"A warning
to the people
to the good,
and the evil
this is war."
-- "This is War," 30 Seconds to Mars, This is War(2009)
Overall: This album is full of anthems, attesting to beliefs in the face of cynicism and rising from the ashes of one's own past. In addition to the fearsome pieces that stand alone nicely, this album is cohesive thematically, which is rare in the modern era. It tells a story, two stories if you look at the metaphoric angle. This is War, seems to be the spiritual sequel to Beautiful Lie (2001). Where Beautiful Lie was about the destruction of a relationship, and by proximity, a life, and the despair that comes with that, This is War delves into alternately reminiscence, and fighting back against the ravages of despair to emerge triumphant.
This album also takes a darker, more sexual turn than the previous two albums. "Night of the Hunter," and "Stranger in a Strange Land" particularly exude an animalistic darkness not found in other albums of theirs.
However, there are a few tracks that detract from an otherwise nearly flawless album, these tracks range from dissonant, to simply whining.
Track Highlights:
Kings and Queens: This was the single from This is War and rightly so. It stands on its own as a nostalgic, bittersweet number. Unlike many songs that look back on past relationships, this one reminisces completely without regret In fact, the lyrics speak of forging oneself from "blood and pain, in defense of our dreams." Layered over these lyrics, is front man Jered Leto's powerful voice and wonderfully coordinated music.
This is War(linked above): on my first listen through of this album, I considered this the summery track of the album. While I'm not sold on the audience tracks, the beginning of this song builds quite nicely into the chorus both in volume and tone. Leto has excellent vocal control and modulates its volume from husky whisper to bold (though still on key) shout. The lyrics tell the listener that on no uncertain terms they will never give up. Tenacity bleeds from both the music and the lyrics of this number.
Alibi- One of two very powerful, simple numbers on the album. While the majority of 30 Seconds to Mars' song have complex layering, this song and 100 suns both are very simple. I find that simpler songs tend to show what an artist's voice can truely do. Striping down to just a simple guitar line and some drums, this song becomes an inspiring lullaby. The lyrics are equally simple, evoking a sense of reconciliation with ones past and the ability to finally get back up again. Yet there is also a touch of concession, as though the battle will be missed. I would have welcomed this as an end track.
Stranger in A Strange Land(also linked above): Worth pointing out because I don't think I’ve heard a curse word beyond "damn" on any other album of theirs. While this alone is not reason to notice a song, I find when an artist uses infrequent, but very deliberately placed curse words the effect can be astounding. As mentioned in previous reviews, Leto is a very precise, articulate artist, his use of a singular curse evokes a precise message.
There were also a few songs that did not work for me quite as well, partly because the rest of the album was that much better, and partly because the songs, for whatever reason didn't meet the standards set by their other albums.
Hurricane-- While conceptually nice, I found that this track lagged in places and felt longer than it should have been. Very reminiscent of “The Story,” but it comes off a little whiny. Bleak, but nothing new for 30 Seconds To Mars.
L 490--the beginning is actually painful on the ears. While I'm all for innovative instrumental tracks, this one is out of place both thematically and rhythmically on the album. To say nothing of the fact that it is a dissonant piece which falls far, far short of the rest of the album.
Overall rating: 3.5/5
December 27, 2009
December 22, 2009
Kill Hannah: New Heart for Xmass 7 (with VIP pass.)
What an amazing weekend. I had the privilege of meeting, and briefly socializing with two wonderful artists. I was indoctrinated into a wonderful community of close knit fans, brought together by a gracious, caring artist who gives back a great deal to his fans.
Day one (12/18/09):
Venue: Reggie's Rock Club (2.5/5) I'm trying not to judge the venue by the sketchy area it was lodged in. Being on state street a hop, skip and a jump from nicer areas, I assumed quite incorrectly that it would be a decent area.
I didn't really get a chance to look at the bar itself, as I was too busy doing what I came to do, namely schmoozing with Kill Hannah. Reggie's struck me as a place that could not make up its mind weather it was a music venue or not. The layout was similar to other standing room only venues, however, it was too small to accommodate the audience for larger shows. That alone was not a problem, as there are other similar venues, designed for smaller bands. However, if you're going to be a little dig like that, at least have a good enough sound system that the vocals could be decerned from the base four rows in.
Full Album performance of Kill Hannah's "American Jet Set" (3/5) While not my favorite album, it was nice to have a hat tip to the fans that had been there for the full decade that the band has been preforming. There were songs I'd genuinely forgotten were on the album, which was a pleasant surprise. Having seen them live before, my bar was set very high, and while the show was phenomenal, it did not live up to the standard Kill Hannah set. The energy was weaker I would have expected in a show that is explicitly devoted to the more dedicated fans. While far from a disappointment, it wasn't as powerful as I would have hoped.
Day two (12/19/2009)
Venue: The Metro (4/5): I would call this my new, second favorite venue, rival only two The House Of Blues. Despite having been a Chicago girl now for three and a half years, \ I hadn't visited The Metro before because I am a petite person and had heard The Metro's reputation for wild, densely packed crowds. However, my attachment to Kill Hannah's music won out over my trepidation. I was not disappointed.
The Metro is a lovely venue with four bars tucked just a little away from the floor, making them easier to get to than at most venues. It has three floors, one is mostly just the merchandise booth and a place to house the line. The second floor is where the stage and dance floor are, very simple design a basic black, flat floor. The third floor was more of a lounge with seats and tables, however it over looked the second floor so that the show is visible. This was also where the coat check was, which was nicer than most venues. It is clean, except for the bathrooms, which I will get to in a moment. The sound booth is set back closer to the bar, adding that much more room to the already spacious floor. The seasonal decor was fun, large wire and nylon snowflakes, lit candy canes and little plastic trees where the permanent decor was professional and neat and there were posters everywhere advertising the next show or release party, but not so many that it was messy.
Then there were the bathrooms, like at Vic, the bathrooms were questionable at best, I was a little afraid to use them actually for fear of how dirty they were and the amount of graffiti
The Crowd: (4/5) While understandably bored during the first acts, the crowd was lit with an energy hitherto unseen in Kill Hannah fans, they were airborne, screaming, dancing like the world was ending. The energy was intense, but it wasn't such a tight crowd that it was suffocating.
First opener: 1997 (1/5) I try to be lenient on first openers, because its a rough slot to fill and they are often less experienced, younger bands, doubly so if they are a multi-gender band. However, they were positively discordant and had all of the stage presence of a dust bunny. They did try hard to get the audience to participate, however the audience was having none of it.
Second opener: Hey Champ (3/5) A fun, if forgettable, opening band. Their guitar work was pleasant but nothing unduly impressive.
Main Act: Kill Hannah. (4.7/5) New Heart for Xmas is Kill Hannah's annual big show, and it was simply put amazing. Mat Devine gives 110% to the audience and his interaction with them was the a delightful give and take. I've never seen a front man so gracious as Devine. On top of the band's engagement with the audience, their music was as as always wonderfully dynamic and well orchestrated without sounding manufactured. I was also impressed by how the band managed to preform songs that normally had far more parts than they have band members (one song on the album includes a choir as well Amanda Palmer, but they still played it quite nicely).
Despite Devine's spending the bulk of his time leaning over, in some cases all but steping into the crowd, they still manage several set and costume changes, a light show, and laser guitars. These guys push from being simply a band to being full on performers without sacrificing their craft.
Even with the light show, there is an incredible intimacy between the fans and the band. The honestway Devine talks about his music, and by extension his life, shows a vulnerability not often expressed in artists who are, for lack of other word, high gloss. on the whole the band gives off a very human energy.
It is a privilege to be involved with such a kind, down to earth artist who is also still not afraid to dream. Feet planted firmly on the stage, and eyes ever on the horizon Kill Hannah is an invoative band that puts on a thoroughly engaging show.
Day one (12/18/09):
Venue: Reggie's Rock Club (2.5/5) I'm trying not to judge the venue by the sketchy area it was lodged in. Being on state street a hop, skip and a jump from nicer areas, I assumed quite incorrectly that it would be a decent area.
I didn't really get a chance to look at the bar itself, as I was too busy doing what I came to do, namely schmoozing with Kill Hannah. Reggie's struck me as a place that could not make up its mind weather it was a music venue or not. The layout was similar to other standing room only venues, however, it was too small to accommodate the audience for larger shows. That alone was not a problem, as there are other similar venues, designed for smaller bands. However, if you're going to be a little dig like that, at least have a good enough sound system that the vocals could be decerned from the base four rows in.
