This is technically a little behind the time, but the album is new to me (November 23d was the release date) I hadn’t heard hide nor hair of My Chemical Romance since about 2005, when their most mainstream album Three Cheers for Sweet Revenge hit the stores, debuting the single “I’m Not Okay (I Promise)” a bouncy, goofy, slightly bitter number that is still sometimes on the radio. I was never terribly impressed, they were a decent band, but not worth really investing in. Gerard Way sounded a bit like Robby Takac but lower pitched. He looked like a gremlin with pink eyeliner and stringy black hair, which was appealing to me at the time. It seems the gremlin has cleaned up quite a bit and the band’s s sound has coalesced quiet a bit. This revamp started with Black Parade in 2006, from what I’ve seen and heard but black parade was still on the darker side, like their older stuff. Honing into a punk-pop sound, without the immaturity of some of the others in that scene, My Chemical Romance has found a sound that is catchy, deliberately cacophonous, and all around fun; leaving behind their darker roots, while keeping hold of some of their cynicism. This is one of the few albums I’ve seen in this decade that sounds like one cohesive piece and hearkens back to concept albums, but there is not story that I can discern. Way has referred to it as an “anti-concept” album. Fun to listen to but no tracks that really grabbed me With the interspersed radio-like tracks, Danger Days: The True Lives of Fabulous Kill Joys gives the feel of something of a last broadcast—a party at the end of the world. The downside of this cohesiveness is many of the songs sound similar, other than the single “Na Na Na (Na Na Na Na Na Na Na Na Na Na)” and the radio tracks, none of the songs sick out particularly from the others, while listening I’ve had to check repeatedly which song was which. Fun to listen to but no tracks that really grabbed me. There is almost no distinction track to track, both in its cord progressions, and in the vocal style as well as the tempo of the songs—always upbeat, fast-paced numbers. However, I would almost argue that the indistinct nature of the tracks worked to the album’s benefit. While there are no “single” songs, it also doesn’t sound per se redundant, rather, it plays like one track. Its also a very honest album I don’t hear any tracks that are trying to be radio numbers. Overall a fun, catchy album.
(3.5/5 for technical skill, 4/5 for genuine entertainment)
December 19, 2010
December 12, 2010
Music Update and Concert review : Sick Puppies and Bad City
Sorry folks, it’s been a rough few months in real life land for me and I ran into a slight case of broke, so there was a hiatus. Mea culpa.
Musical things of note that have happened:
The Show itself: Alter Bridge (not reviewed) with Sick Puppies, and Bad City. (House of Blues, Chicago)
The Venue: The House of Blues, Chicago (4/5): I've reviewed it countless times. However, they've made some changes than I'm still not sure about. Initially, The House of Blues had the balcony as exclusively VIP. I never had any desire to go up there, as a rocker, my place is on the floor whenever possible, and so I can't comment on how it is up there. However, I've never seen the place more crowed on the floor. I'm pleased one of my favorite venues has gained more patronage.
They've also added more security in the bar area (which is 21+ for obvious reasons, they have other areas meant for younger patrons, though truthfully the House of Blues is really designed for a 21+ crowd.
The Crowd: (2.5/5) While I didn't stay for Alter Bridge, I sincerely hope the crowd improved for them. These people were very still and had a dulled vibe. They improved for Sick Puppies, but I think that is a function of Sick Puppies being that good, rather than a function of the crowd.
The First Opener: Bad City (2.5/5 live, 3/5 recorded) First openers are always a little green, a little uncoordinated, and a little unbalanced as they are unpracticed. However, they also tend to have a lot of often-misplaced energy. This band was a perfect example of all these things, a clumsy, but energetic and some how they had a little charm. Their sound seemed quite disparate from their look, lead man Josh caddy looks as though he would fit in more with bands like My Chemical Romance than in a rock show. Their sound was very much rock, with a little bit of an eighties nostalgia flare. Their look fit more in this decade however. They certainly put in effort though and you could tell that, unlike many of these greener bands, they had practiced a good deal. I'm not sure these boys will make it beyond the local scene.
Second Opener: Sick Puppies (5/5) these guys are in my top three for live shows. Shimon Moore (the front man) is fantastic with the crowd, he can get them moving even when it’s a slow song, and he got a good portion of the people there for Alter Bridge to jump. One of his tactics, which I’m quite fond of, is to challenge the people who are Sick Puppies fans to "show them how we do things at a Sick Puppies show" so to speak. In a very still, often unforgiving crowd people who by a show of hands had never seen Sick Puppies before, I saw most of the pit jumping and eve some slam dancing-- a rarity for an opener.
One of the things I particularly like about these guys is that they are constantly improving their show, altering their set lists, and they clearly put a lot of work into their shows. It’s a treat when you see a band for your second or third time and it’s an even better set, with even tighter coordination than the last one.
Another thing that caught my attention was that we're seeing more vocals from their bassist, Emma Anzai. Anzai has a wonderful, very soft alto voice that is not often heard on their albums. I'm looking forward to hearing more of her on their next album.
I unfortunately had to bail for Alter Bridge, the weather was nasty. More reviews later.
Musical things of note that have happened:
- 10/4 Kill Hannah front man, Mat Divine, upon landing a roll in Spiderman: Turn Off the Dark, canceled his long standing tradition of a huge, mutli-day music event in December ( Called New Heart for Xmass) In favor of something on a similar scale in New York, offending many Chicago fans.
- 9/12--the VMAs happened: I admit I should have reviewed them highlights include:
- 30 Seconds to Mars riding in on bikes as tribute to their "Kings and Queens" video
- And one of their members, Shannon Leto, had to take an emergency break when he got glitter in his eye thrown by more exuberant fans.
- Rihanna made a "surprise" performance with Eminem.
- Gucci Mann tossed hundreds of dollars onto the carpet.
- Lady Gaga came out in a dress made of raw meat, I'm not entirely sure why, possibly because she's gaga.
- 11/23 30 Seconds to Mars released their "Hurricane" 14 minute movie and MTV banned the video within two days for its sexual content. 30 Seconds to Mars released to the fans that day, and an uncensored version is due out the sixteenth of this month. I watched the video and I can see why MTV banned it. Hurricane was full of very sexual imagery, and some things that bordered on pornography. However, it was incredibly artistic and had an interesting message
- 12/11 Q101 kicks off its Twisted Event-- I attended the first day (review below)
The Show itself: Alter Bridge (not reviewed) with Sick Puppies, and Bad City. (House of Blues, Chicago)
The Venue: The House of Blues, Chicago (4/5): I've reviewed it countless times. However, they've made some changes than I'm still not sure about. Initially, The House of Blues had the balcony as exclusively VIP. I never had any desire to go up there, as a rocker, my place is on the floor whenever possible, and so I can't comment on how it is up there. However, I've never seen the place more crowed on the floor. I'm pleased one of my favorite venues has gained more patronage.
They've also added more security in the bar area (which is 21+ for obvious reasons, they have other areas meant for younger patrons, though truthfully the House of Blues is really designed for a 21+ crowd.
The Crowd: (2.5/5) While I didn't stay for Alter Bridge, I sincerely hope the crowd improved for them. These people were very still and had a dulled vibe. They improved for Sick Puppies, but I think that is a function of Sick Puppies being that good, rather than a function of the crowd.
