OZ Beat: Music That Matters

Magnus CD review in The Big Takeover

2004-04-22T07:11:00.000-05:00

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

2004-04-18T19:01:00.000-05:00

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

2004-04-18T00:23:00.000-05:00

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

2004-04-11T13:35:00.000-05:00

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

2004-04-08T00:26:00.000-05:00

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

2004-03-28T16:11:00.000-06:00

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

2004-03-27T13:18:00.000-06:00

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

2004-03-16T11:02:00.000-06:00

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

2004-03-09T14:12:00.000-06:00

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)

2004-03-07T12:52:00.000-06:00

"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

2004-03-06T09:57:00.000-06:00

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

2004-02-29T01:00:00.000-06:00

“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

2004-02-24T13:32:00.000-06:00

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)

2004-02-12T12:59:00.000-06:00

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

2004-02-04T18:54:00.000-06:00

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

2004-01-29T00:52:00.000-06:00

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

2004-01-26T21:02:00.000-06:00

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

2004-01-19T19:27:00.000-06:00

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

2004-01-10T02:59:00.000-06:00

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

2004-01-03T02:46:00.000-06:00

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

2004-01-02T23:41:00.000-06:00

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. :)

True Sounds of Liberty (TSOL)

2003-12-24T00:38:00.000-06:00

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

my big 2003 concerts

2003-12-17T22:34:00.000-06:00

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

Gigs of 2003

2003-12-17T02:53:00.000-06:00

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

Suede

2003-12-14T01:32:00.000-06:00

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

Best shows of 2003

2003-12-13T01:01:00.000-06:00

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

Turbonegro

2003-12-09T14:58:00.000-06:00

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

Brief Review

2003-12-03T15:41:00.000-06:00

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

POD

2003-12-01T13:31:00.000-06:00

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

Gig Review

2003-11-26T10:04:00.000-06:00

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

The Rapture

2003-11-07T03:43:00.000-06:00

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

CMJ: Pretty Girls Make Graves and The Gossip

2003-10-27T20:27:00.000-06:00

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

CMJ: The Cooper Temple Clause

2003-10-27T13:00:00.000-06:00

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

CMJ Reviews: TCTC, PGMG and The Gossip

2003-10-26T21:10:00.000-06:00

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

The Carlsonics at CMJ

2003-10-26T21:02:00.000-06:00

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

CMJ Reviews -- NMM NYC

2003-10-25T19:53:00.000-05:00

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

Leeds - a bit late

2003-10-21T15:00:00.000-05:00

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.

Mars Volta / Saul Williams

2003-10-15T13:17:00.000-05:00

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

Scene Creamers

2003-10-11T08:56:00.000-05:00

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

Polyphonic Spree

2003-10-08T13:00:00.000-05:00

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

BRMC

2003-09-28T07:23:00.000-05:00

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

Interpol

2003-09-20T17:52:00.000-05:00

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

Andrew W.K.

2003-09-04T06:13:00.000-05:00

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

Magnus

2003-08-29T00:43:00.000-05:00

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

The Strokes/ The Barbs/ Miscellaneous

2003-08-17T06:56:00.000-05:00

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

JET

2003-07-26T16:51:00.000-05:00

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

Mower

2003-07-24T21:15:00.000-05:00

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

BRMC club tour, motherfucker, fourth of july, vue in nyc

2003-07-03T20:51:00.000-05:00

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

Loretta Lynn / Jack White

2003-07-01T13:34:00.000-05:00

(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.

The Apes

2003-06-30T11:58:00.000-05:00

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 Apes

2003-06-30T11:19:00.000-05:00

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

Anti-Flag

2003-06-27T18:54:00.000-05:00

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

Rocket From the Tombs quick review

2003-06-05T03:01:00.000-05:00

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

Starlight Mints

2003-05-25T12:27:00.000-05:00

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

The Bamboo Kids tour update

2003-05-22T20:02:00.000-05:00

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

Magnus

2003-05-21T23:15:00.000-05:00

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

The Bamboo Kids

2003-05-07T19:40:00.000-05:00

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

Trail Of Dead

2003-04-30T11:44:00.000-05:00

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

Ikara Colt/Spoon

2003-04-01T05:03:00.000-06:00

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

Scene Creamers

2003-03-31T09:41:00.000-06:00

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

The Warlocks

2003-03-24T18:17:00.000-06:00

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

Godspeed-You Black Emporer

2003-03-22T17:35:00.000-06:00

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

POD--read it and vomit

2003-02-20T13:29:00.000-06:00

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."

DOLL and Interpol

2003-01-25T03:43:00.000-06:00

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

Datsuns

2003-01-18T16:53:00.000-06:00

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

When I Was Cruel

2003-01-14T17:09:00.000-06:00

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

Elvis

2003-01-14T16:32:00.000-06:00

From: Liz
Date: Tue Jan 14, 2003 2:32 pm

Just bought When I Was Cruel. I really want to love it and I do like some of it. Writing, vocals, production, all wonderful. Great band, although I prefer his vocals with a sparcer sound behind him. I think he's using his voice more instrumentally and I think quite successfully at times, but also pushing it at times. Even that's ok, if you don't take chances, no forward movement. I guess it was Smile and Funny Valentine that I thought were a touch self indulgent. My Funny Valentine is actually my fave song to to sing, but I wouldn't make people actually listen to me, unless intoxicated. I guess he's entitled. I stopped buying Costello after Blood and Chocolate and have always considered him a master song crafter, in any genre.
--Liz

The Used

2003-01-10T12:28:00.000-06:00

Buddyhead does it again, very funny. Neil, didn't mean to use Christianity against Creed--it is the bible-thumping that pisses me off. POD and Creed are very big on "counseling" their fans (although POD is much worse--spending
hours after shows seeking to convert and save members of the audience). Creed has made a point of toning down some of their Christian rhetoric--but they come out of the right-wing southern Baptist movement which is notoriously homophobic, bigoted, anti-Semitic and I have yet to hear Creed say anything to separate themselves from those traditions. What Creed, POD, Lifehouse and others are doing isn't benign in a Bono/U2 sort of way. The crossover of Evangelist-type Christian bands into the mainstream worries me because young kids looking for a place to fit in are easily influenced, especially by rock star idols. I didn't mean to come across as bashing all Christians, just the bible-thumpers. :)
--Dem

Creed implodes!

2003-01-07T21:26:00.000-06:00

This is probably old news--but Creed (especially Scott Sapp (Stapp)) imploded in Chicago. Class action lawsuits have already been filed by attorneys demanding that ticketgoers get their money back--and Scott got booed throughout the concert and then off the stage. Seems Scott isn't quite the Christian role-model he holds himself out to be. Instead of posting all the nasty stuff being written by press and posted by ex-fans--just do a search with the words "Creed" and "Chicago." I never thought Creed would have anything to do with starting my new year just right! His performance would be unacceptable by any band--but remember--he is a disciple of Jesus. It is early in the year--but already the second funniest story—after the buddyhead reviews!!
--Dem

Best concerts 2002

2002-12-28T01:20:00.000-06:00

From: demhopkins
Date: Fri Dec 27, 2002 11:20 pm

Best concerts, the hardest catagory:

1. The Strokes/Aragon Ballroom )(Brawlroom) (hands down the best show of the year--the boys came of age in just one year--and they announced the transition loud and clear. Great new material, no shoe-gazing, not fucked up, a tight, awe-inspiring set in a venue that isn't worthy of a livestock show).