Full Album performance of Kill Hannah's "American Jet Set" (3/5) While not my favorite album, it was nice to have a hat tip to the fans that had been there for the full decade that the band has been preforming. There were songs I'd genuinely forgotten were on the album, which was a pleasant surprise. Having seen them live before, my bar was set very high, and while the show was phenomenal, it did not live up to the standard Kill Hannah set. The energy was weaker I would have expected in a show that is explicitly devoted to the more dedicated fans. While far from a disappointment, it wasn't as powerful as I would have hoped.
Day two (12/19/2009)
Venue: The Metro (4/5): I would call this my new, second favorite venue, rival only two The House Of Blues. Despite having been a Chicago girl now for three and a half years, \ I hadn't visited The Metro before because I am a petite person and had heard The Metro's reputation for wild, densely packed crowds. However, my attachment to Kill Hannah's music won out over my trepidation. I was not disappointed.
The Metro is a lovely venue with four bars tucked just a little away from the floor, making them easier to get to than at most venues. It has three floors, one is mostly just the merchandise booth and a place to house the line. The second floor is where the stage and dance floor are, very simple design a basic black, flat floor. The third floor was more of a lounge with seats and tables, however it over looked the second floor so that the show is visible. This was also where the coat check was, which was nicer than most venues. It is clean, except for the bathrooms, which I will get to in a moment. The sound booth is set back closer to the bar, adding that much more room to the already spacious floor. The seasonal decor was fun, large wire and nylon snowflakes, lit candy canes and little plastic trees where the permanent decor was professional and neat and there were posters everywhere advertising the next show or release party, but not so many that it was messy.
Then there were the bathrooms, like at Vic, the bathrooms were questionable at best, I was a little afraid to use them actually for fear of how dirty they were and the amount of graffiti
The Crowd: (4/5) While understandably bored during the first acts, the crowd was lit with an energy hitherto unseen in Kill Hannah fans, they were airborne, screaming, dancing like the world was ending. The energy was intense, but it wasn't such a tight crowd that it was suffocating.
First opener: 1997 (1/5) I try to be lenient on first openers, because its a rough slot to fill and they are often less experienced, younger bands, doubly so if they are a multi-gender band. However, they were positively discordant and had all of the stage presence of a dust bunny. They did try hard to get the audience to participate, however the audience was having none of it.
Second opener: Hey Champ (3/5) A fun, if forgettable, opening band. Their guitar work was pleasant but nothing unduly impressive.
Main Act: Kill Hannah. (4.7/5) New Heart for Xmas is Kill Hannah's annual big show, and it was simply put amazing. Mat Devine gives 110% to the audience and his interaction with them was the a delightful give and take. I've never seen a front man so gracious as Devine. On top of the band's engagement with the audience, their music was as as always wonderfully dynamic and well orchestrated without sounding manufactured. I was also impressed by how the band managed to preform songs that normally had far more parts than they have band members (one song on the album includes a choir as well Amanda Palmer, but they still played it quite nicely).
Despite Devine's spending the bulk of his time leaning over, in some cases all but steping into the crowd, they still manage several set and costume changes, a light show, and laser guitars. These guys push from being simply a band to being full on performers without sacrificing their craft.
Even with the light show, there is an incredible intimacy between the fans and the band. The honestway Devine talks about his music, and by extension his life, shows a vulnerability not often expressed in artists who are, for lack of other word, high gloss. on the whole the band gives off a very human energy.
It is a privilege to be involved with such a kind, down to earth artist who is also still not afraid to dream. Feet planted firmly on the stage, and eyes ever on the horizon Kill Hannah is an invoative band that puts on a thoroughly engaging show.
December 18, 2009
Concert review: After Midnight Project, The Used, 30 Seconds To Mars
I would like to say after a far to long hiatus it was fantastic to finally get back on the floor. I melted into a puddle of happiness on principle.
The Venue: House of Blues chicago (see this post for my review)
The Crowd: (3.5/5) An above average, fun crowd. Lots of chatting between shows, and during the first opener. They positively sprung to life during the main act. Thirty Seconds To Mars has a wonderful cult following, which makes the experience even better. No one was there just for one song. They were happy for each number which is how it should be.
First Opener-- After Midnight Project (3/5) AMP as their fans call them was a fun, solid opener. A little cacophonous upon a closer listen with bitter, almost vindictive lyrics. Great for an opener, but I wouldn't go to a show for them. They have a very common sound that wants to be original but falls short. However, front man Jason Evigan, made a lot of effort to get the crowd involved and the crowd was responsive as could be expected for the first wave opener. The album was was worth concert price, but I wouldn't have paid more for it. Very rough still, I look forward to seeing what this band does when they clean up and grow into their own, less generic sound.
Second Opener/ First Main Act-- The Used (2/5). I will make a caviat, the person in front of me was being a real pill and blocking my view, along with the people next to me so that may be shading my lack of enjoyment.
Their sound was unpolished, which I don't usually mind, but I found that in conjunction with an unprofessional attitude and vulgarity beyond even my tolerant standards, their performace was mediocre. While nominally better recorded, the frontman's vocals are reminiscent of a gremlin. That alone wouldn't have stopped me, however, that mixed with a run of the mill sound and a poor performance left me irritable. Had they been the main act I would have been very angry I'd spent money on these tickets.
However, they weren't.
Main Act: 30 Seconds to Mars (5/5). While the set only ran about an hour, due to that front man Jered Leto's being ill from a recent tonsillectomy, they made every moment count. When I heard Leto was ill my expectations naturally dropped, after all no one sounds perfect when ill.
If this is what he sounds like when he's off, I can't imagine what its like when he's in full health. Leto was full of fire, in constant motion and interacting with the audience constantly (actually, in the audience at one point). He looked fantastic, wich is a nice plus. I find often artist aren't as put together for shows, you see who they really are more. Having seen Leto as an actor, it was wonderful to see him come out of his shell and enjoy the evening as himself, rather than a role. He was the right mix of diva and graciousness. He even went as far as to dedicate one of his acustic numbers to a fan that had recently passed on.
30 Seconds to Mars is nothing if they are not professional. Their sound is even clean live, wich you don't hear often. Leto's intense energy, and very strong voice carry words that are occasionally a little cryptic, but speak of conviction and tenacity. Leto is also very articulate, you can hear every word clearly. While most of his songs are in a simlar speed, he does slip in the occasional ballad, which is often far simpler lyrically than his other work. In This Is War (title track for their newest album), he combines both the intensity of his faster work and the simplicity of his ballads.
While, Leto is a powerhouse unto himself, the rest of the band does a wonderful job matching stride with him and plays nicely, knowing both how to sound sharp and improvise when necessary.
I was impressed when I heard them recorded, I was blown away when I saw them live. Simply wonderful, a damn near perfect show.
Next up: Kill Hannah' New Heart for Christmas VII show.
The Venue: House of Blues chicago (see this post for my review)
The Crowd: (3.5/5) An above average, fun crowd. Lots of chatting between shows, and during the first opener. They positively sprung to life during the main act. Thirty Seconds To Mars has a wonderful cult following, which makes the experience even better. No one was there just for one song. They were happy for each number which is how it should be.
First Opener-- After Midnight Project (3/5) AMP as their fans call them was a fun, solid opener. A little cacophonous upon a closer listen with bitter, almost vindictive lyrics. Great for an opener, but I wouldn't go to a show for them. They have a very common sound that wants to be original but falls short. However, front man Jason Evigan, made a lot of effort to get the crowd involved and the crowd was responsive as could be expected for the first wave opener. The album was was worth concert price, but I wouldn't have paid more for it. Very rough still, I look forward to seeing what this band does when they clean up and grow into their own, less generic sound.
Second Opener/ First Main Act-- The Used (2/5). I will make a caviat, the person in front of me was being a real pill and blocking my view, along with the people next to me so that may be shading my lack of enjoyment.
Their sound was unpolished, which I don't usually mind, but I found that in conjunction with an unprofessional attitude and vulgarity beyond even my tolerant standards, their performace was mediocre. While nominally better recorded, the frontman's vocals are reminiscent of a gremlin. That alone wouldn't have stopped me, however, that mixed with a run of the mill sound and a poor performance left me irritable. Had they been the main act I would have been very angry I'd spent money on these tickets.
However, they weren't.
Main Act: 30 Seconds to Mars (5/5). While the set only ran about an hour, due to that front man Jered Leto's being ill from a recent tonsillectomy, they made every moment count. When I heard Leto was ill my expectations naturally dropped, after all no one sounds perfect when ill.
If this is what he sounds like when he's off, I can't imagine what its like when he's in full health. Leto was full of fire, in constant motion and interacting with the audience constantly (actually, in the audience at one point). He looked fantastic, wich is a nice plus. I find often artist aren't as put together for shows, you see who they really are more. Having seen Leto as an actor, it was wonderful to see him come out of his shell and enjoy the evening as himself, rather than a role. He was the right mix of diva and graciousness. He even went as far as to dedicate one of his acustic numbers to a fan that had recently passed on.