The First Opener: Bad City (2.5/5 live, 3/5 recorded) First openers are always a little green, a little uncoordinated, and a little unbalanced as they are unpracticed. However, they also tend to have a lot of often-misplaced energy. This band was a perfect example of all these things, a clumsy, but energetic and some how they had a little charm. Their sound seemed quite disparate from their look, lead man Josh caddy looks as though he would fit in more with bands like My Chemical Romance than in a rock show. Their sound was very much rock, with a little bit of an eighties nostalgia flare. Their look fit more in this decade however. They certainly put in effort though and you could tell that, unlike many of these greener bands, they had practiced a good deal. I'm not sure these boys will make it beyond the local scene.
Second Opener: Sick Puppies (5/5) these guys are in my top three for live shows. Shimon Moore (the front man) is fantastic with the crowd, he can get them moving even when it’s a slow song, and he got a good portion of the people there for Alter Bridge to jump. One of his tactics, which I’m quite fond of, is to challenge the people who are Sick Puppies fans to "show them how we do things at a Sick Puppies show" so to speak. In a very still, often unforgiving crowd people who by a show of hands had never seen Sick Puppies before, I saw most of the pit jumping and eve some slam dancing-- a rarity for an opener.
One of the things I particularly like about these guys is that they are constantly improving their show, altering their set lists, and they clearly put a lot of work into their shows. It’s a treat when you see a band for your second or third time and it’s an even better set, with even tighter coordination than the last one.
Another thing that caught my attention was that we're seeing more vocals from their bassist, Emma Anzai. Anzai has a wonderful, very soft alto voice that is not often heard on their albums. I'm looking forward to hearing more of her on their next album.
I unfortunately had to bail for Alter Bridge, the weather was nasty. More reviews later.
October 24, 2010
so
I was gonna rant about how Kill Hannah Canceled one of their biggest reoccurring shows because their front man is on Broadway, but that’s old news at this point (and can’t for the life of me find the draft) Due to the recent dearth of good shows/ depression on my part/ general life intervention, things have been numbingly slow around here.
So I figured I’d start on these non-review posts
How about a little “Who are you and why re you doing this?”
I’m Arin. I live just outside of Chicago, which is the best city on earth, particularly when it comes to one of my two big passions: Music (the other being writing, funny how they go together). In my other life, I’m an author of a few fantasy/urban novels, and a bunch of sci-fi short stories. (Not so published yet. Depressing.) When I was a kid, this wasn’t what i wanted, I wanted to be a rock star, still do, but i’ve recognized its not really my calling-- no talent in that arena. What I do have though is an overabundance of passion for music-- all sorts of genres too, though rock/metal are my pet-genres. I’ve ben going to concerts for most of my life at this juncture (from the time i was 3, but more seriously when i hit 14) I do it for the energy and for the people who’ve changed my life. I know a lot of people say that but for me it is really true, the music that I’m passionate about profoundly affects my life. There are literally songs that have saved my life.
Music is my driving force without any exaggeration.
Well yeah, you and a bunch of teenagers, but what makes you so special?
I also write, that's my other big passion. I started that around the same age I started on music-- i ‘wrote’ my first book at 3. It was a 5 page thing the size of a post-it pad that was constructed largely because i saw a think on how to make a book out of cardboard and wrapping paper on “3, 2, 1 Contact." dictated to a baby sitter, but it was there. I’ve been trying to write ever since. First novel was written at 15, you get the gist. I was born doing two things-- writing and listening to music.
I figured out-- after much insistence/ persistence that i did not, in fact, have any talents worthy of the stage and while I pretended to move on it away stung. I wanted to be up there, dammit. Bin back stage was NOT cutting it. Once I got through college and got on my feet, i was set loose on the city of Chicago. It took me a few years to figure out that i should turn my post concert critiques into something constructive, but one i did it became a self feeding habit. I needed the concerts for the blog, I needed the blog to keep me hunting when I got depressed.
And thus, a new outlet for my addiction was born.
So that’s why I’m here, in short-- I have an addiction to feed.
So I figured I’d start on these non-review posts
How about a little “Who are you and why re you doing this?”
I’m Arin. I live just outside of Chicago, which is the best city on earth, particularly when it comes to one of my two big passions: Music (the other being writing, funny how they go together). In my other life, I’m an author of a few fantasy/urban novels, and a bunch of sci-fi short stories. (Not so published yet. Depressing.) When I was a kid, this wasn’t what i wanted, I wanted to be a rock star, still do, but i’ve recognized its not really my calling-- no talent in that arena. What I do have though is an overabundance of passion for music-- all sorts of genres too, though rock/metal are my pet-genres. I’ve ben going to concerts for most of my life at this juncture (from the time i was 3, but more seriously when i hit 14) I do it for the energy and for the people who’ve changed my life. I know a lot of people say that but for me it is really true, the music that I’m passionate about profoundly affects my life. There are literally songs that have saved my life.
Music is my driving force without any exaggeration.
Well yeah, you and a bunch of teenagers, but what makes you so special?
I also write, that's my other big passion. I started that around the same age I started on music-- i ‘wrote’ my first book at 3. It was a 5 page thing the size of a post-it pad that was constructed largely because i saw a think on how to make a book out of cardboard and wrapping paper on “3, 2, 1 Contact." dictated to a baby sitter, but it was there. I’ve been trying to write ever since. First novel was written at 15, you get the gist. I was born doing two things-- writing and listening to music.
I figured out-- after much insistence/ persistence that i did not, in fact, have any talents worthy of the stage and while I pretended to move on it away stung. I wanted to be up there, dammit. Bin back stage was NOT cutting it. Once I got through college and got on my feet, i was set loose on the city of Chicago. It took me a few years to figure out that i should turn my post concert critiques into something constructive, but one i did it became a self feeding habit. I needed the concerts for the blog, I needed the blog to keep me hunting when I got depressed.
And thus, a new outlet for my addiction was born.
So that’s why I’m here, in short-- I have an addiction to feed.
September 20, 2010
non-review type entries
Quick survey folks, what would people think if I posted things here that weren’t per se reviews?
Ideas include: Rants about the industry, pieces about specific bands/genreras et.
Anyone?
Just brainstorming things to put here between shows/albums.
Ideas include: Rants about the industry, pieces about specific bands/genreras et.
Anyone?
Just brainstorming things to put here between shows/albums.
September 2, 2010
9/1/10: Appcalptca w/ Dir En Grey and Evaline
The Venue: (3/5) HOB, Chicago. See previous reviews
The Crowd:(3/5) I’m gong to be honest, I wasn’t paying attention to the crowd as I was a bit distracted. But there was good crowd action, and they even participated when the band wasn’t its strongest. They erupted when Dir en Grey came out and were not raucous as some crowds i’ve seen, but still had energy.
Evaline(2/5): Sometimes, there is a reason a band is just the opener and not the headliner. Evaline was simply discordant and the vocalist had no talent to speak of live, recorded they were slightly better, but all told Front man,
Richard Perry needs to learn to articulate. Evaline sound disorganized and ultimately not worth paying attention too. They earned a point for their drum-work. I suspect the drummer is what holds the band together and at one point every member took a drum and played. It was much ore engaging than the rest of the act.
Dir En Grey(4/5) I had rather low hopes for DIr En Grey, as they were only average recorded and they’re of a genera (Visual Kei) that is notorious for disturbing, shock value lyrics. However, I assume most of the fan-base in the US was blissfully unaware of this element as the majority of their songs are in Japanese.
Front man, Kyo has an insane range, and verity of sounds he can produce. Everything from deep, long death grunts, to high pitched 80’s style shrieks, to melodic tenor vocals that bordered on operatic. If the range weren’t enough, he had unparalleled stage presence and inexhaustible energy. He is also unfathomably committed as he’s apparently had three vocal surgeries and is still going strong.
