing assorted animal heads (the pink panther, a white tiger, etc) and a huge glittery waving alien to tie it all together. i was immediately placed in the middle of the universe, which is exactly where flaming lips belong. they started the trip into 2004 right: great love for everything, sex, fun, twisted, let's fuck everything and come out whole, fulfilled and happy for the spectacular oddity we all are. connecting us all, as if to say let's create our own private universe to celebrate the passing of one time into the next. yet i always get the feeling with flaming lips that no time or space boundaries are applicable, this was no disappointment in seeing them live. then the balloon drop (before the big 2004 drop). giant balloons, yellow, green, blue, white and then regular sized ones to go along, most of which obstructed the view of the stage, but as the music played, it was so right on because it only placed me even deeper into the show, reminding me of planetary life bouncing all around us--here comes the giant yellow balloon... hey that's the sun... and as quick as it descended upon me, it was batted away by my neighbor. there was a great rendition of Yoshimi Battles the Pink Robots Pt. 1, everyone goes nuts. later in the song, Wayne gets out this rubber faced monkey puppet and asks us all to sing with the monkey (not much to ask since much of the show was a sing-along anyway). and who can turn down singing along with a monkey? not me. all i remember is laughing and a giant monkey face in the camera onscreen contorting faces and wide-mouthed, holding the longest note, "but you won't let those robottttttts-----------" the monkey outlasted us all.

one highlight for me was the segways that they showed on the movie screen backdrop. first a black screen with white letters read, "A Public Service Announcement." they show a guy walking into a public bathroom stall, sits down on the toilet, pulls open the top of his head and takes out a piece of his brain. then a close up on his bloody brain piece and a credit card as the guy proceeds to cut up his brain and does a few lines. close up on the nose. Black screen and then public message: "Don't Snort Your Brain" then "Just Like the Flaming Lips... Like We Do." beautiful. of course, a second highlight, Lips do their tribute to Jack White "Thank You Jack White..." and everyone sings as well. let us not forget the sing-along to Auld Ange Syne" Wayne pointing out that it's "Auld" not "Old" so sing it "Owwwllld." another point, crowd goes nuts to the twanging guitar, immediately singing before the song even starts, the movie screen switches to a girl rolling around in a bath with, yep you guessed it, tangerines. everyone singing along to, "She Don't Use Jelly." they ended it all up with "Do You Realize??" perfection. they didn't do many songs, but stretched them as long as possible without ever breaking the magic. i was into this show... all i felt was: love this moment -- just love all the moments -- because it's not gonna last forever, but tonight, let's believe it will. we all did, and happily so. just happy.

a big break in between and the crowd is still riding the good vibe of the Lips, then White Stripes burst in When I Hear My Name. You've all got the playlist from Sir Neil (thanks Sir Neil!). I will rely on Dem and Ilene go with bigger musical commentary, but all I can say having never seen them play live before is: Jack knows no bounds, he could play a stalk of celery and make me wet....he'd probably do the same for the celery. Meg delivers a hit to frame such blazing blues riffs that i can't even imagine a drum solo. why? it's all about getting that guitar to frenzy unreachable heights. and to see him play it like nothing, true amazement. some swaying notes to turn a body into rubber. I think if this music could materialize, i'd see skyscrapers bending against red skies while vibrating shudder jello. Jack would say, "you want the sears tower? here just let me bend it over for you."

then the best part of the evening... the countdown to midnight. as we hit about 30 seconds Wayne was yelling out "ahh come on, hurry up!" then the bullhorn to entrée 2004 and all-arms and troubles thrown to the skies, as red white and black balloons tumble over the audience to that animal stalking low guitar riff and Meg's slamming beat into Seven Nation Army. i was screaming my head off. Wayne blasting off the bullhorn with siren sounds at all the right places. hello 2004--a seven nation army couldn't hold me back. brilliance ... nothing better. Ball and Biscuit -- just reeked of sex and blues slide. one particular fun thing for me was listening to Jack sing. high voice falsettos everywhere (at times i had no idea what he was even saying-- i didn't care. i just wanted to hear him frantic.) it added such twisted audio fetishism that even "We're Going to be Friends" became a little dangerous. i loved it. "Hardest Button to Button," vocals were right on and made me think of a family reunion of serial killers recounting the kills. it was so infectious, his singing, that even Ilene sang some crazy little ditty into my ear matching the high scratchy notes that i had to burst out laughing. she was possessed by Jack, as were we all.

not to say anything less to Meg, she was so into his space kicking down walls, busting down doors, clearing the path, a drum stick as her machete in the jungle as if to say, "Jack, you need some room to play baby? here let me clear the rainforest just to give you a little room." anything for Jack. i must say that my friend Carole, who is not a white stripes fan, said to me on the way out, "you know, i've gotta tell you. that little boy can get sounds out of a guitar that i can't even imagine. it was truly amazing." she may have been converted.

let this be the best new year entrance. they led us in, they led us out, with nothing but reassurance that music can make it all better. here's to 2004. and i hope you all had a beautiful one. :)