30 Seconds to Mars is nothing if they are not professional. Their sound is even clean live, wich you don't hear often. Leto's intense energy, and very strong voice carry words that are occasionally a little cryptic, but speak of conviction and tenacity. Leto is also very articulate, you can hear every word clearly. While most of his songs are in a simlar speed, he does slip in the occasional ballad, which is often far simpler lyrically than his other work. In This Is War (title track for their newest album), he combines both the intensity of his faster work and the simplicity of his ballads.
While, Leto is a powerhouse unto himself, the rest of the band does a wonderful job matching stride with him and plays nicely, knowing both how to sound sharp and improvise when necessary.
I was impressed when I heard them recorded, I was blown away when I saw them live. Simply wonderful, a damn near perfect show.
Next up: Kill Hannah' New Heart for Christmas VII show.
December 17, 2009
Life Happenened
I'll get to those album reviews. I think i'll skip some though as it concernt season part two.!
Why have I been on hiatus?
Dear reader, I can show you in picture form
His name is Jake, and he's now eaten (along with two stuffed animals and a highligher) a little over a month of my life. I love him.
Actual honest to gosh reviews forthcomng.
Why have I been on hiatus?
Dear reader, I can show you in picture form
His name is Jake, and he's now eaten (along with two stuffed animals and a highligher) a little over a month of my life. I love him.
Actual honest to gosh reviews forthcomng.
November 2, 2009
So There's Been a Lull
And to be honest I haven't had the energy or time to really update. Eventually I will review some albums, fear not the blog isn't abandoned.
on my to review list:
*new three days grace
*Mayday parade
*30 seonds to mars
*Adam Lambert
*The accemy is
on my to review list:
*new three days grace
*Mayday parade
*30 seonds to mars
*Adam Lambert
*The accemy is
October 11, 2009
Album Review: Kill Hannah Wake Up the Sleepers.
Song order is often critical to an album’s presentation, even with the advent of shuffle buttons. The balance and the opening are especially critical.
Kill Hannah does a lovely job here kicking off their newest album Wake Up The Sleepers with a song that hit me as an artist like a fist.
Highlights:
Radio: every band needs a song like this. The song that says we did this despite what other people thought and we owe it to you, our fans. In the spirit of front man Mat Devine’s bold personality, this song is one part thank you letter to the city and medium that made Kill Hannah, one part flipping the bird to the people that said they’d never make it. This song brings a shiver to my spine as an artist. I only hope to ever be able to say what this song says about my own work.
New York City Speed: I wasn’t in a good environment the fist time I heard “New York City Speed,” but it still managed to catch me. Utterly fearless and defiant, it speaks of living fast in the moment. Like “Welcome to Chicago,” (released originally on a one-track single: Welcome to Chicago, Motherfucker!) “New York City Speed” screams the name of its namesake city.
Living in Misery: Slow songs are not something Kill Hannah is known for, but this little beauty illustrates Devine’s wistful, touching lyrics beautifully. This song is for the misfits the way “Unwanted” (From For Never and Ever). With a lovely, almost gospel-like harmony at the end that made the hair on my arms stand up.
Why I have My Grandma’s Sad Eyes: Mat Devine’s lyrics once again speak of coming back from pain. Even his despairing songs whisper hope. This song quotes another song which I haven’t been able to track down with the words “Universe wrap your arms around me, make me strong so I can take on anyone.” This little line I think encompasses the song. One part admitting vulnerability one part seeking hope this little gem inspires
Escape artistry: This is a spirited song that I think anyone who’s ever been trapped in one place for too long can identify with this dancy, brazen song.
Promise Me: This one actually made me stop what I was doing the first time I heard it. It was so different from most of what Kill Hannah does. Stripped of the electronic rhythms and complex tones of their usual songs. This song has one very simple background note. The lyrics are a caress, a whispered entreaty not to be forgotten. Its a simple, beautiful song.
Overall review:
I was left wordless by the last new track on this album, so it took me a moment to get to writing this review. In this album, Kill Hanna keeps pushing and honing the style that is unquestionably their own. For those of you that haven’t heard Kill Hannah they are one part alt rock, two parts electronica. Mat Devine has an effeminate voice that I thought belonged to a woman when I first heard it. Its lovely in conjunction with lyrics that Mat himself has said come from the heart and a beat you can dance to. This album experiments a little more with both the vocals and the over all sound. It also has a nice balance of slow and fast songs.
(4.5/5. This album is nearly perfect)
Kill Hannah does a lovely job here kicking off their newest album Wake Up The Sleepers with a song that hit me as an artist like a fist.
Highlights:
Radio: every band needs a song like this. The song that says we did this despite what other people thought and we owe it to you, our fans. In the spirit of front man Mat Devine’s bold personality, this song is one part thank you letter to the city and medium that made Kill Hannah, one part flipping the bird to the people that said they’d never make it. This song brings a shiver to my spine as an artist. I only hope to ever be able to say what this song says about my own work.
New York City Speed: I wasn’t in a good environment the fist time I heard “New York City Speed,” but it still managed to catch me. Utterly fearless and defiant, it speaks of living fast in the moment. Like “Welcome to Chicago,” (released originally on a one-track single: Welcome to Chicago, Motherfucker!) “New York City Speed” screams the name of its namesake city.
Living in Misery: Slow songs are not something Kill Hannah is known for, but this little beauty illustrates Devine’s wistful, touching lyrics beautifully. This song is for the misfits the way “Unwanted” (From For Never and Ever). With a lovely, almost gospel-like harmony at the end that made the hair on my arms stand up.
Why I have My Grandma’s Sad Eyes: Mat Devine’s lyrics once again speak of coming back from pain. Even his despairing songs whisper hope. This song quotes another song which I haven’t been able to track down with the words “Universe wrap your arms around me, make me strong so I can take on anyone.” This little line I think encompasses the song. One part admitting vulnerability one part seeking hope this little gem inspires
Escape artistry: This is a spirited song that I think anyone who’s ever been trapped in one place for too long can identify with this dancy, brazen song.
Promise Me: This one actually made me stop what I was doing the first time I heard it. It was so different from most of what Kill Hannah does. Stripped of the electronic rhythms and complex tones of their usual songs. This song has one very simple background note. The lyrics are a caress, a whispered entreaty not to be forgotten. Its a simple, beautiful song.
Overall review:
I was left wordless by the last new track on this album, so it took me a moment to get to writing this review. In this album, Kill Hanna keeps pushing and honing the style that is unquestionably their own. For those of you that haven’t heard Kill Hannah they are one part alt rock, two parts electronica. Mat Devine has an effeminate voice that I thought belonged to a woman when I first heard it. Its lovely in conjunction with lyrics that Mat himself has said come from the heart and a beat you can dance to. This album experiments a little more with both the vocals and the over all sound. It also has a nice balance of slow and fast songs.
(4.5/5. This album is nearly perfect)
October 6, 2009
The Tenderbox, Kill Hannah and She Wants Revenge at The Vic Theater (10/1/09)
The Venue (see previous review of The Vic)I was smart this time and did not use the bathroom.
The Crowd: (2/5). Ugh. A too small crowd that kept staring at the stage wondering when their song/ band would come on. A little better for the opener but frankly, bored.
The First Opener ( The Tenderbox )(2.5/5)-- This little band tried very hard, and put fourth a lot of effort to get the crowd (which was having none of it) moving. They put forth a good effort. However, they were only all right in terms of talent and had no stage presence to speak of. I think they'll probably get better, but at this point in time they fell flat. I can't really comment on their lyrical content, as I cannot find their lyrics online and don’t feel they’re worth purchasing the album at this time.
The Second Opener (Kill Hannah)(4/5) Despite Kill Hannah being the band I came for I had relatively low hopes going in as electronically driven music often doesn’t translate well to stage. From the moment front man Mat Devine ran out onto the stage he gave 110%. Devine was full of energetic dancing, all but leaping into the crowd. I think he even got some of the stubborn She Wants Revenge fans moving. I could tell that this show meant absolutely the world to these guys (that its their home city and nearly coincides with their album release was really something). These are Chicago boys, and it shows.
I gravitate toward strong lyrics and Kill Hannah is no exception. They have some very intense songs, and you can feel the passion in them. The lyrics have the same intensity their performance does. Whether it be the almost flirtatious daredevil song "Lips like Morphine,” or the pained but still energetic "Unwanted," Kill Hannah brings a very strong, heartfelt lyrics and a fast no-fear energy that stays strong even after they’ve left the stage.