2. White Stripes/Ist Ave. Minneapolis, MN (saw them in Chicago but THE show was in Minneapolis--they loved the venue and Jack played a very long electrifying set before a crowd that loved him--so much better than the Chicago gig, Jack camped it up with top hats and affectations that I never heard in the music. He proved himself to be a complete entertainer--and was totally at home in this great club)

3. Interpol/Empty Bottle (the fact that they lived up to the hype, handled the abuse, and sent the strongest message you could ask for in a band the first time through town--doesn't even begin to describe the show).

4. Bryan Ferry/Chicago Theatre (I saw the Roxy reunion a year ago-- and this show had more excitement, glitz, glamour, and he is the only old fuck that dance like a dork and make it look so fucking cool. Also, the band included Chris Spedding and The Great Paul Thompson on drums).

5. The Datsuns/Empty Bottle (thanks mel, six feet from the stage and what I got was a sore neck because I didn't want to take my eyes off anyone in the band--they were at their peak--and I hope to see them in this form at least once more in their career).

6. Hives/Mooney/ The Metro (everything that can be said about The Hives has been said. They are probably THE live band of the year. Mooney was the best received opening act that I have experienced--enough so that they headlined this club a couple months later and did an even better set--but this pairing was amazing).

7. TSOOL/Cato Salsa/The Metro (match made in heaven. Cato has been taking some shit in the press--but the show was impressive and TSOOL was even stronger than their Empty Bottle Show a few months earlier. TSOOL isn't afraid to be very uncool on stage--and it works so well. I had friends who thought the theatrics were way over the top--but as long as they have been kicking around, they have a right to do it and I enjoyed it. A few behind the back guitar licks would be cheesy on any other band--but it fits TSOOL just right--I hope they keep it up).

8. TOD/ The Metro (Conrad and Jason trading off between guitar and drum is worth the price of admission. This is one band that seems to always deliver 100%).

9. Liars/YYYs/Fireside Bowl (I went for YYYs, but "stuck around" for The Liars--and The Liars put on a non-self-indulgent show that ranks as one of the hardest hitting, fast, in-your-face shows of the year. YYY's--just fucking brilliant).

10. Marianne Faithful/ Park West (if you dig her--it was an all smiles show that built into a great payoff as she did the new stuff but led her terrific band through a lot of Broken English. When it should have been over she announced that she was breaking from a long tradition of using Broken English material as her closer and she returned to the new material. She has every right to be proud of it).

11. Clinic/Apples in Stereo/The Metro (Clinic turned the place into a dance party--completely unexpected; Apples in Stereo really made me like them--completely unexpected. A very fun night).

12. Spoon/ The Abbey (A very tight set from a band that would normally be a little poppy for my taste. Great vocals, some very good guitar, and amazing tunes--Jonathan Fisk wiped me out. At the end of the set, they announced, "we will be better next time." You gotta love that--and they will.)
--Dem

Albums/Singles/Gigs Of The Year 2002

2002-12-21T19:25:00.000-06:00

From: Neil
Date: Sat Dec 21, 2002 5:25 pm

Albums
Billy Childish - 25 Years Of Being Childish
Interpol - Turn On The Bright Lights
Ikara Colt - Chat & Business
The Libertines - Up The Bracket
Mclusky - Mclusky Do Dallas
...Trail Of Dead - Source Tags & Codes

Singles
The Beatings - Bad Feeling
British Sea Power - Spirit Of St.Louis
The Candys - Monitor Rock
The Kills - Black Rooster EP
The Libertines - What A Waster
Sparta - Cut Your Ribbon
Yeah Yeah Yeahs - S/T
Yeah Yeah Yeahs - Machine

Gigs
Strokes - Brixton Academy
Ash/ Hundred Reasons/Soundtrack Of Our Lives/Jet Plane Landing - London
Astoria
Super Furry Animals/CooperTemple Clause - Hackney Ocean
Hives/Bellrays/Buff Medways - Brixton Academy
Morrissey/Libertines - Brixton Academy
Libertines/Candys - Tunbridge Wells Forum
Von Bondies/Modey Lemon - Camden Barfly
Mclusky/Apes - London Garage

--NeilM

Soledad/Walkmen/Hells

2002-12-14T03:58:00.000-06:00

From: Neil
Date: Sat Dec 14, 2002 1:58 am

Went to a gig last night at the Garage, North London. First up were a three-piece of ex-pat American kids, The Hells. Essentially a garage outfit, no bass, twin guitar boy/girl fronted outfit. They sure can rock, but the songwriting is a lacking in real spark. Worth keeping an eye on for the future.

The Walkmen were a much more accomplished five piece. Their stuff is more into the "emo" side of things (I do hate these pigeonholes, but they save a ton of explanation!). I can't tell you a lot about them, other than they are from the US, some of the members used to be in Jonathan Fireeater (sic?), their guitarist loves short stabbing chiming riffs a la Interpol, but their stagecraft is a bit lacking - they really didn't engage the crowd despite having some compelling material. The Soledad Brothers were in town for the second time in a month. For those of you yet to catch them, they are a blues three piece (no bass, two guitars--again!) originally from Ohio, now resident in Detroit. But theirs is more "New Orleans juke joint meets late 60's Stones" than , say, a JSBX- or White Stripes- type thang. They certainly get a good party vibe going, and are fun, but the lack of original material will exclude them from any hope of mass appeal. But do go looky-looky if they hit a town near you if "Robert Johnson meets Get Yer Ya Yas Out" are references you understand and feel drawn towards.
--NeilM

The Liars/ Sparklehorse/ GVSB/ Interpol

2002-11-18T08:41:00.000-06:00

From: Suzel
Date: Mon Nov 18, 2002 6:41 am

Last week, I finally saw The Liars who really rocked the Casbah! Very good stuff. another album to get ... The Coral cancelled :( .. Sparklehorse was a bit shitty. Well, very disappointing. But the highlight of this evening was a French band.. even The Liars were not as good performers as this band called Dionysos. 6 on stage, happy to be there, all smiling and joking :) The band didn't want to leave the stage, neither did we. I already saw them about 6 years ago, we were about 50 in the venue and they rocked it the same way. So if you ever got the chance to see them (they tour outside France too), they really worth it. Half of their songs are in English so you shouldn't be too lost. ;)

GVSB yesterday was really cool. a nice gig.. less energy though than in 95 in Reading. But hey this was a gig in a little French city, nothing comparing to Reading .. They played their whole new album, their 2 famous tracks (Kill the Sex Player and I forgot the other one title) and covered "She's lost control" of Joy Division.

My gigs of this week should be Guitar Wolf (a Japanese garage band who is said to be completely crazy on stage), Division of Laura Lee, The peepshows, Bombshell rock, Raised fist. I'll let you know.