Even without knowing the lyrics, the atmosphere defiantly evokes darker sentiments. The listener is certainly aware they aren’t sining about lollypops and butterflies.
especially.
It’s not music for everybody, especially if you’re like me and look at the translations which I’m not going to link to because of their violent nature. Its full of strange vocalizations, and lots of bright lights. However, I enjoyed it throughly and it certainly takes a vast degree of talent to make the sort of music they have.
Apocalyptica (4/5) It’s quite a feat to even describe Apocalyptica, let alone properly review one of their shows. The band is comprised of three cellos and a drummer. And they play metal. Occasionally, they bring in guest vocalists, or as is the case with live shows, a touring vocalist. But thats all of them. The vast majority of their numbers are instrumental, yet they managed to tare the roof off a packed venue of metal-heads. Weather playing carrying what amounted to cello chamber music or running the length of the stage while carrying and playing the cello(holding it like a guitar at some points)they engaged the audience thoroughly.
Just seeing Apocalyptica is something to behold, beyond even their huge talent. They are four muscular men three of which have easily waist length hair and more closely resemble members of lacuna coil, than cellists (well one’s drummer). An they head bang while playing things that make you sit up and take notice.
Their playing is innovative and flawless. If i hadn’t seen it with my own eyes, i wold have believed they brought in a guitarist in places. They are a powerhouse of energy and talent. Quite simply astounding.
The Crowd:(3/5) I’m gong to be honest, I wasn’t paying attention to the crowd as I was a bit distracted. But there was good crowd action, and they even participated when the band wasn’t its strongest. They erupted when Dir en Grey came out and were not raucous as some crowds i’ve seen, but still had energy.
Evaline(2/5): Sometimes, there is a reason a band is just the opener and not the headliner. Evaline was simply discordant and the vocalist had no talent to speak of live, recorded they were slightly better, but all told Front man,
Richard Perry needs to learn to articulate. Evaline sound disorganized and ultimately not worth paying attention too. They earned a point for their drum-work. I suspect the drummer is what holds the band together and at one point every member took a drum and played. It was much ore engaging than the rest of the act.
Dir En Grey(4/5) I had rather low hopes for DIr En Grey, as they were only average recorded and they’re of a genera (Visual Kei) that is notorious for disturbing, shock value lyrics. However, I assume most of the fan-base in the US was blissfully unaware of this element as the majority of their songs are in Japanese.
Front man, Kyo has an insane range, and verity of sounds he can produce. Everything from deep, long death grunts, to high pitched 80’s style shrieks, to melodic tenor vocals that bordered on operatic. If the range weren’t enough, he had unparalleled stage presence and inexhaustible energy. He is also unfathomably committed as he’s apparently had three vocal surgeries and is still going strong.
Even without knowing the lyrics, the atmosphere defiantly evokes darker sentiments. The listener is certainly aware they aren’t sining about lollypops and butterflies.
especially.
It’s not music for everybody, especially if you’re like me and look at the translations which I’m not going to link to because of their violent nature. Its full of strange vocalizations, and lots of bright lights. However, I enjoyed it throughly and it certainly takes a vast degree of talent to make the sort of music they have.
Apocalyptica (4/5) It’s quite a feat to even describe Apocalyptica, let alone properly review one of their shows. The band is comprised of three cellos and a drummer. And they play metal. Occasionally, they bring in guest vocalists, or as is the case with live shows, a touring vocalist. But thats all of them. The vast majority of their numbers are instrumental, yet they managed to tare the roof off a packed venue of metal-heads. Weather playing carrying what amounted to cello chamber music or running the length of the stage while carrying and playing the cello(holding it like a guitar at some points)they engaged the audience thoroughly.
Just seeing Apocalyptica is something to behold, beyond even their huge talent. They are four muscular men three of which have easily waist length hair and more closely resemble members of lacuna coil, than cellists (well one’s drummer). An they head bang while playing things that make you sit up and take notice.
Their playing is innovative and flawless. If i hadn’t seen it with my own eyes, i wold have believed they brought in a guitarist in places. They are a powerhouse of energy and talent. Quite simply astounding.
August 23, 2010
Through the Pain: The Matthew Leone Benefit (the Frantic (unreviewed) Makeshift Prodogy,Local H, Kill Hannah and lovehammers(unreviewed))
The Event (5/5):
Never have I been prouder to make Chicago my home. I think Mat Divine said it best when he said that nowhere else-- not in LA, Not in New York, only in Chicago could this have been pulled off.
I apologize in advance if this section becomes a bit unprofessional; I am extremely passionate about this event.
In case you haven’t been plugged into the Chicago music scene, or missed the news report, let me fill you in.
Madina Lake bassist, Matthew Leone, is home now after needing brain surgery due, because he did a heroic thing, and very nearly paid with his life.
According to his brother, Madina Lake frontman Nathan Leone, Matthew was walking to go meet a friend for a drink when he saw a man assaulting his wife. Matthew intervened, subdued the man called the cops, and the man beat him nearly to death. He suffered severe injuries and was left to die on the sidewalk. The woman left with her husband. (Article and follow up here, here, and here if you’re interested.)
Being a young musician, Matthew had no insurance and barely any money.
So Chicago, being the kind of city it is, stepped up. Many Musicians from Chicago came home to perform at the benefit shows. Not only did musicians donate their time, but also the Hard Rock Hotel and several other organizations donated both space and equipment. . Literally every penny went to Leone via Sweet Relief. Filter even came down and played a few songs when they found out about the show.
If this had happened in LA, he’d be dead. I’m unbelievably proud of all of the bands involved. And deeply honored to be a part of it.
Now, on to the show.
The Venue (3/5)( Hard Rock Hotel):
Honestly, like much of the Hard Rock franchise, it was glossy and pretentious, without real backing for it. The equipment was quality but the sound balance was terrible. Vocals were excessively quiet and the lead guitar was so loud I lost hearing in one ear part way through the show. Before the band I actually came for. It was upsetting.
The Crowd (3/5):
It was the typical Kill Hannah crowd in all honesty. I’ve noticed that the Kill Hannah audience does not have the same energy that the band they follow does. I love the fan community, I do, but I’ve seen how much they look up to these people-- they should act like it. You’re at a rock show for peat’s sake, not watching TV. Give back what is being thrown to you.
When filter made their surprise appearance, the crowd lit up like new years in time square and I think it primed them fro Kill Hannah. Which really turned up the energy of the overall show, but sit was still not the kind of energy I would expect.
The show itself:
Makeshift Prodigy (3/5)
This band has improved since the last time I reviewed them. I feel I owe my readers a bit of an apology, I was nervous when I wrote the original review as one of the people who work with them was going to be reading it, so I erred on the side of being nice.
These people are good, no question, but honestly they need more grab. They are great to listen to but there is nothing keeping me interested. They are one of those bands that I don’t actively listen to, but every time I hear one of their songs when my mp3 player is on shuffle I think, “wow, who are these guys?” and love it. But something isn’t quite making me actively seek them out. I can’t quite put my finger on what exactly it is.
Part of it is they need to hone the coordination of their instrumentation and work on balancing the parts. Also front man, Anthony Banagara needs to articulate his words more clearly. He has a lovely voice, but it’s hard to understand the lyrics live.
I can tell you what they aren’t missing though: Energy and presence. These people are constantly in motion; Bangara is simply off the hook, literally doing back flips off the piano. All of them are in constant motion. You can’t help but watch.