One of the first things that struck me about Mathew Devine was his effeminate voice, which could have sounded shy with tamer lyrics. The voice fits the man-- a slight, archetypal pretty boy. Devine’s quavering tone is complemented nicely by fierce lyrics and powerful energy. This surreal dynamic creates something truly unique
The Main Act (She Wants Revenge) (3/5): Admittedly, it’s hard to impress me when I only know one or two of your songs and I’m already tired from dancing my legs off to the opener, but I like to give it my all even for artists I’m not that familiar with. I have some of She Wants Revenge’s albums so I was familiar with their sound and a couple of their songs.
I danced merrily but I caught myself yawning, which is unusual for me, as I tend to get a buzz off the energy at a good show. So, I thought about it a little as I danced, and sure enough I yawned again. I focused my attention trying to discern what was causing this.
And then it hit me.
Despite the energy of the crowd, which had picked up substantially by that point and Front man very articulate singing style and smooth voice. Front man, Justin Warfield had very dull energy and he absorbed the energy the crowd generated but gave nothing back. It took me just another moment to determine that he was also quite arrogant.
His attitude was effectively demonstrated when a fan tossed an obviously hand painted graffiti style hat onto the stage. Warfield picked it up. Now I’ve seen artist show what I call the "gift face" when they receive something they're not sure what to make of, but they tend to be gracious and flattered. Not so here. Warfield looked at it, made fun of it briefly, and tossed it back into the crowd.
One of the things I have very little patience for is people being ungrateful toward those who put them where they are. These are your fans.
Even Warfield’s dancing and the way he moved on stage was always at a distance from the audience. Part of that I know is the "indier than thou," posh style he was presenting. However, that’s no excuse to be rude. Even the poshest people in existence know how to be grateful.
On the other side of the coin, Justin Warfield’s lyrics are a lot of fun and very articulate, if dominated by one subject: seduction. His songs are full of flirty, almost too deliberate lyrics, which are regrettably not sung from the heart. He doesn’t even manage to be cheeky in his dispassion.
There is centrally talent in the music, especially the vocals and the keyboard. Keyboardist Adam Bravin had the most passion of the entire group and it showed in his wonderful performance. I would that the front man had that kind of passion.
The Crowd: (2/5). Ugh. A too small crowd that kept staring at the stage wondering when their song/ band would come on. A little better for the opener but frankly, bored.
The First Opener ( The Tenderbox )(2.5/5)-- This little band tried very hard, and put fourth a lot of effort to get the crowd (which was having none of it) moving. They put forth a good effort. However, they were only all right in terms of talent and had no stage presence to speak of. I think they'll probably get better, but at this point in time they fell flat. I can't really comment on their lyrical content, as I cannot find their lyrics online and don’t feel they’re worth purchasing the album at this time.
The Second Opener (Kill Hannah)(4/5) Despite Kill Hannah being the band I came for I had relatively low hopes going in as electronically driven music often doesn’t translate well to stage. From the moment front man Mat Devine ran out onto the stage he gave 110%. Devine was full of energetic dancing, all but leaping into the crowd. I think he even got some of the stubborn She Wants Revenge fans moving. I could tell that this show meant absolutely the world to these guys (that its their home city and nearly coincides with their album release was really something). These are Chicago boys, and it shows.
I gravitate toward strong lyrics and Kill Hannah is no exception. They have some very intense songs, and you can feel the passion in them. The lyrics have the same intensity their performance does. Whether it be the almost flirtatious daredevil song "Lips like Morphine,” or the pained but still energetic "Unwanted," Kill Hannah brings a very strong, heartfelt lyrics and a fast no-fear energy that stays strong even after they’ve left the stage.
One of the first things that struck me about Mathew Devine was his effeminate voice, which could have sounded shy with tamer lyrics. The voice fits the man-- a slight, archetypal pretty boy. Devine’s quavering tone is complemented nicely by fierce lyrics and powerful energy. This surreal dynamic creates something truly unique
The Main Act (She Wants Revenge) (3/5): Admittedly, it’s hard to impress me when I only know one or two of your songs and I’m already tired from dancing my legs off to the opener, but I like to give it my all even for artists I’m not that familiar with. I have some of She Wants Revenge’s albums so I was familiar with their sound and a couple of their songs.
I danced merrily but I caught myself yawning, which is unusual for me, as I tend to get a buzz off the energy at a good show. So, I thought about it a little as I danced, and sure enough I yawned again. I focused my attention trying to discern what was causing this.
And then it hit me.
Despite the energy of the crowd, which had picked up substantially by that point and Front man very articulate singing style and smooth voice. Front man, Justin Warfield had very dull energy and he absorbed the energy the crowd generated but gave nothing back. It took me just another moment to determine that he was also quite arrogant.
His attitude was effectively demonstrated when a fan tossed an obviously hand painted graffiti style hat onto the stage. Warfield picked it up. Now I’ve seen artist show what I call the "gift face" when they receive something they're not sure what to make of, but they tend to be gracious and flattered. Not so here. Warfield looked at it, made fun of it briefly, and tossed it back into the crowd.
One of the things I have very little patience for is people being ungrateful toward those who put them where they are. These are your fans.
Even Warfield’s dancing and the way he moved on stage was always at a distance from the audience. Part of that I know is the "indier than thou," posh style he was presenting. However, that’s no excuse to be rude. Even the poshest people in existence know how to be grateful.
On the other side of the coin, Justin Warfield’s lyrics are a lot of fun and very articulate, if dominated by one subject: seduction. His songs are full of flirty, almost too deliberate lyrics, which are regrettably not sung from the heart. He doesn’t even manage to be cheeky in his dispassion.
There is centrally talent in the music, especially the vocals and the keyboard. Keyboardist Adam Bravin had the most passion of the entire group and it showed in his wonderful performance. I would that the front man had that kind of passion.
Concert review: You Me At Six, Secret Handshake, Mayday Parade, and The Academy is..(8/28)
Note: Sorry for being absent, my personal life exploded.
I almost didn't make it to this show, I ran late and nearly forgot what day it was on. I went alone, a personal first for me and it confirmed everything I thought about myself.
The Venue- (House of Blues, Chicago)(5/5): I've been itching to review this place since I started this blog. It’s my second home and the first venue I ever went to in Chicago. The House of Blues is connected to its own restaurant, which has decent enough food and they keep the policy that if you eat there, you get to skip the line with a receipt. On the outside it looks nice enough. But when you walk through the doors, you're met with ornate carvings, wooden walls, and hand painted signs. Its three levels, not counting the balcony. The first being the main bar area’ the second being wooden stools and small tables, the last being, of course, the dance floor itself. Hardwood floors and décor with colorfully painted walls with hosts of odd little statues, the balcony and the frame of the stage are beautifully decorated and across the top of he stage are various religious symbols and a phrase that temporarily escapes me regarding unity through music. There is always something new to look at, for example the ceiling by the sound booth is decorated with hand painted bottle caps and repurposed ashtrays.
Four bars (three main ones and one little kiosk) line the dance floor with sections for people who are under age and want food or water and people who have wristbands to prove they are old enough to drink. The bar staff has always been extremely friendly and are very good at making out what you’re shouting to them over the music. THe security, while tight at all ages shows, is very polite.
There is an equally beautiful little back hallway for merchandise and two gorgeous bathrooms. The Ladies at least has an attendant, mock marble counters, and wood slatted doors. I could even get a hairbrush and deodorant if i needed them.
Not have time to skip the line and get a sit down meal? No problem! They have a variety of bar foods (pizza, sliders, fires and so on) that are as good as the restaurant itself.
Which brings us to the show itself:
First Frontliner (Youmeatsix)(3.5/5): I confess because of how late I was running I didn't really settle in till about half way through their set so some of it was a little more preoccupied with texting and eating, which made me all the more impressed that it was as enjoyable as it was. An obviously UK based, punk-pop band with a distinctly punkier flavor than much punk-pop. In true punk spirit they were a bit inarticulate, though they didn’t scream as often as pure punk. Their energy was surprisingly good for a first in four show. They even got a mosh pit going and got the crowd to join in singing a few of the numbers. Not a band who's album I bought that day but a good opener, lots of fun energy and a cute front man, which didn't hurt things.
Second Frontliner (Secret Handshake) (1.5/5)-- I think I'm being generous with that. 5 because I'm nice to fontliners. They sounded atrocious. I was hoping they were better recorded, but I checked and they're not. If I were to give one piece of advice to them: Turn of the vocoder, it sounds broken. The front man certainly gave a good effort but I spent most of the show wondering if the mike was supposed to sound like that, and trying not to restlessly tap my feet waiting for The Academy is... I try hard not to pity clap often, but I did for them.