Know anything about Le Tigre? I heard a title and really like it. Now, Interpol.. here are the dates of their tour in US and the first European dates beginning with UK.
--Suzel

USA 2002
05.12. Philadelphia, PA - Gasoline
06.12. Washington, DC - Black Cat
07.12. Richmond, VA - Alley Katz
08.12. Atlanta, GA - Cotton Club
09.12. Carrboro, NC - Cat's Cradle
11.12. Boston, MA - Middle East
19.12. New York City, NY - Bowery Ballroom --sold out
20.12. New York City, NY - Bowery Ballroom --sold out
21.12. New York City, NY - Bowery Ballroom --sold out

UK 2002 - NME Brats tour w/the datsuns (headliners) + the polyphonic spree
+ the thrills
26.01 Glasgow - Barrowlands
27.01 Newcastle - Northumbria University
28.01 Birmingham - Birmingham Academy
30.01 Sheffield - Sheffield University
31.01 Liverpool - Liverpool University
01.02 Manchester - Manchester University
03.02 Leeds - Leeds Metropolitan University
04.02 Nottingham - Notthingham Rock City
05.02 Norwich - Norwich UEA
07.02 Portsmouth - Pyramid
08.02 Cardiff - Cardiff Univeristy
09.02 London - Astoria

TSOOL show in Chicago

2002-11-16T03:19:00.000-06:00

From: demhopkins
Date: Sat Nov 16, 2002 1:19 am

Cato [Salsa Experience] was fucking amazing. Very much a Mooney Suzuki type sound but occasional keyboards added a dimension to the sound. TSOOL is another band (like The Strokes) that have made huge strides in a short time. Nice long performance focused on "Behind the Music" and two great encores that incorporated some of the older stuff. A much more visual show from the whole band than the gig a few months ago. We had a chance to meet them at the pre-show party for them--and they were very nice guys conversing with us in English--but all Swedish between each other. Their distribution company laid out some bucks for the party (open bar and order off the menu--they paid). Spoke with a couple of the reps from the company and the goal is to give "Beyond the Music" a major radio push after the first of the year. They admitted that "Behind the Music" is getting old in many parts of the world--but still fresh in the USA and so there are no plans for TSOOL to record a new album for awhile (a little disappointing to hear I thought). Lots of free tickets were floating around for this show--but TSOOL's performance converted any one with doubts. They are ready for the bigger venues and like The Strokes a few weeks back—they have turned their entire performance up a few notches. It was much more of a band performance than a few months back--I didn't appreciate then how talented all these musicians are! Some extraordinary guitar work.
--Dem

Soledad Bros/ The Kills

2002-11-12T15:16:00.000-06:00

From: Neil
Date: Tue Nov 12, 2002 1:15 pm

I managed to get to see the Soledad Bros supported by The Kills at the Metro, Oxford St, London last night. Both acts were enjoyable, and I'll certainly be seeing them again.

The Kills are a two piece boy/girl guitar duo with backing tapes providing drum/keyboard noise etc, who do a "VU meets the White Stripes" kinda thing. The Soledad Bros (for those of you who have yet to hear them) are essentially a "blues trio with a punkish/garage edge".

Although I like both, I can see how people might dislike them - the obvious unfavourable comparisons to the White Stripes, a bit of a "been there/done that" feeling. But for me both put enough of their own personalities across for that to be no problem. Anyone who refers to either as "the next WS/Strokes/Hives/whatever" I think would be mistaken. I can't see much potential for cross-over into the mainstream, but whadda I know?

I'd be interested to hear what others think - I'd esp like to see your version of the ten-words-or-less encapsulations in quotes above. I know the people involved hate being pigeonholed, but jeez, if we had to listen to every album ever issued before making a decision about whether we've wasted our cash we'd have no time to sleep and no cash to pay for the bed anyway!
--NeilM

Simple Kid/ Mùm/ The Raptures/ The Streets

2002-11-12T07:28:00.000-06:00

From: Suzel
Date: Tue Nov 12, 2002 5:28 am

Yesterday and today there's a little festival here, so I saw yesterday those 4 bands. Simple Kid is a kind of Ben Kweller. Quite nice actually. a bit too pop for me, but he played first and managed to make everybody moves their little asses :) he has been the only one who managed that !!

Then was Mùm which is a kind of ambient, relaxing music. They are something like 6 or 7 on stage playing. They come from Island I think. Take the instrumental relaxing songs of Bjork and you'll imagine how they sound. I really enjoyed them. The Rapture are totally different. They reminded me sometimes of The Clash and sometimes of Mars Volta. The singer has really the same kind of voice that Mars Volta. They were really good and I'll get their CD as soon as I have some money.

Then, The Streets, which is more hip-hop. I really like their lyrics and the way the singers sing. The audience which was more independent rock wasn't really warm for them. Moreover, Mike Skinner arrived on stage saying "hello onions" HAHA little wanker haha… As people hardly understood cockney English, they fortunately didn't understand half of what he said like "Bordeaux, city of ghosts"… They did a good show though, there was excellent videos but the audience was really crap yesterday and not open-minded.

Tonite, I'll see Sparklehorse, The Liars, The Coral and a French band. I really hope the audience will be warmer. Haven't you noticed hat most of good gigs are good because the audience let itself go? Moreover, you're less tired when you dance than when you stand without moving? think about your lovely back which hurt you so much last time. ;)
--Suzel

JSBX & Interpol

2002-11-11T13:11:00.000-06:00

From: Suzel
Date: Mon Nov 11, 2002 11:11 am

I was amazed when I arrived in JSBX gig cuz there was a huge queue and the venue seemed already quite large. I managed to come in finally and the show began. You can feel JSBX is used to stage and loves it. They don't stop between songs and improvise to switch from one song to another according to what John Spencer decides. I heard so many times talked about JSBX but I didn't know very well what they did so it was a big slap in the face!! A garage blues rock that I really enjoyed.

The next day was Interpol's gig. Their sound was really close to what the album sounds like. I had the feeling the concert has been fast whereas they played their whole album plus 2 extra songs. I can get the setlist if some are interested. Everybody enjoyed it. David a friend who is used to see many gigs told me they were awesome. The bass player looks incredible and the others were really in their stuff. Paul's voice was as deep and nice as on the album.. They did 2 encores, one of which was unplanned. The venue was very small. The smallest they did according to Sam, the drummer. He also told me none of their shows has been disappointing. The audiences have always been amazing, so feel free to show you enjoy their gig. They spent some time then in the venue talking with people. I had the chance to join Sam and Paul, the singer, for a relaxing extra backstage. Then I became the driver of Sam downtown until 4:30am … I was exhausted.