Local H (4/5)
As a warning due to the above mentioned speaker issues I actually lost my hearing in one ear half way through their set so my review is little truncated.
What a pleasant surprise! I had only heard of “Local H” in passing, maybe seen them on a few lineups, but never really listened to them. For a starter, front man guitarist and bassist Scott Lucas’ voice has slight gravel to live that doesn’t exist recorded. It’s sexy. Lucas is of a slight build, so it’s quite a surprise to hear the voice of a seasoned gunslinger come out of his mouth.
Despite having seen just him and his guitar for most of the show, he had a strong presence and fantastic energy. He is playing was often dramatic, and very well done. I was intrigued to learn that on the albums he plays everything but the drums, an impressive feat indeed. Lucas’ lyrics grab the listener’s attention forcefully especially in the song “Hands on the Bible.”
Extent, catching, energy.
Kill Hannah (4/5): I adore these people; even half deaf they were a treat to see. Mat Devine has wonderful energy and presence with a band that is full of talented members, flawless coordination and with songs that are steeped in passion, jadedness, and hope all at once. I’ve previously gushed at great length about how dear Kill Hannah’s music is to me.
Mat also knows how to work a crowd, and his fans are devoted enough to know exactly how to respond. The result is an intimate give and take with wonderful, touching moments.
The band itself is also in constant motion, however it all happens so smoothly that its hardly noticeable until one of them is standing in front of you.
They are wonderful performers, very talented artists, and very kind to their fans.
I Have to add something here, I feel their tour guitarist, Michael Maddox, is a wonderful performer, and has a very good rapport with the fans. I would love to see him take the place of former guitarist Johnny Ratdke as a permanent member.
Great show, average venue to be honest. Truly wonderful cause.
Never have I been prouder to make Chicago my home. I think Mat Divine said it best when he said that nowhere else-- not in LA, Not in New York, only in Chicago could this have been pulled off.
I apologize in advance if this section becomes a bit unprofessional; I am extremely passionate about this event.
In case you haven’t been plugged into the Chicago music scene, or missed the news report, let me fill you in.
Madina Lake bassist, Matthew Leone, is home now after needing brain surgery due, because he did a heroic thing, and very nearly paid with his life.
According to his brother, Madina Lake frontman Nathan Leone, Matthew was walking to go meet a friend for a drink when he saw a man assaulting his wife. Matthew intervened, subdued the man called the cops, and the man beat him nearly to death. He suffered severe injuries and was left to die on the sidewalk. The woman left with her husband. (Article and follow up here, here, and here if you’re interested.)
Being a young musician, Matthew had no insurance and barely any money.
So Chicago, being the kind of city it is, stepped up. Many Musicians from Chicago came home to perform at the benefit shows. Not only did musicians donate their time, but also the Hard Rock Hotel and several other organizations donated both space and equipment. . Literally every penny went to Leone via Sweet Relief. Filter even came down and played a few songs when they found out about the show.
If this had happened in LA, he’d be dead. I’m unbelievably proud of all of the bands involved. And deeply honored to be a part of it.
Now, on to the show.
The Venue (3/5)( Hard Rock Hotel):
Honestly, like much of the Hard Rock franchise, it was glossy and pretentious, without real backing for it. The equipment was quality but the sound balance was terrible. Vocals were excessively quiet and the lead guitar was so loud I lost hearing in one ear part way through the show. Before the band I actually came for. It was upsetting.
The Crowd (3/5):
It was the typical Kill Hannah crowd in all honesty. I’ve noticed that the Kill Hannah audience does not have the same energy that the band they follow does. I love the fan community, I do, but I’ve seen how much they look up to these people-- they should act like it. You’re at a rock show for peat’s sake, not watching TV. Give back what is being thrown to you.
When filter made their surprise appearance, the crowd lit up like new years in time square and I think it primed them fro Kill Hannah. Which really turned up the energy of the overall show, but sit was still not the kind of energy I would expect.
The show itself:
Makeshift Prodigy (3/5)
This band has improved since the last time I reviewed them. I feel I owe my readers a bit of an apology, I was nervous when I wrote the original review as one of the people who work with them was going to be reading it, so I erred on the side of being nice.
These people are good, no question, but honestly they need more grab. They are great to listen to but there is nothing keeping me interested. They are one of those bands that I don’t actively listen to, but every time I hear one of their songs when my mp3 player is on shuffle I think, “wow, who are these guys?” and love it. But something isn’t quite making me actively seek them out. I can’t quite put my finger on what exactly it is.
Part of it is they need to hone the coordination of their instrumentation and work on balancing the parts. Also front man, Anthony Banagara needs to articulate his words more clearly. He has a lovely voice, but it’s hard to understand the lyrics live.
I can tell you what they aren’t missing though: Energy and presence. These people are constantly in motion; Bangara is simply off the hook, literally doing back flips off the piano. All of them are in constant motion. You can’t help but watch.
Local H (4/5)
As a warning due to the above mentioned speaker issues I actually lost my hearing in one ear half way through their set so my review is little truncated.
What a pleasant surprise! I had only heard of “Local H” in passing, maybe seen them on a few lineups, but never really listened to them. For a starter, front man guitarist and bassist Scott Lucas’ voice has slight gravel to live that doesn’t exist recorded. It’s sexy. Lucas is of a slight build, so it’s quite a surprise to hear the voice of a seasoned gunslinger come out of his mouth.
Despite having seen just him and his guitar for most of the show, he had a strong presence and fantastic energy. He is playing was often dramatic, and very well done. I was intrigued to learn that on the albums he plays everything but the drums, an impressive feat indeed. Lucas’ lyrics grab the listener’s attention forcefully especially in the song “Hands on the Bible.”
Extent, catching, energy.
Kill Hannah (4/5): I adore these people; even half deaf they were a treat to see. Mat Devine has wonderful energy and presence with a band that is full of talented members, flawless coordination and with songs that are steeped in passion, jadedness, and hope all at once. I’ve previously gushed at great length about how dear Kill Hannah’s music is to me.
Mat also knows how to work a crowd, and his fans are devoted enough to know exactly how to respond. The result is an intimate give and take with wonderful, touching moments.
The band itself is also in constant motion, however it all happens so smoothly that its hardly noticeable until one of them is standing in front of you.
They are wonderful performers, very talented artists, and very kind to their fans.
I Have to add something here, I feel their tour guitarist, Michael Maddox, is a wonderful performer, and has a very good rapport with the fans. I would love to see him take the place of former guitarist Johnny Ratdke as a permanent member.
Great show, average venue to be honest. Truly wonderful cause.
August 12, 2010
Carnival of Maddess: Shinedown at Charter One Pavilion
The Venue (Charter One Pavilion): (3/5) I continue to be unimpressed with the staff at this venue. They are not knowledgeable about the event, or even the facility. The security is relatively lax, which happens at temporary venues. The venue is cobbled together rather chaotically with minimal signs and minimal layout. If one can get lost in a few yard area, there is something wrong. For being temporary bathrooms, the bathrooms were acutely relatively nice.
The sound and lighting quality were solid especially for a temporary venue.
Honestly, the biggest perk about this venue is the artists that come to it.
The Crowd (3/5): Typical, lazy festival crowd, even Brent Smith had to work hard to get the crowd moving. And when Shinedown’s front man has to work hard, you know it’s a lazy crowd. Interesting phenomenon, they were significantly quieter for the songs from Leave A Whisper(2003), than from either Us and Them(2005) or Sound Of Madness(2008).