The First Main Act/ Last Frontliner (Mayday Parade) (4/5) Hello, pleasant surprise. I hadn't heard anything of theirs when I first came to the show (I came for The Academy is...) With what I saw of the openers and the crowd, I wasn't expecting much out of Mayday Parade, only hoping they'd live up to You Me at Six and not be atrocious like Secret Handshake. I was delighted by the energy Mayday Parade brought and the talent they had. While not mind blowing, they did quite well. I got a few of their albums and I'm starting to enjoy them quite a bit. They brought a strong energy, a verity of songs both slow and fast, mostly in the "teenage" vein-- love/ breakup songs and a couple of songs about clandestine romance. I have to say they might have gotten a little extra love from me for the song "Miserable at Best" I'm recovering from a break up and this song struck me as rather sweet. Mayday Parade brings above average lyrics, and a fun sound, with a little of that bitter twist that a lot of us can identify with.
The Second Headliner(The Academy is...)(4.7/5): I have a hard time giving out fives unless they' really earned it. I've seen The Academy is... now for I believe the third or fourth time and they put on a great show every time. Its a very different animal from other shows i've reviewed in that it’s essentially fun. I've come to expect front man and lyricist William Beckett’s spirited dancing and defiant lyrics as par for the course with his shows.
Beckett seems to truly enjoy himself without a lot of the gravity that many artist bring to the stage. At the same time it is obvious that he puts a great deal of passion, energy and time into his work. He's out there to enjoy himself and give his fans a truly good time. I have to say having met Beckett, you could not ask for a more friendly, gracious person. He's quiet startled by all the adoration fame's brought him but he still takes the time he can to talk to his fans. Despite his bolder stage persona he's soft spoken and shy. This genuineness comes out on stage tenfold, there is no doubt that Beckett sings from experience and while there are hints that he’s finally growing used to fame, Beckett still has a great deal of heart.
Beckett's lyrics have become a little less bold as The Academy Is…has grown in fame, however there is no doubt he still believes every word of "Black Mamba"(from their debut album Almost Here)in which Beckett declares “Oh, Mr. Magazine/I never wrote one single thing for you/Or your so-called music scene/Don’t mean a thing to me.” He remains loyal to his defiant roots. While, Fast times at Barrington High is certainly in a less toothy vein, catering a bit to the teenage audience, Beckett keeps his lyrics cheeky and elegant with the occasional slower song for variety.
Musically the entire band has talent, however, Beckett shines just a shade brighter than the others. The band plays off each other quite nicely, however and certainly should not be discounted as a lesser part of the group. The balance is quite strong over all.
Vocally, Becket is a surprise in a genre that often gets away with sub-par vocals. He has a very soft voice despite being loud enough to be heard across the room. He sounds young and I feel that much what makes him who he is musically is in that voice. Distinctive, enough to be recognized completely out of context, his voice speaks (or should I say sings?) of a young man searching for himself under the limelight while still being very much young at heart. You can hear the smile in his voice in many of his songs and seeing that smile in person confirms how much this young man has to offer. I have a feeling we have not yet seen what he's truly capable of.
Overall, I am exceedingly glad to have gone to this show. Well done all around, in a favorite venue of mine a favorite band, as well as a few new discoveries.
Bravo.
I almost didn't make it to this show, I ran late and nearly forgot what day it was on. I went alone, a personal first for me and it confirmed everything I thought about myself.
The Venue- (House of Blues, Chicago)(5/5): I've been itching to review this place since I started this blog. It’s my second home and the first venue I ever went to in Chicago. The House of Blues is connected to its own restaurant, which has decent enough food and they keep the policy that if you eat there, you get to skip the line with a receipt. On the outside it looks nice enough. But when you walk through the doors, you're met with ornate carvings, wooden walls, and hand painted signs. Its three levels, not counting the balcony. The first being the main bar area’ the second being wooden stools and small tables, the last being, of course, the dance floor itself. Hardwood floors and décor with colorfully painted walls with hosts of odd little statues, the balcony and the frame of the stage are beautifully decorated and across the top of he stage are various religious symbols and a phrase that temporarily escapes me regarding unity through music. There is always something new to look at, for example the ceiling by the sound booth is decorated with hand painted bottle caps and repurposed ashtrays.
Four bars (three main ones and one little kiosk) line the dance floor with sections for people who are under age and want food or water and people who have wristbands to prove they are old enough to drink. The bar staff has always been extremely friendly and are very good at making out what you’re shouting to them over the music. THe security, while tight at all ages shows, is very polite.
There is an equally beautiful little back hallway for merchandise and two gorgeous bathrooms. The Ladies at least has an attendant, mock marble counters, and wood slatted doors. I could even get a hairbrush and deodorant if i needed them.
Not have time to skip the line and get a sit down meal? No problem! They have a variety of bar foods (pizza, sliders, fires and so on) that are as good as the restaurant itself.
Which brings us to the show itself:
First Frontliner (Youmeatsix)(3.5/5): I confess because of how late I was running I didn't really settle in till about half way through their set so some of it was a little more preoccupied with texting and eating, which made me all the more impressed that it was as enjoyable as it was. An obviously UK based, punk-pop band with a distinctly punkier flavor than much punk-pop. In true punk spirit they were a bit inarticulate, though they didn’t scream as often as pure punk. Their energy was surprisingly good for a first in four show. They even got a mosh pit going and got the crowd to join in singing a few of the numbers. Not a band who's album I bought that day but a good opener, lots of fun energy and a cute front man, which didn't hurt things.
Second Frontliner (Secret Handshake) (1.5/5)-- I think I'm being generous with that. 5 because I'm nice to fontliners. They sounded atrocious. I was hoping they were better recorded, but I checked and they're not. If I were to give one piece of advice to them: Turn of the vocoder, it sounds broken. The front man certainly gave a good effort but I spent most of the show wondering if the mike was supposed to sound like that, and trying not to restlessly tap my feet waiting for The Academy is... I try hard not to pity clap often, but I did for them.
The First Main Act/ Last Frontliner (Mayday Parade) (4/5) Hello, pleasant surprise. I hadn't heard anything of theirs when I first came to the show (I came for The Academy is...) With what I saw of the openers and the crowd, I wasn't expecting much out of Mayday Parade, only hoping they'd live up to You Me at Six and not be atrocious like Secret Handshake. I was delighted by the energy Mayday Parade brought and the talent they had. While not mind blowing, they did quite well. I got a few of their albums and I'm starting to enjoy them quite a bit. They brought a strong energy, a verity of songs both slow and fast, mostly in the "teenage" vein-- love/ breakup songs and a couple of songs about clandestine romance. I have to say they might have gotten a little extra love from me for the song "Miserable at Best" I'm recovering from a break up and this song struck me as rather sweet. Mayday Parade brings above average lyrics, and a fun sound, with a little of that bitter twist that a lot of us can identify with.
The Second Headliner(The Academy is...)(4.7/5): I have a hard time giving out fives unless they' really earned it. I've seen The Academy is... now for I believe the third or fourth time and they put on a great show every time. Its a very different animal from other shows i've reviewed in that it’s essentially fun. I've come to expect front man and lyricist William Beckett’s spirited dancing and defiant lyrics as par for the course with his shows.
Beckett seems to truly enjoy himself without a lot of the gravity that many artist bring to the stage. At the same time it is obvious that he puts a great deal of passion, energy and time into his work. He's out there to enjoy himself and give his fans a truly good time. I have to say having met Beckett, you could not ask for a more friendly, gracious person. He's quiet startled by all the adoration fame's brought him but he still takes the time he can to talk to his fans. Despite his bolder stage persona he's soft spoken and shy. This genuineness comes out on stage tenfold, there is no doubt that Beckett sings from experience and while there are hints that he’s finally growing used to fame, Beckett still has a great deal of heart.
Beckett's lyrics have become a little less bold as The Academy Is…has grown in fame, however there is no doubt he still believes every word of "Black Mamba"(from their debut album Almost Here)in which Beckett declares “Oh, Mr. Magazine/I never wrote one single thing for you/Or your so-called music scene/Don’t mean a thing to me.” He remains loyal to his defiant roots. While, Fast times at Barrington High is certainly in a less toothy vein, catering a bit to the teenage audience, Beckett keeps his lyrics cheeky and elegant with the occasional slower song for variety.
Musically the entire band has talent, however, Beckett shines just a shade brighter than the others. The band plays off each other quite nicely, however and certainly should not be discounted as a lesser part of the group. The balance is quite strong over all.
Vocally, Becket is a surprise in a genre that often gets away with sub-par vocals. He has a very soft voice despite being loud enough to be heard across the room. He sounds young and I feel that much what makes him who he is musically is in that voice. Distinctive, enough to be recognized completely out of context, his voice speaks (or should I say sings?) of a young man searching for himself under the limelight while still being very much young at heart. You can hear the smile in his voice in many of his songs and seeing that smile in person confirms how much this young man has to offer. I have a feeling we have not yet seen what he's truly capable of.