They are really nice and clever guys. Carlos and Sam really enjoy meeting people and are really easy going. Paul is more discrete, not shy but he just doesn't go to speak on his own to fans. As far as Daniel, the guitar player, I haven't met him. They'll go back next week or something like that to USA, so don't miss them!!!
--Suzel

The Datsuns threw a party tonight

2002-11-09T05:06:00.000-06:00

From: demhopkins
Date: Sat Nov 9, 2002 3:05 am

Not much print PR and the show must have been scheduled recently. The crowd was about 1/3 familiar with the band (the Empty Bottle gets a regular crowd that just hangs there no matter who is playing). The Datsuns were stunning from the moment they took the stage. Rarely do you get to see a band that is right at the cusp--where they have made a big break through (UK buzz and recent acclaim) that gives them an extra shot of adrenalin that allows them to confidently take the stage and give everything they have in a manner that says this is who we are and we know you are going to like it. No rock star attitude anywhere in this band--they know they can play with the "big" boys without becoming the parody. They had no set list--but it all just flowed without time to catch a breath. They were tight--but not slick. The last few months I have noticed a lot of bands with a bass player or drummer or one musician that really stands out. Not the case with this band. Four riveting musicians, and it is impossible to take your eyes off of any of them. The lead singer has the best scream I have heard in a very long time--and he does it with his eyes not just open--but fucking wide eyed. If you dig their album--the concert is ten-fold. If you only kind of like the album--this band will convince you. From song one it was obvious that they truly love playing out. This is the band that The Music should strive to be. I liked The Music--but it was so rehearsed that I felt that I saw the best that they had--and they have no place to go. The Datsuns were a fucking tidal wave that occasionally brought it down, made you relax for a second, only to come back with a fierceness that was three notches higher than I thought they could go. And they are only going to grow. Occasionally they give each other a glance on stage--but they each have such complex things to bring to the whole that they don't interact a lot (mostly knocking into each other). It seemed like four brilliant musicians doing what they individually do best--creating a unit that provided one of the best shows of the year. I've said that a few times this year--but this is definitely in my top 5. I was expecting great things--and I got steamrolled by 4 guys from New Zealand that are at the absolute top of their game--and they know it. So did the crowd. Encore of Goodnight Ladies and Gentleman (Cheap Trick--who I don't particularly dig) was the perfect closer. They are heading to the UK--this is definitely the tour to see--I'm not sure they can ever really recapture this breakthrough moment in their career. But I wouldn't put it past them. This is a band creating an awesome party.
--Dem

McLusky at Metro in Chicago

2002-11-08T11:55:00.000-06:00

From: Sky
Date: Fri Nov 8, 2002 9:55 am

The McLusky show at Metro last night was really great if not a bit of really weird billing.

These guys really put their hearts into it and they do rock right! They blend a great sense of humor with a true joy of playing out. Fun lyrics and a tight stripped down power groove. (3 piece, drums, guitar and bass) I got a big kick out of the masterful (and completely hilarious) way their bass player handled a real flaming asshole who was heckling them in a most unkind manner. ("I suck? Just me personally? Or all of these guys?? DO they suck too or is it just me?") Their standout player has to be the drummer! He sat really straight up and high on his drums, and just bashed the skins and cymbals for all they were worth. (His drumhead obviously was not up to the task as it was bashed off on the last song of the night and flung Frisbee style into the crowd.) A real heavy duty battery. But the group is really comfortable together and plays off each other perfectly. The fun they are having really comes off to the audience. "Don't fuck in the barn cause the barn’s on fire!" still rings through my ears and makes me smile.

We met the tour manager and the drummer after the show and they were really super! Very appreciative and seemed to not believe that people had not only heard of them here, but really liked them and liked them enough to come out on a Wednesday night. The drummer was totally psyched about being here and was just so fab! According to their tour manager, they will be returning to the States sometime in February. They are playing a few shows here now so the label can see them play out.

The weird part was that the "headliners" were a band called "NYR". All we could find about a band called NYR was an Israeli guy who lives in Paris now and plays R&B. We knew we wouldn't stay for that, but we were curious when we saw that most of the nyr fans hugging the stage area were literally between the ages of 10 and 16. (I kid you not) We couldn't make the connection between these fans and an Israeli R& B guy so we stuck around. Turns out they were a 20 something 4 piece where every one of them had a different crayon color hair, the lead guitarist had a "British Invasion/Union Jack/ REALLY bad aping of young Pete Townsend costume schtick" thing going on and they sounded like 50,000 other anonymous bands. They seemed to be a totally pre-packaged homogenized boy band based off a cartoon "punk bad boy" template. When the guitarist switched to a cherry red "Flying V" I grabbed the boys and headed for the exit.
--Sky

The Music

2002-11-07T12:11:00.000-06:00

From: demhopkins
Date: Thu Nov 7, 2002 10:11 am

A very slick precision guitar performance. Probably the best bass player I have seen this years--really magic fingers. The voice took some getting used to. All in all a good, not great, show. The instrumentals they did showed off how great they are with guitar interplay. After seeing a very raw The Audreys--this was a complete contrast. The Music gave me the impression that there was no room for error and that tends to take some of the fun out of shows (at least for me).
--Dem

The Music

2002-11-02T11:00:00.000-06:00

From: Heidi
Date: Sat Nov 2, 2002 8:59 am

Thought I might add a tidbit: At the 11/8 show in San Fran, a terrific local band called The Please will be opening for The Music. Their web site is here, if you're curious: http://www.theplease.com It has sound clips, photos, and other cool stuff. :)
--Heidi

The Datsuns

2002-10-28T20:12:00.000-06:00

From: melanie
Date: Mon Oct 28, 2002 6:12 pm

You gotta go see these guys!!!!!! The energy! The attitude! The strut! The moves! The tunes! The absolute ridiculousness of the RAAAWWWWKKKKK!! They have it all! (plus tight jeans) Not exactly a cerebral musical outing, but they'll get your pelvis. fun fun fun! And some of the Von Bondies did backing vocals on the album. The Cooper Temple Clause still have me awestruck by what they do, but The Datsuns have my face aching from grinning too much... They are very much of the "keep it simple stupid" school, which isn't easy to do this well! OK, I admit, I'm over-excited again, but go see them anyway!
--Melanie

US TOUR NOVEMBER 2002
THU 31/10 New York Bowery Ballroom
THU 02/11 Hoboken Maxwells
FRI 03/11 Philadelphia The Khyber
SAT 04/11 Cambridge TT the Bears
SUN 05/11 Montreal La Salla Rosa
MON 06/11 Toronto Tequilla Lounge
TUES 07/11 Columbus Little Brothers
TUES 08/11 Chicago Empty Bottle
TUES 09/11 Detroit Magic Stick
TUES 10/11 Cleveland Grog Shop
TUES 12/11 New York Mercury Lounge
TUES 15/12 Los Angeles Troubadour
TUES 16/12 San Francisco Bottom of the Hill