On to the show:
Shinedown (4/5): Shinedown is in my top three bands from a raw energy standpoint. Smith is phenomenal with the audience and very gracious. However, the energy wasn’t as good as other shows of theirs I’ve seen, but it was still amazing. For me there was a little much of the oldest album, as it didn’t seem to work for the crowd that well. While it is important to keep the older albums alive as a hat tip to the fans that have stuck with the band since the beginning, it is also imperative you pay attention to the crowd and their reactions.
I also find Shinedown’s sets have a disproportionate number of their slower songs. While many of their singles are the ballads, Shinedown at its core is right on the edge of metal. Most of their stuff is hard-edged power rock. That being said, those slow songs are some of the most powerful songs I’ve heard, partly because I “get” them on some deep level.
All of the band members are showmen, if nothing else. In addition to their incredible talent, Smith and guitarist Zach Myers have a wonderful dynamic on stage. They are in a constant, very well balanced give and take. Even from the audience, the bond this band shares is palpable, especially between Smith and Myers.
The member I was most struck with last night, however, was the drummer. I noticed that one of the things that distinguish Shinedown from other acts in their genera is the superb quality of the drum work. I don’t usually notice the drummers, save for the occasional solo, but drummer, Barry Kerch, absolutely blew me away with the sheer power of the his drumming.
Overall, it was a hard crowd and a wonderful show.
The sound and lighting quality were solid especially for a temporary venue.
Honestly, the biggest perk about this venue is the artists that come to it.
The Crowd (3/5): Typical, lazy festival crowd, even Brent Smith had to work hard to get the crowd moving. And when Shinedown’s front man has to work hard, you know it’s a lazy crowd. Interesting phenomenon, they were significantly quieter for the songs from Leave A Whisper(2003), than from either Us and Them(2005) or Sound Of Madness(2008).
On to the show:
Shinedown (4/5): Shinedown is in my top three bands from a raw energy standpoint. Smith is phenomenal with the audience and very gracious. However, the energy wasn’t as good as other shows of theirs I’ve seen, but it was still amazing. For me there was a little much of the oldest album, as it didn’t seem to work for the crowd that well. While it is important to keep the older albums alive as a hat tip to the fans that have stuck with the band since the beginning, it is also imperative you pay attention to the crowd and their reactions.
I also find Shinedown’s sets have a disproportionate number of their slower songs. While many of their singles are the ballads, Shinedown at its core is right on the edge of metal. Most of their stuff is hard-edged power rock. That being said, those slow songs are some of the most powerful songs I’ve heard, partly because I “get” them on some deep level.
All of the band members are showmen, if nothing else. In addition to their incredible talent, Smith and guitarist Zach Myers have a wonderful dynamic on stage. They are in a constant, very well balanced give and take. Even from the audience, the bond this band shares is palpable, especially between Smith and Myers.
The member I was most struck with last night, however, was the drummer. I noticed that one of the things that distinguish Shinedown from other acts in their genera is the superb quality of the drum work. I don’t usually notice the drummers, save for the occasional solo, but drummer, Barry Kerch, absolutely blew me away with the sheer power of the his drumming.
Overall, it was a hard crowd and a wonderful show.
July 21, 2010
Goo Goo Dolls with Then Spill Canvas(unreviewed) and Switchfoot(unreviwed) at the Charter One Pavillion
The Charter One Pavilion(3/5): This venue tends to feel a little jury-rigged despite being designed explicitly for music purposes. At this show, in addition to the built in bleacher, there were rows of folding chairs in what is normally part of the pit and then there was a smaller pit gated off in front of it. The barriers and seats were all completely temporary and security was minimal. Which worked to my advantage as I ended up standing in the isle.
Every time I’ve been to this venue, the merch booth and concessions booths have been very hodgepodge and the crowd management was poor. With the names that come through there, I’m frankly surprised it hasn’t been addressed.
To be honest, this venue always has festival feeling too it, except it’s not as well organized and set up as most festivals.
The sound quality is decent, however and oftentimes the names they bring in make up for the mediocrity outside the amphitheater itself, as does the ability to see surprisingly well from most locations. Another nice thing is that the merch booth does take credit cards.
And every show I’ve been to at this venue there have been signings.
On to the show:
The crowd: (3/5) It felt like a festival crowd, very laid back and mildly indifferent about the openers. They did pick up significantly during the show but even then it wasn’t the fury I’ve seen in other crowds.
The Goo Goo Dolls were sadly the only band I got to really pay attention to due to some logistic issues. However I did snag a signed ticket from the Spill Canvas.
The Goo Goo Dolls(4/5) I admit I had to focus hard to get past the huge amount of nostalgia and review. I have been following The Goo Goo Dolls since 1996 and have been to shows of there several times, everytime was wonderful.
The Goo Goo Dolls have an interesting dynamic because they have two front men with two relatively different styles. Johnny Rzeznik is the more predominant front man and favors pop-rock vocals and Robby Takac on the secondary lead has more of a punk-rock flavor to his songs and distinctive voice.
Rzeznik writes the majority of the lyrics, which is what drew me to the band when I was fifteen. Their music spans from irreverent punk to loves songs by way of hope and despair.
It is a deep pleasure to see a band whose core members have been together for so long. Rezeznik and Takac founde the band in 1986 and the newest member , drummer Mike Malinin joined in 1995, just after Boy Named Goo debuted. The dynamic is wonderful between the two front men especially, and between both artists and the audience. Rzeznik has a stronger presence, however and is more popular amongst the fans. Personally though, Robby has grown on me significantly over the years and I find his gremlin like appearance and voice utterly charming.
And there was a saxophone dueling with two guitars. In a rock song.
They haven’t released a lot of new material since 2006, so that could have been disappointing for some fans. I should take off points for this but the fact is they put on the same wonderful quality show they always have, so who am I to complain if they take five years to write an album? And according to wikipedia they went back to the studio out of professionalism, to make the album even better.
And based on the few songs they did play off that album--we haven’t seen anything yet.
I went into this review trying to be honest and analytical, but the truth is Johnny Rzeznik has been an inspiration to me since I was young and I owe a large part of my emotional survival to The Goo Goo dolls. It was an emotionaly charged, energetic show and I loved every minute. Well, done, guys, well fucking done.
Every time I’ve been to this venue, the merch booth and concessions booths have been very hodgepodge and the crowd management was poor. With the names that come through there, I’m frankly surprised it hasn’t been addressed.
To be honest, this venue always has festival feeling too it, except it’s not as well organized and set up as most festivals.
The sound quality is decent, however and oftentimes the names they bring in make up for the mediocrity outside the amphitheater itself, as does the ability to see surprisingly well from most locations. Another nice thing is that the merch booth does take credit cards.
And every show I’ve been to at this venue there have been signings.
On to the show:
The crowd: (3/5) It felt like a festival crowd, very laid back and mildly indifferent about the openers. They did pick up significantly during the show but even then it wasn’t the fury I’ve seen in other crowds.
The Goo Goo Dolls were sadly the only band I got to really pay attention to due to some logistic issues. However I did snag a signed ticket from the Spill Canvas.
The Goo Goo Dolls(4/5) I admit I had to focus hard to get past the huge amount of nostalgia and review. I have been following The Goo Goo Dolls since 1996 and have been to shows of there several times, everytime was wonderful.
The Goo Goo Dolls have an interesting dynamic because they have two front men with two relatively different styles. Johnny Rzeznik is the more predominant front man and favors pop-rock vocals and Robby Takac on the secondary lead has more of a punk-rock flavor to his songs and distinctive voice.