Overall, I am exceedingly glad to have gone to this show. Well done all around, in a favorite venue of mine a favorite band, as well as a few new discoveries.
Bravo.
September 10, 2009
September 8, 2009
Album Reviews: Our Lady Peace(Burn Burn) and Shinedown(Sound Of Maddness[delux edition])
Album review: Our Lady Peace—Burn Burn (3.5/5)
Brent Smith has a sharp tongue and eloquent lyrics. In looking at the bio for this little Florida band, I discovered ,quiet by accident that part of the inspiration for this album was a visit to Iraq. As a result, lot of the charge and anger prevalent I this piece was given a whole new light. This album almost got a 5/5 as many of the songs on this album hit a chord in my personal life very hard.
In addition to the powerful lyrics, this album was also nicely balanced between melodic, in some cases gut-wrenching, slow songs and songs whose crashing drum pulse compel the listener to jump or at the very least headbang. I find some albums sound redundant as an artist focuses on a certain sound style. While there is no mistaking Shinedown’s sound, the tracks are distinctive from each other, even in the numbers that are the same tempo. “Sin with a Grin,”for example, is a completely different animal from “Devour.” Similarly “Second Chance” is a completely different, more hopeful creature, from the tortured “Call Me.”
All told this is a very strong album, from both a lyrical and musical standpoint and I’m very much looking forward to seeing what they do next.
Our Lady Peace’s album, Gravity turned me on to them. Once I’d heard “Innocent” and “Somewhere Out There,” I got a hold of Naveed, Clumsy Happiness is not a Fish You Can Catch, and, of course, Gravity. Having just seen them live and fallen in love I waited eagerly for Burn Burn.
Burn Burn is a solid album, Our Lady Peace continues to put out inspirational songs, though they’ve lost a little of the edge they had in Happiness is Not A Fish You Can Catch. Madia’s vocals, while still impressive, tend to linger in their safe range and he doesn’t push the envelope lyrically as much as he did on previous albums.
While there are a few songs that lean toward the mainstream, front man Raine Madia’s lyrics are still delightfully quirky. Reminiscent of their older work, "Monkey Brains” remains one of Our Lady Peace’s stranger numbers. This album feels like the end of a long struggle, a thank you note kicks off the album in “All You Did Was Save My Life” In a simlar finality, we hear “Signs of Life,” though there is a little flash of the teenaged yearning seen in other albums with “Paper Moon.”
Overall, it feels like they’ve grown through their adolescence without loosing their drive the way that many do. Great album, though would have been even better if not held to the high standards other Our lady Peace albums set.
Shinedown: Sound of Madness
This was the album that brought Shinedown to my attention; it was the only album I had of theirs for the longest time. Naturally, I am a little biased toward this wicked little album.
Brent Smith has a sharp tongue and eloquent lyrics. In looking at the bio for this little Florida band, I discovered ,quiet by accident that part of the inspiration for this album was a visit to Iraq. As a result, lot of the charge and anger prevalent I this piece was given a whole new light. This album almost got a 5/5 as many of the songs on this album hit a chord in my personal life very hard.
Ignoring the personal, because you, dear reader, are not me. This album was lyrically sharp and obviously came from a deeply personal place for front man Brent Smith. However, it is obvious both from their bio, and from listing to their work that the band is cohesive in its artistry. The band works together with Smith’s vocals creating a sound that is distinctly Shinedown’s own. Unlike many artists whose newer albums are not as strong as their previous albums, Shinedown keeps pushing themselves to be better, and keep the edginess alive. They are very much still passionate, which may not seem to be much of a feat after only four albums, but I’ve seen other bands cave to mainstream pressures faster.
I have gushed in previous entrees about Shinedown’s lyrics, they remain evocative and hard edged. Smith’s eloquence is a wonderful to hear. In a genre dominated by screaming and grunting, Smith’s diction is a welcome pleasure. Whether it be a haunting melody like “The Crow and the Butterfly” or pleasantly malicious “Sin With a Grin,” Smith brings evocative lyrics and genuine emotion, to an already powerful band.
In addition to the powerful lyrics, this album was also nicely balanced between melodic, in some cases gut-wrenching, slow songs and songs whose crashing drum pulse compel the listener to jump or at the very least headbang. I find some albums sound redundant as an artist focuses on a certain sound style. While there is no mistaking Shinedown’s sound, the tracks are distinctive from each other, even in the numbers that are the same tempo. “Sin with a Grin,”for example, is a completely different animal from “Devour.” Similarly “Second Chance” is a completely different, more hopeful creature, from the tortured “Call Me.”
All told this is a very strong album, from both a lyrical and musical standpoint and I’m very much looking forward to seeing what they do next.
August 29, 2009
Staind with Shinedown, Chavelle and Halestorm
The Venue (Congress Theater, Chicago IL; (3/5)— A little out of the way of where most concerts are, my friend and I wound up taking a cab for fear of getting lost. Though it’s only a few blocks from a blue line stop.
Upon entering, it feels like you’ve stepped into a theater, rather than a concert venue. While the first “seating tier” has been gutted to accommodate a dance floor/pit area, the rest of the building still looks and feels very much like a theater complete with marble floors and a huge domed ceiling reminiscent of the pantheon in Rome. The balcony levels even still have red carpet. The stage also has some odd left over aspects of its theater days including the lighting system, which could be lowered after the show for easy adjustment/ clean up.
One thing that, I felt was interesting and kind of nice is that both the seated areas (balconies and what would be the “second tier”)and the dance floor were covered by “general admission” price (40$) so that if you want a place to sit or stash your merch, you can do so without shelling out extra money.
The floor itself is a little less nice than other places. It consists concrete floors and a shoddily carpeted sound booth made of untreated wood and duct taped in places.
The bars while lower contents than some of the concert hall bars I’ve seen they were clean and the tender friendly. I never buy more than water and often that comes in an awkward plastic cup, which you still have to pay four bucks for, or a small bottle. I was pleasantly surprised when I got two nice twenty-ounce bottles for fewer than five dollars.
The sound system, oh, the sound system. The first thing I noticed was it was nice and loud, which is quite frankly a must for a metal show (or any rock show for that matter) and the volume had little if any effect on the sound quality. There was still a little trouble with the voice to music ratio but not as much so as at the Vic.
I did not get to the bathrooms at this place, no report there. This was largely due to the fact that I did not want to leave the floor (see reviews below)
The crowd: (2/5 for most of the show 3/5 for Staind itself). This show illustrated the problem of being an opener, or going to a show explicitly for one of the openers—bored crowds. There’s a certain kind of attitude that happens in many concertgoers, which I find rather rude. They still and emanate boredom while very clearly thinking “Oh god, when is my band/ song coming on.” It’s an understandable, even forgivable, occurrence when the band is not that great, or it’s a band that truthfully has only one or two good songs. Despite understanding, I find it obnoxious that people don’t at least put a little effort forward for someone who is putting their life’s work out there and exposing raw nerves, for your entertainment.
However, the crowd seemed to slowly wake up as the night progressed, despite the first opener being far better than the second. When it came time for Staind, as is typical of the main act coming out, the crowd lit up substantially.
Which brings us to the acts themselves.
The First Front Act (Halestorm): (4/5). They had a hard slot to play the first of four bands the opener for the people opening for the opener; it’s no easy task to wake up the audience. As if that wasn’t enough, they are a female lead band in a genre that is still largely male dominated. It takes a very strong, often brazen, woman to get to break the genderwall and really rock out like she did. From the first second Lzzy (sic) Hale opened her mouth I was struck by her powerful chest voice which I am convinced , had it not been for the loud guitars, would have been able to reach the backmost section of the balconies without a microphone. Her appearance gave no indication that she possessed this capability; Hale had a slight frame, and a childlike face. The phrase that came to mind was from an old Meat Loaf number: She had “a heart of chrome and a voice like a horny angel.” Metal needs more women like Hale. While the band behind her was still a little green, I have confidence that they will grow into a very good band. I look forward to seeing them headline.
The Second Front Act (Chavelle): (3/5) Another hard slot to play for these guys. An avrage metal band. Chavelle was what I’d call a good opener, but not worthy of buying the CD (even if it was only 10 dollars) but a fun listen. A little more of the traditional “cookie-monster” voice and thrash guitar. However I felt they needed fewer seizure lights and more talent.
The third front act (Shinedown): (4/5) I had the same potential problem with Shinedown as I did with Our Lady Peace. I had been previously blown away by their performance when I saw them in July and had very high expectations. Shinedown was my impetus for attending so , in fact. Despite the crowd’s general ennui, front man Brent Smith brought a commanding performance and even got the majority of the crowd moving.