EUROPE TOUR DECEMBER 2002
THU 29/11 Berlin / Germany SO36 w/ the Hellacopters
FRI 28/11 Hamburg / Germany Grosse Freheit w/ the Hellacopters
SAT 30/11 Essen / Germany Zeche Carl Festival w/ the Hellacopters
SUN 01/12 Koln / Germany Live Music Hall w/ the Hellacopters
MON 02/12 Aarau / Switzerland KIFF w/ the Hellacopters
TUES 03/12 Milan / Italy Alcatraz
w/ the Hellacopters
THU 05/12 Barcelona Apolo w/ the Hellacopters
FRI 06/12 Madrid Arena w/ the Hellacopters
SAT 07/12 Bergara Sala Jam w/ the Hellacopters
MON 09/12 Paris La Boule Noir w/ the Hellacopters
TUES 10/12 London Astoria Kerrang Festival w/ the Hellacopters
WED 11/12 Manchester MDH w/ the Hellacopters
THU 12/12 Glasgow Garage w/ the Hellacopters
FRI 13/12 Wolverhampton Wulfrun w/ the Hellacopters
SAT 14/12 Antwerp Hof Ter Lo w/ the Hellacopters
SUN 15/12 Stuttgart Rohre w/ the Hellacopters
MON 16/12 Munich New Backstage w/ the Hellacopters
TUES 17/12 Frankfurt Batschkapp w/ the Hellacopters
THU 19/12 Lingen Schlachthof

YYYs and Liars

2002-10-27T12:38:00.000-06:00

From: demhopkins
Date: Sun Oct 27, 2002 10:38 am

The Fireside Bowling Alley where they played is a total shithole. That being said, the YYYs did a perfect set. Things got switched and they ended up opening for The Liars. Karen, who has been having voice problems) was in great form. The sound was excellent and still hard to believe all that was happening with a guitar, a drum, and a voice that is the first great new women's voice of this century. On top of that, Karen is completely down to earth, easy to talk to, and really enjoys being in the crowd after the show not just talking—but getting to know people. She was standing by the merch booth and posing for pics with everybody. I told her that Conrad Keely called the YYYs the best band in the US today--and I could see why--she just blushed. (No I don't think they are the best band in the US today--but they performed as if they were). Great guitar and drums--but it is all about her presence and that great fucking voice. Didn't seem possible for The Liars to follow the YYYs set--but they did with a very tight--non self-indulgent set--that was less performance art than stuff I had seen by them and very about the music and pleasing the crowd. I didn't realize what a really fine band The Liars are. Prosiacs opened with a set that won over the room. I wasn't familiar with them at all. It was just a great night for NYC bands in Chicago last night. But--I left thinking I would follow Karen anywhere. It's been awhile since I have felt like being anybody's groupie. Also--the YYYs have material every bit as strong (some stronger) than what is on the EP. Karen did this very cool (almost love ballad) song that I can't get out of my head. Great night, great music--shit venue. Kids in Chicago deserve better—but it is the only place in town for under 18s--and it was very cool to see the much younger kids out in force and supporting this new music. Both Chicago YYYs/Liars shows sold out. Just announced—McLusky is playing Chicago on November 7 as part of the US tour.
--Dem

The Pattern and The Liars

2002-10-26T04:19:00.000-05:00

From: Heidi
Date: Sat Oct 26, 2002 2:19 am

Real Feelness--The Pattern. The band describe their album as punk soul boogie, I'd say that it's a killer blend of Sixties British mod, plus hard and punk rock attack and energy. I'd definitely recommend it. They Put Us All In A Trench and Threw A Monument On Top, The Liars It's a salad like combination of new wave-ish percussion and hand claps on machines, punk rock shouting and art rock like guitars and bass. The end of the album is a bit self-indulgent, 30 minutes of a construction job done to syncopated beats, but otherwise it's a great album.
--Heidi

The Wildbunch / Electric Six

2002-10-21T07:43:00.000-05:00

From: Suzel
Date: Mon Oct 21, 2002 5:43 am

I've been told by Derek Miller (for those who know him) about The Electric Six, formerly Wildbunch... Very good rock, pure indecent tone and very funny videos.. Mister Jack White's friends deserve a check here's the link to their videos "Danger High Voltage" with Jack White screaming Danger Danger and "Young as hell": http://www.the-wildbunch.com/multimedia/ Have a look at the flyers too at the bottom of the page.
--Suzel

Here are their upcoming gigs (dates that you'll find on their site too):
Tue., 10/22/02 - Brighton, UK @ Pressure Point
Wed., 10/23/02 - London, UK @ The Barfly @ The Monarch in Camden
Thu., 10/24/02 - Manchester, UK @ Night and Day
Fri., 10/25/02 - Glasgow, UK @ Nice and Sleazy
Sat., 10/26/02 - Nottingham, UK @ Nottingham Social
Mon., 10/28/02 - London, UK @ Trash
Thu., 10/31/02 - New York, NY @ The Bowery Ballroom; part of the CMJ
Music Fest
Wed., 11/27/02 - Detroit, MI @ TBA w/ Les Sans Culottes

The Damned at Metro in Chicago - hearing damage

2002-10-17T03:05:00.000-05:00

From: Sky
Date: Thu Oct 17, 2002 1:05 am

Here it is 12:29 on a school night and I just can't unplug. I think I may have hearing damage, but I couldn't be happier. The Damned played an absolutely blistering set tonight!! I would encourage anyone who has ever liked The Damned to see them on this tour. They shredded through great old tunes like Street of Dreams, I Just Can't be Happy Today, Video Nasty (very rare!), Disco Man, Wait for the Blackout, Ignite, Under the Floor Again, Neat Neat Neat, New Rose, Love Song and to close the night Smash it up I and II. They tossed it together with solid newer material (from their last, Grave Disorder) like Democracy, Song.com, Absinthe, SO Hot If You Weren't Dead (a not so friendly ode to John Lennon) and She (written for Patricia Morrison). They even slipped in an unplanned and completely raved up version of Eloise too. The energy in that room was just incredible, wild, primal...there were tons of young kids moshing up a storm. The one that caught my eye could not have been more than 10 if he was a day. Very cute...When I saw them last year they had only been touring behind Grave Disorder for about a month and they weren't as comfortable with the new songs as they were tonight. Captain Sensible was burning up the strings (at one point playing over his head and behind his back), Dave Vanian was in top vox and looking very stylish, Patricia Morrison was completely solid and Monty Oxymoron is perhaps one of the most energetic madmen I have ever seen assault a keyboard. The only let down was that the drummer that they had on tour with them last year (PINCH from English Dogs and Janus Stark) was not playing tonight. He was completely off the wall last year, and the new drummer was no standout. Got to have some fun with Captain Sensible after the show again (we met him last year too). He was the only one from the band to come out and meet the fans. He was totally into it, and he hung out for a good 2 hours! When we left he was hopping around shoving baby carrots up his nose and chanting "Carrots are good" in an impromptu little ditty. (he had offered me carrots from a platter of crudities he was prancing around with, to which i replied oh yeah thanks, carrots are good.... it just got progressively more outrageous from there..... Folks.... 5 words SEE THIS TOUR, BRING EARPLUGS
--Sky

Clinic show

2002-10-13T08:57:00.000-05:00

From: demhopkins
Date: Sun Oct 13, 2002 6:57 am

This was the show this week where I wanted to see all the bands on the bill. The Standard deserves some attention. They got a great response as the opening band and supply a very full guitar driven sound that is akin to TSOOL, Cooper Temple, etc.