Rzeznik writes the majority of the lyrics, which is what drew me to the band when I was fifteen. Their music spans from irreverent punk to loves songs by way of hope and despair.
It is a deep pleasure to see a band whose core members have been together for so long. Rezeznik and Takac founde the band in 1986 and the newest member , drummer Mike Malinin joined in 1995, just after Boy Named Goo debuted. The dynamic is wonderful between the two front men especially, and between both artists and the audience. Rzeznik has a stronger presence, however and is more popular amongst the fans. Personally though, Robby has grown on me significantly over the years and I find his gremlin like appearance and voice utterly charming.
And there was a saxophone dueling with two guitars. In a rock song.
They haven’t released a lot of new material since 2006, so that could have been disappointing for some fans. I should take off points for this but the fact is they put on the same wonderful quality show they always have, so who am I to complain if they take five years to write an album? And according to wikipedia they went back to the studio out of professionalism, to make the album even better.
And based on the few songs they did play off that album--we haven’t seen anything yet.
I went into this review trying to be honest and analytical, but the truth is Johnny Rzeznik has been an inspiration to me since I was young and I owe a large part of my emotional survival to The Goo Goo dolls. It was an emotionaly charged, energetic show and I loved every minute. Well, done, guys, well fucking done.
June 29, 2010
Summerfest2010: Saliva, Adelitas Way, Sick Puppies, Halestorm
Venue/Event (Summerfest (warning: flash heavy), Milwaukee, WI): Why I’m Spoiled for Life on Music Festivals (4/5)
I’ve been going to Summerfest most years since since1998.
Summerfest is, easily the best music festival I’ve been to. It claims to be the world’s largest music festival, and at least in the midwest, I’ve not found anything that even comes close in capacity, length, or quality. Eleven stages, eleven nights, at the peak of the Midwestern summer it runs from noon to midnight. If you’ve never been and you can get to Milwaukee next June, go. It is the best music in the Midwest.
The best part, unless you’re at the ‘main stage’ at the Marcus Amphitheater, it’s 15$ a day for evenings or 8$ for afternoons. Period.
The main stage acts are killer. Such acts this year included, Justin Beiber, Rush, and Tom Petty. However, in the evening you will get things that are just as good on the free stages. In addition to what I saw this year, some highlights were: The Offspring, Papa Roach, Joan Jett, and Sheryl Crow, just to name a few. There is no assigned seating in the free stages either so if you’re willing to camp you can get as close as you want to these bands..
There’s also the food. You can get the standard midwestern festival food like roasted corn, funnel cake, and cotton candy, but you can also head to the ethnic food court for Thai, Mexican, and German. For festival food its not badly priced.
There’s also extensive shopping. Local artists and artisans come to Summerfest to sell their work and you can find shops for everything from clothes to incense to palm readings.
There are also booths for video game systems and a large section for children including several inflatable castles, face painting and more.
In case you overheat, they have an air-conditioned area as well as the first aid tent and information booths.
And on 3 July they have fireworks
Most years I go more but this year my wallet couldn’t take it quite as much so I only went two days.
So unbelievably worth it
Day one (6/28): Warm up on a Cold Day.
Crowd: (3/5) typical, tired festival crowd. Not a lot of energy but still willing to give what they had left for the band.
Saliva: Click, Click Superstar, pt. 2 (2/5)
I’d been curious about Saliva as the few songs I did have of theirs were solid and I enjoyed them quite a bit.
Little did I know that I would be hearing one of them over and over throughout the show.
I stood up to see the act, hopped up on my bench, and prepared for a long anticipated chance to cut loose and head bang.
Saliva came out and tried to pump the crowd, I rocked a little but as they played something just wasn’t working. Then they played their big number “Click, Click, Boom!” The crowd woke up and we rocked.
Then as the next few numbers played and the got to “Superstar, II” that’s when it hit me. Every, single song with the exception of their one other hit “Always” had the same cord progression as “Click, Click, Boom!” I thought I had to be mistaken, so I tried a little experiment and softly sang “Click, Click, Boom!” under my breath. Sure enough, same song.
Redundancy is lethal to any good band, but sometimes the live show can still be good if the energy is strong. Not so once again. It was as though front man Joesy Scott was miming a concert. He had the approximate energy of a piece of lint. He acted as though he had energy but it fell flat
While it was lovely to hear “Always” and Click Click boom, the show it self was a bit of a waste.
Okay I’m sick of listening to click click boom, next band
Day 2(July 4th): Its too frikin’ hot.
The Crowd (3/5) a little more lively than yesterday’s crowd but I attribute that to Sick Puppies amazing performance.
Adelitas Way: Survive, Dirty little thing. (3/5)
I nabbed their debut album when I saw them last year with Theory of A Dead man and while I had to hop out mid set to get Halestorm’s autographs, it was a nice listen. They’ve grown up a little and I very much look forward to new material. Hearing “Dirty Little Thing“ never gets old. On seeing them a second time they are really growing on me as an up and coming dirty little rock band. I’m keeping this review short as truthfully I only heard about two or three songs and one was a cover of “Survive.”
Sick Puppies: Wake Up The Festival (5/5)
If you pick up one new band this year, pick these guys up. I predict that they will explode in the next year or two. Wonderfully energetic and very talented this Australian born LA based band comes on with an intensity I’ve only really seen in a metal show. They got a hot, tired festival crowd to move, scream and head bang. Considering they weren’t the final act of the evening and that by a show of hands about half the crowd hadn’t seen them before that was a feat.
Front man Shimon Moore has an interesting range, which isn’t expressed as well on the album as it is live. He’s predominantly a tenor, but throws out some grunts and gravely low notes that smolder. He also has incredible energy and a great deal of drive. Not only was he constantly in motion but also, he was constantly encouraging the crowd, priming them and reacting to them. I find even energetic artist can often be flummoxed by an unanticipated crowd reaction, not Shim (as his fans and band mates call him), Shim rolled with even the unexpected reactions. I think that shim alone could have the energy to work an arena, though he sometimes isn’t spot on in choosing the songs to pump the crowd for. That will come with practice.
But, this isn’t the Shimon Moore show.
Bassist Emma Anzai, could also have brought down an arena all by her self. She is a slim little thing, and soft voiced who at first look doesn’t look as though she could carry, let alone play the bass she hammers.
Using both slap bass and plucking, Anzai is on fire on stage. She has a fierce presence not often seen or heard from the bass. She brings out an element you don’t see often in rock shows these days: mind blowing bass solos.
Sick Puppies are far from a one trick pony, in addition to their throttling, head banging rock; they also have songs that are poignant romances that speak to every man.
Halestorm(4/5): One Good Trick from a One Trick Pony
I love Halestorm, but seeing them as the last act didn’t hold up the way I thought it would. Lzzy hale is breathtaking, and has wonderful energy and a voice like none other, but it was very hard for them to follow sick puppies. Which was a little disappointing, considering how much I love theses people.
That being said, what I saw of their set was still as epic as ever. I think they need new material because all of their songs are breakup songs.
I still have faith in them. They are a truly amazing band. However, I think I’ll let my other reviews of their work speak for their talent.
I’ve been going to Summerfest most years since since1998.
Summerfest is, easily the best music festival I’ve been to. It claims to be the world’s largest music festival, and at least in the midwest, I’ve not found anything that even comes close in capacity, length, or quality. Eleven stages, eleven nights, at the peak of the Midwestern summer it runs from noon to midnight. If you’ve never been and you can get to Milwaukee next June, go. It is the best music in the Midwest.