Smith’s graciousness and almost regal presence isn’t all he brings to the stage. He engages the audience constantly with direct crowd interaction and commanding vocals. Smith puts a lot of power behind his work and you can tell that this isn’t just for show. Genuine emotion comes through in his music despite his professional behavior. Smith also clearly loves his fans like his own family and, while he oozes confidence from every pore, he also is very sincere when thanking his fans. Unlike many metal vocalists, he is also incredibly articulate both in his performing and when speaking between numbers.
In addition to how the treatment of the fans, I feel you can tell a lot about a performer by how they treat their band mates. Smith’s dynamic with his band mates was very strong both in sound and in physical interaction. He often sang face to face with his guitarist or bassist. The strong relationships on that stage were nearly palpable in the audience. Equal parts bond and talent these interactions were as powerful as the show itself.
Smith’s lyrics are hard edged, and emotionally charged while still eloquent and sincere. Instead of using his music as a vent for depression as many artsist do, Smith's uses his songs to inspire confidence. Instead of licking wounds, he encourages listeners to take the grievances visited upon them and use that pain to push forward and become stronger. This is particularly notable in “Sin With a Grin” and “Devour.” However, Shinedown is not a one trick pony, Smith’s slower(including "45" and "Second Chance") songs evoke genuine pain and a vulnerability not common in metal.
The Main Act (Staind) (3.5/5): I confess, going in I did not have high expectations for Staind. I hadn’t heard more than one or two songs of theirs since their 2001 album “Break the Cycle” They have always been in my head a touch whiney and “teenager music” for lack of other descriptor. However, I positively adore their slower songs, and Halestorm was signing afterward so I stayed. With a low bar, set I was pleasantly surprised when Staind brought a decidedly more metal edge to the stage than anticipated. They grew up from a whining, but marginally talented band to a genuinely good metal band. I was very tired at this point having been jumping and head banging for approximately 3 hours prior, so many of the songs I wasn’t as familiar with blended together so parts of the show felt a little hazy. Then towards the end of the show, something snapped into place and the crowd sparked with a new life hitherto unseen. (It didn’t hurt that it was catalyzed by one of my favorite guilty pleasure songs entitled “For You,” whose lyrics, I think, prove that front man Aaron Lewis has some severe mommy/daddy issues to work out.) The crowd was on fire.
Then for two of the last three numbers Lewis moved from the front stage to a “stage” in the sound booth, which was right behind where my friend and I stood. From here he talked about, and sang the two songs that put stained on the map (“Outside” and “It's Been a While”) With just him and his guitar I was able to see what I had mistaken for simple whininess was, in fact, genuine emotion. Every single person in that room was singing along during those two numbers. It was almost like it was a different show—it was very powerful. Lewis’ face also showed a genuine surprise and gratitude at the amount of love coming from the fans. That kind of reaction goes far for me, proving that you haven’t, in your climb to fame, forgotten who put you there.
Good show on Staind’s half, however, I have to agree with the analysis of a fellow fan, Shinedown belonged in the front line space at this show, with Staind as an opener. Not the other way around.
Upon entering, it feels like you’ve stepped into a theater, rather than a concert venue. While the first “seating tier” has been gutted to accommodate a dance floor/pit area, the rest of the building still looks and feels very much like a theater complete with marble floors and a huge domed ceiling reminiscent of the pantheon in Rome. The balcony levels even still have red carpet. The stage also has some odd left over aspects of its theater days including the lighting system, which could be lowered after the show for easy adjustment/ clean up.
One thing that, I felt was interesting and kind of nice is that both the seated areas (balconies and what would be the “second tier”)and the dance floor were covered by “general admission” price (40$) so that if you want a place to sit or stash your merch, you can do so without shelling out extra money.
The floor itself is a little less nice than other places. It consists concrete floors and a shoddily carpeted sound booth made of untreated wood and duct taped in places.
The bars while lower contents than some of the concert hall bars I’ve seen they were clean and the tender friendly. I never buy more than water and often that comes in an awkward plastic cup, which you still have to pay four bucks for, or a small bottle. I was pleasantly surprised when I got two nice twenty-ounce bottles for fewer than five dollars.
The sound system, oh, the sound system. The first thing I noticed was it was nice and loud, which is quite frankly a must for a metal show (or any rock show for that matter) and the volume had little if any effect on the sound quality. There was still a little trouble with the voice to music ratio but not as much so as at the Vic.
I did not get to the bathrooms at this place, no report there. This was largely due to the fact that I did not want to leave the floor (see reviews below)
The crowd: (2/5 for most of the show 3/5 for Staind itself). This show illustrated the problem of being an opener, or going to a show explicitly for one of the openers—bored crowds. There’s a certain kind of attitude that happens in many concertgoers, which I find rather rude. They still and emanate boredom while very clearly thinking “Oh god, when is my band/ song coming on.” It’s an understandable, even forgivable, occurrence when the band is not that great, or it’s a band that truthfully has only one or two good songs. Despite understanding, I find it obnoxious that people don’t at least put a little effort forward for someone who is putting their life’s work out there and exposing raw nerves, for your entertainment.
However, the crowd seemed to slowly wake up as the night progressed, despite the first opener being far better than the second. When it came time for Staind, as is typical of the main act coming out, the crowd lit up substantially.
Which brings us to the acts themselves.
The First Front Act (Halestorm): (4/5). They had a hard slot to play the first of four bands the opener for the people opening for the opener; it’s no easy task to wake up the audience. As if that wasn’t enough, they are a female lead band in a genre that is still largely male dominated. It takes a very strong, often brazen, woman to get to break the genderwall and really rock out like she did. From the first second Lzzy (sic) Hale opened her mouth I was struck by her powerful chest voice which I am convinced , had it not been for the loud guitars, would have been able to reach the backmost section of the balconies without a microphone. Her appearance gave no indication that she possessed this capability; Hale had a slight frame, and a childlike face. The phrase that came to mind was from an old Meat Loaf number: She had “a heart of chrome and a voice like a horny angel.” Metal needs more women like Hale. While the band behind her was still a little green, I have confidence that they will grow into a very good band. I look forward to seeing them headline.
The Second Front Act (Chavelle): (3/5) Another hard slot to play for these guys. An avrage metal band. Chavelle was what I’d call a good opener, but not worthy of buying the CD (even if it was only 10 dollars) but a fun listen. A little more of the traditional “cookie-monster” voice and thrash guitar. However I felt they needed fewer seizure lights and more talent.
The third front act (Shinedown): (4/5) I had the same potential problem with Shinedown as I did with Our Lady Peace. I had been previously blown away by their performance when I saw them in July and had very high expectations. Shinedown was my impetus for attending so , in fact. Despite the crowd’s general ennui, front man Brent Smith brought a commanding performance and even got the majority of the crowd moving.
Smith’s graciousness and almost regal presence isn’t all he brings to the stage. He engages the audience constantly with direct crowd interaction and commanding vocals. Smith puts a lot of power behind his work and you can tell that this isn’t just for show. Genuine emotion comes through in his music despite his professional behavior. Smith also clearly loves his fans like his own family and, while he oozes confidence from every pore, he also is very sincere when thanking his fans. Unlike many metal vocalists, he is also incredibly articulate both in his performing and when speaking between numbers.
In addition to how the treatment of the fans, I feel you can tell a lot about a performer by how they treat their band mates. Smith’s dynamic with his band mates was very strong both in sound and in physical interaction. He often sang face to face with his guitarist or bassist. The strong relationships on that stage were nearly palpable in the audience. Equal parts bond and talent these interactions were as powerful as the show itself.
Smith’s lyrics are hard edged, and emotionally charged while still eloquent and sincere. Instead of using his music as a vent for depression as many artsist do, Smith's uses his songs to inspire confidence. Instead of licking wounds, he encourages listeners to take the grievances visited upon them and use that pain to push forward and become stronger. This is particularly notable in “Sin With a Grin” and “Devour.” However, Shinedown is not a one trick pony, Smith’s slower(including "45" and "Second Chance") songs evoke genuine pain and a vulnerability not common in metal.
The Main Act (Staind) (3.5/5): I confess, going in I did not have high expectations for Staind. I hadn’t heard more than one or two songs of theirs since their 2001 album “Break the Cycle” They have always been in my head a touch whiney and “teenager music” for lack of other descriptor. However, I positively adore their slower songs, and Halestorm was signing afterward so I stayed. With a low bar, set I was pleasantly surprised when Staind brought a decidedly more metal edge to the stage than anticipated. They grew up from a whining, but marginally talented band to a genuinely good metal band. I was very tired at this point having been jumping and head banging for approximately 3 hours prior, so many of the songs I wasn’t as familiar with blended together so parts of the show felt a little hazy. Then towards the end of the show, something snapped into place and the crowd sparked with a new life hitherto unseen. (It didn’t hurt that it was catalyzed by one of my favorite guilty pleasure songs entitled “For You,” whose lyrics, I think, prove that front man Aaron Lewis has some severe mommy/daddy issues to work out.) The crowd was on fire.