Apples in Stereo are not one of my favorite bands but they focused on their new material which is almost a garage "concept" album. It was only when pulling out old material--like some bad country Cat Stevens "Peace train" type of shit that they really went wrong. But that was an occasional miscue. Overall, they fucking rocked with the new material and their drummer is the closest thing to Mo Tucker that I have ever seen. She absolutely keeps this band together.

Clinic was the perfect ending to 14 bands in 4 days. I have heard that their shows are hit or miss. They were definitely on tonight. Sold out room--and Clinic played it for what it was worth and added a 3 song encore. Most impressive, not replicating the songs as they are on the album (CD). Clinic seems to be a true love-them-or-hate-them band. Very hard for me to convince friends to go to this show. If you are in the hate them category because they tend to drone on--you will not experience that in concert. They take the stage to kick ass—the whole doctor/mask nonsense should really go. Clinic doesn't need a gimmick--they had the room dancing (and I mean dancing like I haven't seen at a concert with "our" bands) so far this year. What I wished for in their last two recordings, I found tonight. The first Clinic release which is a compilation of their first 3 EPs is so powerful. The last two releases are very laid back in comparison--but the way they delivered the material from those albums was with energy and urgency. Clinic--an awesome party band (I never would have thought).
--Dem

The Strokes show: stoned amazed brilliance

2002-10-12T12:27:00.000-05:00

From: demhopkins
Date: Sat Oct 12, 2002 10:27 am

I don't have anything close to the words or sobriety to write what I want in a sentence or two. . The Strokes are so clearly the band against which all new music must stand. Julian--completely sober, standing back while his band turns it up a notch. He doesn't look bored or impatient. He is having a great time appreciating the genius (and it is ) of the musicians standing behind him. Two songs into the set and all I can think is that this can't be possible--this fucking talented group of kids has grown up (all the way) in one year. I hear debates about the new material--there is nothing to debate. They did 6 new songs. They have the ability to play new material and get the crowd to react like they have heard the songs all their lives. They play the old material and the kids are screaming the lyrics at the top of their lungs, Every second of the show is well planned out and the band continues to take you up another notch. Sweating, drunk and stoned, I think about passing out and then decide to jump on the guy in front of me. He is cool and he holds me up for awhile.

The show didn't wind down. When they are doing the end of the set there is no doubt that an encore is NOT coming. I like a carefully thought out encore (ala Buttholes)--but The Strokes have smashed the expectation that every good show should end with an encore. They give it all during the show. Doesn't really seem to be a reason for them to do an encore.

I have never seen Julian (or imagined him) anything like tonight. Too much praise is just bullshit --I'm trying not to go there. But the 6 new songs are Julian presenting himself and the band in the most natural (kind of nothing to prove way) that I have ever seen him or them. The new material allows the band to go way outside of song structure and kick ass live. Last time I saw Julian I doubted whether he respected the people he was playing with. There is no doubt. And, the band repaid that respect with their performance.

The "new" Julian has matured into a great rock and roll front man. He wasn't swigging beer and falling down. He let it be known that he was serious when he says that it is the music matters. And he was a boy on a mission--getting it across. The Strokes in Chicago tonight were brilliant, overwhelming with the familiar material, but most impressive presenting the new material.
--Dem

Doves show

2002-10-11T23:09:00.000-05:00

From: Heidi
Date: Fri Oct 11, 2002 9:09 pm

I saw the Doves on the 7th, at SF's Fillmore, and had the most wonderful time. The band sure knows how to use visuals to enhance their compelling music. Clinic were very good (Bimbo's, 10/5), but I think that they kind of bored some people with the same tempos for nearly every song, however hypnotic their music was. I was very pleasantly surprised by their opening acts, Kaito, from Norwich, UK, and Apples In Stereo. Kaito was composed of 2 seemingly teenaged girls, an older dude and a ordinary joe drummer who had my attention with their art school, XTC/Clash/Wire-like primitive punk songs. Kaito's web site: http://www.kaito.co.uk, Kaito's record label, home to some cool local Northern California bands as well: http://www.www.devilinthewoods.com. Apples In Stereo I saw before, but was not impressed. This night, they had more power, punch and focus. They remind me of the Beatles colliding head on with navel gazing indie band. The Dirtbombs played Bimbo's Tuesday night. I like this soul-drench wholly danceable garage sounding band. My friend Michele and her rockabilly girl pals were there too, and really enjoyed the 2 opening acts, The Detroit Cobras, and Ko And the Knockouts. I love bands that combine their music with a sense of humor. Super Furry Animals, to me anyway, totally fall into that category. They played The Fillmore on Wednesday, and they were completely entertaining, playing songs from all of their albums, including their newie, Rings Around The World. My favorite album is Mwng, an all Welsh language album that is covered in Beach Boys influences. They had a screen on stage that showed the short films of the songs that accompany their album songs on Rings Around The World, as well as cool images along to their other, older songs. "Best mind-fuck yet", indeed.
--Heidi

Von Bondies show

2002-10-11T12:43:00.000-05:00

From: demhopkins
Date: Fri Oct 11, 2002 10:43 am

Not slick, not particularly tight just hard driving hard core bluesy rock and roll. My first time seeing them and unfortunately the place was only about 2/3 full but the Von Bondies put on a fierce show. The good was being able to rest my beer on the stage--the bad was that there was no effort required to get to the stage. Jason was a little hoarse but made up for it with energy and great guitar work. Talked to him briefly after the show and after this tour the band is taking a few months off (won't be back to Chicago for about 6 months). They are heading to the studio to put together a new 15 song release. They showcased some of the new material and it is as strong (or stronger) than stuff off the debut. Definitely looking forward to it. They are definitely a part of the whole Detroit music sound but packing a much bigger wallop than I anticipated.

The Kills opened and were actually pretty good but I couldn't get too excited because of another irrational prejudice--I just don't like bands that use drum machines. Didn't like it when J&MC did it on their first US tour way back when and I don't dig it now.
--Dem

Mooney Suzuki show

2002-10-10T15:20:00.000-05:00

From: demhopkins
Date: Thu Oct 10, 2002 1:20 pm

It was completely manic and they blew the roof off the joint. Sam climbing on structure and Graham the other to reach the top of the massive pile of amps. The difference is that Graham never stopped playing guitar all the way up and then back down. It seemed impossible for Mooney to have more energy than they did opening for The Hives--but that performance (as great as it was) couldn't match the show last night. The set seemed a little short but judging by the time I got home--I don't think it was. Probably seemed that way because the charged through their material at a frantic pace. Graham spending much of the night playing in the crowd and proving why he is one of the best guitarists and live performers around. He matches Sam antic for antic. The band may have been a little over-mic’ed but that is minor. They proved once again that they are the hardest working band in rock. I've seen it twice but still can't believe how the drummer can stand and beat the shit out of the drums without falling over (playing sober probably helps). The entire set seemed speeded up as compared to the album. It wasn't a sold out show but fairly crowded with an audience that was completely in to them. They definitely were digging be the headliners. Only a one-song encore but all in all one of the better shows of the year. I fucked up and missed all of The Realistics set except the last song. Sahara Hotnights (I think that is the name) did a strong set (great drummer). A little bit Joan Jett. They are another band from Sweden. These Swedish bands are enough to make me want to relocate--then I think about the weather.
--Dem