The best part, unless you’re at the ‘main stage’ at the Marcus Amphitheater, it’s 15$ a day for evenings or 8$ for afternoons. Period.
The main stage acts are killer. Such acts this year included, Justin Beiber, Rush, and Tom Petty. However, in the evening you will get things that are just as good on the free stages. In addition to what I saw this year, some highlights were: The Offspring, Papa Roach, Joan Jett, and Sheryl Crow, just to name a few. There is no assigned seating in the free stages either so if you’re willing to camp you can get as close as you want to these bands..
There’s also the food. You can get the standard midwestern festival food like roasted corn, funnel cake, and cotton candy, but you can also head to the ethnic food court for Thai, Mexican, and German. For festival food its not badly priced.
There’s also extensive shopping. Local artists and artisans come to Summerfest to sell their work and you can find shops for everything from clothes to incense to palm readings.
There are also booths for video game systems and a large section for children including several inflatable castles, face painting and more.
In case you overheat, they have an air-conditioned area as well as the first aid tent and information booths.
And on 3 July they have fireworks
Most years I go more but this year my wallet couldn’t take it quite as much so I only went two days.
So unbelievably worth it
Day one (6/28): Warm up on a Cold Day.
Crowd: (3/5) typical, tired festival crowd. Not a lot of energy but still willing to give what they had left for the band.
Saliva: Click, Click Superstar, pt. 2 (2/5)
I’d been curious about Saliva as the few songs I did have of theirs were solid and I enjoyed them quite a bit.
Little did I know that I would be hearing one of them over and over throughout the show.
I stood up to see the act, hopped up on my bench, and prepared for a long anticipated chance to cut loose and head bang.
Saliva came out and tried to pump the crowd, I rocked a little but as they played something just wasn’t working. Then they played their big number “Click, Click, Boom!” The crowd woke up and we rocked.
Then as the next few numbers played and the got to “Superstar, II” that’s when it hit me. Every, single song with the exception of their one other hit “Always” had the same cord progression as “Click, Click, Boom!” I thought I had to be mistaken, so I tried a little experiment and softly sang “Click, Click, Boom!” under my breath. Sure enough, same song.
Redundancy is lethal to any good band, but sometimes the live show can still be good if the energy is strong. Not so once again. It was as though front man Joesy Scott was miming a concert. He had the approximate energy of a piece of lint. He acted as though he had energy but it fell flat
While it was lovely to hear “Always” and Click Click boom, the show it self was a bit of a waste.
Okay I’m sick of listening to click click boom, next band
Day 2(July 4th): Its too frikin’ hot.
The Crowd (3/5) a little more lively than yesterday’s crowd but I attribute that to Sick Puppies amazing performance.
Adelitas Way: Survive, Dirty little thing. (3/5)
I nabbed their debut album when I saw them last year with Theory of A Dead man and while I had to hop out mid set to get Halestorm’s autographs, it was a nice listen. They’ve grown up a little and I very much look forward to new material. Hearing “Dirty Little Thing“ never gets old. On seeing them a second time they are really growing on me as an up and coming dirty little rock band. I’m keeping this review short as truthfully I only heard about two or three songs and one was a cover of “Survive.”
Sick Puppies: Wake Up The Festival (5/5)
If you pick up one new band this year, pick these guys up. I predict that they will explode in the next year or two. Wonderfully energetic and very talented this Australian born LA based band comes on with an intensity I’ve only really seen in a metal show. They got a hot, tired festival crowd to move, scream and head bang. Considering they weren’t the final act of the evening and that by a show of hands about half the crowd hadn’t seen them before that was a feat.
Front man Shimon Moore has an interesting range, which isn’t expressed as well on the album as it is live. He’s predominantly a tenor, but throws out some grunts and gravely low notes that smolder. He also has incredible energy and a great deal of drive. Not only was he constantly in motion but also, he was constantly encouraging the crowd, priming them and reacting to them. I find even energetic artist can often be flummoxed by an unanticipated crowd reaction, not Shim (as his fans and band mates call him), Shim rolled with even the unexpected reactions. I think that shim alone could have the energy to work an arena, though he sometimes isn’t spot on in choosing the songs to pump the crowd for. That will come with practice.
But, this isn’t the Shimon Moore show.
Bassist Emma Anzai, could also have brought down an arena all by her self. She is a slim little thing, and soft voiced who at first look doesn’t look as though she could carry, let alone play the bass she hammers.
Using both slap bass and plucking, Anzai is on fire on stage. She has a fierce presence not often seen or heard from the bass. She brings out an element you don’t see often in rock shows these days: mind blowing bass solos.
Sick Puppies are far from a one trick pony, in addition to their throttling, head banging rock; they also have songs that are poignant romances that speak to every man.
Halestorm(4/5): One Good Trick from a One Trick Pony
I love Halestorm, but seeing them as the last act didn’t hold up the way I thought it would. Lzzy hale is breathtaking, and has wonderful energy and a voice like none other, but it was very hard for them to follow sick puppies. Which was a little disappointing, considering how much I love theses people.
That being said, what I saw of their set was still as epic as ever. I think they need new material because all of their songs are breakup songs.
I still have faith in them. They are a truly amazing band. However, I think I’ll let my other reviews of their work speak for their talent.
June 7, 2010
Q101 Jamboree: Story of the Year, Janus, Coheed and cambria, Puddle of Mud, Papa Roach, Seether, Three Days Grace
Sorry for the delay folks, Blogger decided it didn't feel like posting for a bit.
Venue(the First Midwest Bank Amphitheater, Tinley Park, IL):(2.5/5) I personally am not a big fan of large amphitheaters, but they’re a necessary evil sometimes when you need to house 28,000 fans. They aren’t as obnoxious as arenas and centrally help facilitate outdoor events, but they tend to be lesser sound quality and overcrowded even for someone who has tolerated arenas.
The sound system was well balanced for a larger venue, but the microphone quality was simply put sub par. I’d expect this from an arena show, where the venue is not meant for music, but if you’re designed for music the vocals should be clear not distorted. It’s unprofessional.
The festival line up was wonderful but the festival itself was a little below average. There was nothing entertaining outside of the music and the random strippers, who weren’t doing much. For a radio-sponsored festival I expected more than ridiculously over priced food. Luckily, my reason for going was the music.
Audience (3/5): typical festival audience not really active until the headline act showed up. However, for Three Days Grace and Papa Roach, they were on fire.
Now on to the reason the rain, really expensive food, (seriously I’ve paid for 2 people on what it cost me for one) and shoddy mics: the show.
It started off with a bang, and kept going. At festivals there is a distinct difference in the treatment/ set length and often quality of the day acts versus the night acts. I was anticipating sitting through shitty music for a few hours.
What a pleasant surprise.
(Due to the shorter sets and a very long day some of these reviews are shorter and hazier than my usual work.)
Story of the Year-- (3/5)(alternative rock) I admit I was still settling in during this set, so my focus wasn’t perfect. I spent as much time listening to front man’s vocals and watching his own energetic dancing as watching the guitarist run full tilt around the drum set, through the back stage and back out front again. It was hilarious, and wonderful.
The music itself was decent, not quite buy the album worthy but good enough for a day act.
Janus-- (4/5)(alternative rock) Exceptionally unexpected amount of energy and outright force on stage. Curiously, unlike many other bands the energy wasn’t exclusively from front man, the entire band was positively electric. I was blown away to the point that I don’t actually remember the visual elements that well. I do remember my hair standing on end and the guitar work being articulate and impressive.