Then for two of the last three numbers Lewis moved from the front stage to a “stage” in the sound booth, which was right behind where my friend and I stood. From here he talked about, and sang the two songs that put stained on the map (“Outside” and “It's Been a While”) With just him and his guitar I was able to see what I had mistaken for simple whininess was, in fact, genuine emotion. Every single person in that room was singing along during those two numbers. It was almost like it was a different show—it was very powerful. Lewis’ face also showed a genuine surprise and gratitude at the amount of love coming from the fans. That kind of reaction goes far for me, proving that you haven’t, in your climb to fame, forgotten who put you there.
Good show on Staind’s half, however, I have to agree with the analysis of a fellow fan, Shinedown belonged in the front line space at this show, with Staind as an opener. Not the other way around.
Audience Survey.
But, again, I'd like your input:
when reviewing would you like me to add things like ticket price and accessibility via public transport?
(Prizes for responding)
when reviewing would you like me to add things like ticket price and accessibility via public transport?
(Prizes for responding)
August 28, 2009
Audience poll:
I don't expect much of a response being as this is a fairly young blog. However, I don't want to alienate the few followers I do have so:
Being as even an avid audiophile like myself cannot go to concerts every week, in between shows what would you like to see?
a) older music reviews, albums that I'm fond of etc.
b)ramblings of mine on music in general, and the politics that surround it.
c) all of the above
d) snowflake answer, comment below.
Being as even an avid audiophile like myself cannot go to concerts every week, in between shows what would you like to see?
a) older music reviews, albums that I'm fond of etc.
b)ramblings of mine on music in general, and the politics that surround it.
c) all of the above
d) snowflake answer, comment below.
August 25, 2009
Our Lady Peace with Meece at the Vic Theater (Chicago, IL)
The Venue(Vic Theater-- Chicago, IL):(3/5 stars) The venue was very much designed to be a concert hall. (as opposed to many venues which are no more than bars with a stage stuck in the back) It seemed to want to be like The House of Blues on a low budget, fused with a traditional bar. Neon signs indicated the location of the bathrooms(I'll get to those) there were three bars: one to either the side and back of the floor as well as a waitress that roamed the floor. There were several booth-style benches, which was a nice change from the standing room only tradition of many venues in this price range. The ceiling and balcony were decorated with mock-gilded carvings and small candelabras that stayed lit during the show, which was a very pretty touch, save for those with burnt out bulbs. The otherwise predominantly black decor made it feel bar-like.
The audio equipment, while far from the worst I’ve heard, was not as good as other venues. Especially, with regard to the sound balance between the vocals and the instruments.
Word to the wise about this place: the bathrooms are, sketchy to say the least. Being female bodied, I didn't see the men's room. The "coat check" outside the bathroom held no attendant and some rickety racks, and stools. The women's restroom had mirrors designed for people who are either under five feet tall or would rather stare at their own breasts than their faces. Broken cherubs dangled between said mirrors over a long broken paper towel holder that is now simply a steel box with several rolls of paper towel stashed in them. There were four graffiti coated stalls, some of which didn't even close. I managed to find the one with the most functional lock; it had no knob, I had to stick my finger in the mechanism to "lock" it, and even then the bolt didn't line up.
The crowd(3/5): while not something you can control as an artist or a venue, I find that the energy dynamic of the crowd can often make or break a show.
This crowd was odd. Initially, they were a decent crowd but something felt a little off about them. They seemed to be putting up with the music in places. Once the band played "Innocent," however, a lot of people left and the crowd improved tenfold.
The Front Act(Meece):(2.5/5) They were decidedly "meh." Neither good nor bad, if dull. It felt like they were trying to be Heartstop, (Warning: Audio embedded) and falling short. Some of their songs were catchy, however. One thing that lost them points in my book is that the front man Patrick Meese only introduced the guitarist, his brother.
The Main Act (Our Lady Peace) (4.5/5):A favorite of mine. This was the second time I saw Our Lady Peace in concert, the first being this past Summerfest. They put on a breathtaking performance there, so the bar was set high for this show, which often leads to some disappointment. So, i expected a little let down.
The audio equipment, while far from the worst I’ve heard, was not as good as other venues. Especially, with regard to the sound balance between the vocals and the instruments.
Word to the wise about this place: the bathrooms are, sketchy to say the least. Being female bodied, I didn't see the men's room. The "coat check" outside the bathroom held no attendant and some rickety racks, and stools. The women's restroom had mirrors designed for people who are either under five feet tall or would rather stare at their own breasts than their faces. Broken cherubs dangled between said mirrors over a long broken paper towel holder that is now simply a steel box with several rolls of paper towel stashed in them. There were four graffiti coated stalls, some of which didn't even close. I managed to find the one with the most functional lock; it had no knob, I had to stick my finger in the mechanism to "lock" it, and even then the bolt didn't line up.
The crowd(3/5): while not something you can control as an artist or a venue, I find that the energy dynamic of the crowd can often make or break a show.
This crowd was odd. Initially, they were a decent crowd but something felt a little off about them. They seemed to be putting up with the music in places. Once the band played "Innocent," however, a lot of people left and the crowd improved tenfold.
The Front Act(Meece):(2.5/5) They were decidedly "meh." Neither good nor bad, if dull. It felt like they were trying to be Heartstop, (Warning: Audio embedded) and falling short. Some of their songs were catchy, however. One thing that lost them points in my book is that the front man Patrick Meese only introduced the guitarist, his brother.
The Main Act (Our Lady Peace) (4.5/5):A favorite of mine. This was the second time I saw Our Lady Peace in concert, the first being this past Summerfest. They put on a breathtaking performance there, so the bar was set high for this show, which often leads to some disappointment. So, i expected a little let down.
I was pleasantly disappointed.
From opening number to encore, Our Lady Peace pulled off a fantastic show, that a lesser band could not have done on the equipment at The Vic. Front man Raine Madia's unique voice carried strongly through the shoddy microphone, demonstrating good range, vocal control and the ability to use these talents to make an engaging sound that fit the tone of the songs played. If his talent weren’t enough by itself, Madia's presence demands the eye's attention, and his gracious, charismatic demeanor makes him a striking performer.
Madia wasn't the only one on that stage whose abilities, frankly, blew my mind. Guitarist, Mike Turner (no relationship to Tina and Ike)'s brilliant handy work complemented Madia's vocals with jagged riffs and smooth undertones.
Let me just add a note about Madia's lyrics, they strike a cord with the inner teenager without coming across as shallow and childish. Instead, they remind you what it felt like to be seventeen (this sentiment is especially evoked in "Innocent"). Even if your inner teenager has grown up, Madia's lyrics have a lot to offer anyone who's had to push through pain. Rebirth seems to be a subtle theme in a lot of his work.
This lyrical enchantment was balanced with a mix of songs from all of their albums so that fans of any era of their music could enjoy the show.
Overall, it was an amazing show, and I can only wonder what this fantastic band will do next.
Audioaddiction and You
Greetings Denizen of the Internet:
I'm Arin, and I'm an audioaddict (hi arin!). at any time I usually have at least my iPod on me. I've decided to put my addiction to good use.
a little about myself:
I'm a post-collegiate author based out of Evanston, IL who specializes in sf/f my pet genera is "Urban Fantasy." When not reading, writing and going to concerts, I volunteer with PAWS and I'm teaching myself to do various crafts. I'm also a Geek of Many Trades-- i role play and indulge in video games quite a bit.
What, you may ask, does this have to do with a concert and music review blog?
Part of it is to explain my habit of rambling a bit. I'm used to novels, lots more room there, it also gives you more than just a random text machine. I'm a person.
Anyway, next few reviews will be:
Our Lady Peace (at the Vic theater).
Shinedown
The Accedmy is..
Kill Hannah
I'm Arin, and I'm an audioaddict (hi arin!). at any time I usually have at least my iPod on me. I've decided to put my addiction to good use.
a little about myself:
I'm a post-collegiate author based out of Evanston, IL who specializes in sf/f my pet genera is "Urban Fantasy." When not reading, writing and going to concerts, I volunteer with PAWS and I'm teaching myself to do various crafts. I'm also a Geek of Many Trades-- i role play and indulge in video games quite a bit.
What, you may ask, does this have to do with a concert and music review blog?
Part of it is to explain my habit of rambling a bit. I'm used to novels, lots more room there, it also gives you more than just a random text machine. I'm a person.
Anyway, next few reviews will be:
Our Lady Peace (at the Vic theater).
Shinedown
The Accedmy is..
Kill Hannah
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