Interpol CD review

2002-08-21T18:36:00.000-05:00

Ok, i got the album today, and i recommend it to anyone - its
absolutely top class. Here is PitchForkMedia's review of it:

Interpol, from http://www.pitchforkmedia.com/record-reviews/i/interpol/turn-on-the-bright-lights.shtml

Rating: 9.5 - Spectacular
As you read this, there are likely a number of people in your midst summoning up all the backlash powers their mortal frames can bear, those who believe the boys from Interpol to be the latest shock troops in the battle of PR style over artistic substance. And who can blame them? After the veritable shitstorm of publicity drummed up by a certain New York City band-- one that had the audacity to not be the denim-clad messiahs of rock and roll we'd been promised--directing a little skepticism toward NYC's buzzmongers is probably healthy. Plus, at a glance, Interpol's snazzy suits and expensive haircuts seem symptomatic of a carefully spun image designed purely to separate money from wallets. It's okay to be suspicious. But back up. These guys are on Matador, not RCA. The hypester division of Matador is a guy in a closet (and he's only part-time); the 'spin' budget for Interpol wouldn't even be a down-payment on Julian Casablancas' designer leather jacket. The fact that these guys see press at all can only be attributed to their die-hard contingent of fans (I'm only recently converted), and was earned purely through legwork and a handful of underpublicised EPs. And now that they've won our attention, after three years of toiling in obscurity, it's mere icing that their debut full-length delivers upon what the whispers only hinted at.

Interpol's debut full-length is wrought with emotional disconnection and faded glory, epic sweep and intimate catharsis. Inevitably, the hype exceeds return (that's why it's hype-- and, to be fair, Interpol has largely flown under the radar compared to most other NYC acts), but there's no getting around that Turn On the Bright Lights is an incredibly powerful and affecting album. Loss, regret, and a minor key brilliantly permeate jangling guitars and rhythmic and tonal shifts-- and although it's no Closer or OK Computer, it's not unthinkable that this band might aspire to such heights.

Speaking of Closer, Interpol can't seem to shake being likened to Factory prodigies Joy Division. The cause, however, isn't necessarily evident. Indeed, Daniel Kessler's sublime, angular downstrokes follow the smooth confidence of Carlos Dengler's basslines, and Paul Banks sings with Ian Curtis' downcast delivery and dramatic flair. The difference, however, lies in the music itself: what Joy Division played was sparse and jagged-- punk with a melancholy, but often minimalist bent. Interpol, meanwhile, are punk in ethic alone; their music bears few of that genre's signatures, with the band instead immersing themselves in a grander, more theatrical atmosphere with lush production that counters their frustrated bombast.

"I will surprise you sometimes/ I'll come around/ When you're down," Banks gently affirms over echo-drenched guitar simplicity and rolling bass, as "Untitled" hovers on artificial strings to open Bright Lights. The words are plaintive yet assertive, in agreement with the unsteady warble of the background, and they set the tone for an album that is equally paradoxical--often bleak, but surprisingly uplifting. Each of the album's eleven tracks evokes raw, unsettling need suffused with delicate serenity. It can be difficult to absorb this much emotional relentlessness, as Banks unflinchingly confronts you with it at all times, but it's precisely this challenge that makes this record so staggering.

The visceral punch of the thematic content is backed at every turn by melody among serrated riffs and amorphous percussion. Discussing the highs and lows of Bright Lights would just be splitting hairs, given its consistency, but a few tracks stand inches above the others. Of the two songs to be carried over from their self-titled EP, "NYC"'s conflicted show of conditional love for the streets of Interpol's hometown is still one of the most brilliant cuts present. And as tight as the EP was, Interpol show how much more they're capable of with "Obstacle 1" and "The New," the range between which is striking. "Obstacle 1" is as close to Joy Division as Interpol gets, coupling harsh, restrained outbursts of aggression with disturbing imagery as Banks clearly gasps, "You'll go stabbing yourself in the neck." The tense lead guitar is a counterpoint, giving these explosive bursts added depth, just as Ian Curtis' emotional collapses were made more poignant by the fragile guitar that cradled them. By the time the album reaches "The New," the anger has dissipated, leaving only the calm sound of sober acceptance.

The tragedy of music press is that when the buzz spirals out of control, people are apt to question a great band's validity, whereas if the band went largely unknown and as 'discovered' independently, so to speak, folks would be less likely to reject the praise out of hand. Whether that will happen with Interpol remains to be seen, but as a member of the press, it's my duty to tell you, from one music fan to another, what I personally think of an album, and in this case, it's that Turn On the Bright Lights has been one of the most strikingly passionate records I've heard this year. That other people I've spoken with have the opportunity to experience it, and that they feel similarly about it, can only be a good thing.
--Eric Carr, August 19th, 2002

White Stripes release digital EP

2002-08-20T10:56:00.000-05:00

From: demhopkins
Date: Tue Aug 20, 2002 8:56 am

Virgin Records has created what they're calling a digital EP from The White Stripes. What that means is that a collection of four new tracks by the band--two live and two recorded in the studio—are available exclusively on the Internet. The studio tracks are entitled "Jolene" and "Hand Springs," while the live tracks are "Hotel Yorba" and "Love Sick.”
--Dem

The Soundtrack Of Our Lives (TSOOL)

2002-08-20T03:22:00.000-05:00

From: demhopkins
Date: Tue Aug 20, 2002 1:17 am

Monday night in Chicago and the club is jammed--even though the band is opening for Oasis tomorrow night and 3000 people have sold out that show. After a good set by The Assassins (I hadn't heard them until tonight) TSOOL takes the stage--one member at a time and immediately owns the crowd. Four songs into the set--they strip down the music to just keyboard and the singer. I'm not prepared for a Billy Joel type moment--and it doesn't happen. It is immediately clear that their material is so fucking good that they can do almost anything they want with it. Moments pass and a 3 guitar assault returns and the room is rocking once again. The guitars aren't a wall of sound--they are much too tight for that. The guitar mix (not the vocals) is so good--that it is a barrage of layers that comes dangerously close to prog rock without a hint of boredom. This is obviously the first band that I have heard from the new (fill in the blank) music movement that is ready to go from small club to an arena in one day. I hate arena rock--but this band would bring dignity to it. Andy, thank you so much for pushing this show--I was undecided until I read your post. What a Monday. Finally, TSOOL did something I have never seen before. The singer comes out into the room and motions for the crowd to sit down. I was laughing so hard because I just didn't think that it would happen. And then I watched as the entire front of the room all sat down on the floor--and let the man do his work. I'm not sure it is something I necessarily want to see happen again--but this band completely owned the room. Let me echo Andy's comments--YOU MUST SEE THIS BAND now. It won't be long before they are playing very large venues. They did an almost two hour show--and no two pieces sounded alike. I've heard the criticism that their albums sound like career retrospectives--I kinda agree. But, if so, most bands wish they had this type of material to put on a greatest hits compilation.
--Dem

The Cooper Temple Clause

2002-08-07T05:14:00.000-05:00

From: melanie
Date: Wed Aug 7, 2002 3:14 am

I got to see two shows by The Cooper Temple Clause over the weekend in Sydney and Melbourne. They are fantastic live. One friend I'd lent the CD to come along under protest but after 1 song he was "they're really good"… Afterwards he said the CD was a bit too all over the place but it worked live, so even if you don't like the CD, go see them live, it is worth it. ABSOLUTELY AMAZING live!!!!!

I asked about US tour a bit late in the evening (about 6am). They had intended to do some showcase gigs earlier this year - NY, SXSW, LA, but had visa problems. I think the problems were more due to everything taking too long due to Sept11 rather than actual problems, but time ran out and it didn't happen. They are hoping to get there this year, but I'm not sure if it was just showcase or a proper tour. Poor boys have no idea of the distances in US, typical English. I really should've thought to ask earlier in the night... They're lovely friendly approachable guys.

The Sydney show was basically about 90% industry guest list, so the word is obviously not out here yet! They're meant to be back in January for the Big Day Out festival - that'll be 3 visits to Australia in less than 12 months - unheard of I tell you!
--Melanie

The Liars - Von Bondies - Ikara Colt - Yeah Yeah Yeahs

2002-07-31T08:30:00.000-05:00

From: suzel
Date: Wed Jul 31, 2002 6:30 am

I guess you heard about The Von Bondies and the YYYs which are said to be excellent on stage. Two great albums. YYYs went back in studio recently to register new songs. Their album is quite short but really worthwhile. Karen O is amazing.

Check out also Ikara Colt. This is a really good band, a bit like McLusky from Scotland. I guess Ikara Colt comes from London, they sound a bit like sonic youth… they are excellent… You can download their whole album on Kazaa or Audiogalaxy.

I also heard about the Liars who are said to be awesome on stage. Does anyone know them? I haven't heard anything yet.
--Suzel

TCTC Idlewild Ash Wannadies

2002-07-23T05:15:00.000-05:00

From: Neil
Date: Tue Jul 23, 2002 3:18 am
For what it's worth, I was looking forward to the Cooper Temple Clause album, and must admit I was a little disappointed. But they are an exciting proposition live so if you like what you've heard by them I'd definitely make the effort to see them.

The new Idlewild album is their best yet, but they are more of an acquired taste. Unless you've heard a few tracks I wouldn't go buying blind. However, if you are in the US, I'd highly recommend the Ash album "Free All Angels", as I believe it's been issued at a regular price with bonus tracks and a free 70 minute DVD. Those feeling less bold might like to wait a few months for Ash's "Greatest Hits" which features all their UK A Sides plus a second disc with B Sides, live stuff etc. However, that may not be released outside Europe for a while (if at all). Ash are at the poppier end of the indie spectrum. Although they know how to rock out, you won't hear tons of JAMC droning or feedback - just high speed punkers playing great songs for the kids. Recommended.

Saw The Wannadies on Friday. These guys do the indie/powerpop thing to perfection. Quite how they've managed to avoid being massive is beyond me. Keep an eye out for anything by them. OK - next time I'll post about some really obscure white noise merchants! :-)
--NeilM

Trail Of Dead--Chicago show

2002-07-17T19:47:00.000-05:00

From: demhopkins
Date: Mon Jun 3, 2002 5:41 pm

Well if it wasn't a sold out show it was as close as you could have gotten without selling out the room. Great crowd--lots of energy, especially the front 2/3 the room. Completely different feel than the Empty Bottle just two months ago (900-1000 people instead of 250-300). The band seemed to really enjoy the room and the lights. They mentioned the barrier between the stage and the crowd seemed a little less intimate--but they overcame it and spent time in the crowd. The set list was pretty similar to Empty Bottle but the sound was in a different galaxy. Chicago has truly embraced TOD. They sold out of posters--as I was waiting to get shirts I noticed a lot of people buying all 4 CDs on sale. I thought the Empty Bottle show was the best of the year--but this was it. I talked to some people who had seen them with me a couple months back--and what stood out was the incredible versatility this band has to offer in terms of songwriting. The venue really helped get it across live. The band was kind enough to open water bottles and hose down the crowd. It was a cool evening but very heated up inside Metro. It will be hard to top this show anytime this year--but The Hives and Mooney Suzuki are playing the same venue Wednesday--so who knows. I can't imagine a better gig than this. Radio has been talking about and playing TOD all day, especially our college station WLUW out of Loyola University.
TOD--job well done!
--Dem

Meg's drumming and Minneapolis show

2002-07-17T02:18:00.000-05:00

From: demhopkins
Date: Wed Jul 17, 2002 8:19 am

Meg's drumming allows Jack to do anything he wants because it is just there (at best). Very wise of Jack not to write drum solos into his music! The Minneapolis show was much higher energy than the show I saw in Chicago. Stripes did play Fell In Love With a Girl and Dead Leaves and basically a different set than on Thursday. They covered almost all of the second album. The club in Minneapolis (First Ave) is a better club for its size than anything we have in Chicago--I hope people up there appreciate that room. No cell phones and the crowd gave the band its complete attention throughout and were rewarded with a great encore. The sound was also better than Chicago and Jack's guitar pierced the room (unlike Chicago, the volume was maxed). I usually don't get into live recordings--but The White Stripes may be an exception if they were ever to do a live album. Jack even added some drama with a top hat during one of the more "cabaret" numbers. Jack seems to be enjoying this tour very much--turning Hotel Yorba into a kind of campfire group sing and working his double mic setup for all he can get out of it. Whether Meg is having any fun is hard to tell--but at the end of the night there is no way she could be tired. Jack leaves stage a sweat soaked mess—as it should be.
--Dem

White Stripes show

2002-07-12T01:00:00.000-05:00

From: demhopkins
Date: Thu Jul 11, 2002 10:59 pm

Just got back from the sold-out Chicago White Stripes show (I guess the whole tour is sold out). I expected the great guitar work—and got it and more. I didn't expect Jack to have such a versatile voice. They honored their garage-rock roots--especially with a great version of Farmer John. But Jack's feminine side (not effeminate) and his take on some of the songs reminded me of the days of Jobriath and other great glam vocalists of the early to mid 1970s. I didn't see that coming at all. Very few bands could get away without playing their two big US hits -- Fell In Love with a Girl and Dead Leaves--but they didn't play them and it worked perfectly. Nobody felt the least cheated. A one song encore of an American traditional "The Boll Weevil Song" was a very fine nightcap. Their goal was clearly to show what they had to offer instead of pushing a particular product. And what they have to offer is one of the most versatile shows I have ever seen. If I was at a loss to describe their sound before this show--I am more at a loss now (a good thing). One bitch about the crowd--since when did it become "cool" to bring cell phones to concerts and dial up friends, scream into the phone about what was happening, and hold the phone up for the duration of the show with running commentary between songs? These fucking wankers must be disemboweled. Well, off to Minneapolis to catch the Stripes Saturday show. I hope the crowd is sans cell phones (truly the worst invention of the last century).
--Dem