(Lunch break doing the majority of Saliva’s set)
Coheed and Cambria-- (4/5)(other--see below) As a friend put it front man, Claudio Sanchez, is a tiny robot built to rock. Their music is a combination of progressive rock, metal and alt rock. Sanchez’ vocals are, frankly, insane. Strangely intoned, both in pitch and tenure, his voice draws the listener in and made me stop and take a solid listen, a hard thing to master when I’m as tired as I was. The guitar work was wonderful as well. Sanchez also never held still, he was a ball of energy and preformed outstandingly.
Puddle of Mud --(3/5) Being only a casual listener I spent the bulk of their set thinking, “Oh, that’s them?” Puddle of Mud was decent live, very hard to see at that juncture so it’s hard to comment on the performance itself. From an auditory standpoint they were a solid, often nostalgia-inducing band. Lots of energy from these guys, the audience was finally starting to warm up and get into it. They also knew how to balance the set between the songs that every one knew and the lesser-known songs.
(Dinner break during Hollywood Undead, from what I overheard I didn’t miss much)
Papa Roach--(3/5) I admit I lapsed into a food coma and sleep deprivation induced nap during half of their set so no full review. However, I had very low expectations of them based on the few songs I knew. What an improvement! Still the same things for the most part (Teenage angst filled rap-rock), however, they had very good energy and the crowd was really into their set, especially when they played their old stuff. I’d forgotten how much I secretly liked “Last Resort.” They also played “Dead Cell”, which was a nice hat tip to the older fans.
Seether --(2/5) I have two of their albums (Karma and Effect and Disclaimer II) and they are solid, though they sound the same much of the time and I keep confusing them with Hinder (a better band with a very similar sound). I’ve also seen them live before and they weren’t half bad then.
This set however, was different. Somehow they managed to suck the majority of the energy out of the audience. Half the audience was sitting. After the kind of show Papa roach put on, there shouldn’t be people sitting. The front man also has apparently lost his sense of aesthetic entirely.
And did I mention he actually messed up some of the lyrics? Only slightly mind you, but I noticed. I even sat down and watched the screen. Front man, Shaun Morgan just seemed tired for most of the set and the only songs that had energy were covers (although, I do encourage checking out their rendition of “careless whisper” its a wonderful angry version)
And then the amphitheater exploded.
Three Days Grace --(5/5): Three Days Grace hales from Ontario, Canada, so they aren’t often in the US and I’ve wanted to see fro some time now so there was major anticipation. However, after Seether I wasn’t holding out for a high-energy performance.
Some of the Radio crew came out to talk at us while they adjusted the pyrotechnics due to the wind.
Then they hit the stage.
From opening siren to final note, Three Days Grace was a force on stage. With the often-depressive tone of their music I’d expected some lulls when the inevitable slow numbers came up. The energy never stopped. (At some point before they came out I’d managed to climb onto a seat so I could see all of the stage. Not a task for the faint of heart, or poorly balanced, my shins still haven’t forgiven me) Front man Adam Gointer also never stopped, weather singing or talking to the crowd, Gointer putt of a charisma and energy that you don’t see often. It wasn’t that he was an arrogant front man, or that the rest of the band was sub-par (on the contrary the guitar work was wonderful) far from it. It was that Gointer was a force all on his own. The way he worked the audience was amazing and his encouragement of the audience made for an unreal amount of participation (when the kids in the seats in the second tear are slam dancing, you know you have something powerful indeed) At one point about half way through the show Gointer actually made his way all the way back to the lawn to perform in the crowd. How he came back with his hat intact I’ll never know.
The music itself was a powerhouse of rock and occasional moments of very deliberate stillness timed perfectly with a brilliant light and pyrotechnic. Show that brought the house down.
For a festival show, that was unreal. Seriously, these guys are artists both in performance and in musical talent.
Venue(the First Midwest Bank Amphitheater, Tinley Park, IL):(2.5/5) I personally am not a big fan of large amphitheaters, but they’re a necessary evil sometimes when you need to house 28,000 fans. They aren’t as obnoxious as arenas and centrally help facilitate outdoor events, but they tend to be lesser sound quality and overcrowded even for someone who has tolerated arenas.
The sound system was well balanced for a larger venue, but the microphone quality was simply put sub par. I’d expect this from an arena show, where the venue is not meant for music, but if you’re designed for music the vocals should be clear not distorted. It’s unprofessional.
The festival line up was wonderful but the festival itself was a little below average. There was nothing entertaining outside of the music and the random strippers, who weren’t doing much. For a radio-sponsored festival I expected more than ridiculously over priced food. Luckily, my reason for going was the music.
Audience (3/5): typical festival audience not really active until the headline act showed up. However, for Three Days Grace and Papa Roach, they were on fire.
Now on to the reason the rain, really expensive food, (seriously I’ve paid for 2 people on what it cost me for one) and shoddy mics: the show.
It started off with a bang, and kept going. At festivals there is a distinct difference in the treatment/ set length and often quality of the day acts versus the night acts. I was anticipating sitting through shitty music for a few hours.
What a pleasant surprise.
(Due to the shorter sets and a very long day some of these reviews are shorter and hazier than my usual work.)
Story of the Year-- (3/5)(alternative rock) I admit I was still settling in during this set, so my focus wasn’t perfect. I spent as much time listening to front man’s vocals and watching his own energetic dancing as watching the guitarist run full tilt around the drum set, through the back stage and back out front again. It was hilarious, and wonderful.
The music itself was decent, not quite buy the album worthy but good enough for a day act.
Janus-- (4/5)(alternative rock) Exceptionally unexpected amount of energy and outright force on stage. Curiously, unlike many other bands the energy wasn’t exclusively from front man, the entire band was positively electric. I was blown away to the point that I don’t actually remember the visual elements that well. I do remember my hair standing on end and the guitar work being articulate and impressive.
(Lunch break doing the majority of Saliva’s set)
Coheed and Cambria-- (4/5)(other--see below) As a friend put it front man, Claudio Sanchez, is a tiny robot built to rock. Their music is a combination of progressive rock, metal and alt rock. Sanchez’ vocals are, frankly, insane. Strangely intoned, both in pitch and tenure, his voice draws the listener in and made me stop and take a solid listen, a hard thing to master when I’m as tired as I was. The guitar work was wonderful as well. Sanchez also never held still, he was a ball of energy and preformed outstandingly.
Puddle of Mud --(3/5) Being only a casual listener I spent the bulk of their set thinking, “Oh, that’s them?” Puddle of Mud was decent live, very hard to see at that juncture so it’s hard to comment on the performance itself. From an auditory standpoint they were a solid, often nostalgia-inducing band. Lots of energy from these guys, the audience was finally starting to warm up and get into it. They also knew how to balance the set between the songs that every one knew and the lesser-known songs.
(Dinner break during Hollywood Undead, from what I overheard I didn’t miss much)
Papa Roach--(3/5) I admit I lapsed into a food coma and sleep deprivation induced nap during half of their set so no full review. However, I had very low expectations of them based on the few songs I knew. What an improvement! Still the same things for the most part (Teenage angst filled rap-rock), however, they had very good energy and the crowd was really into their set, especially when they played their old stuff. I’d forgotten how much I secretly liked “Last Resort.” They also played “Dead Cell”, which was a nice hat tip to the older fans.
Seether --(2/5) I have two of their albums (Karma and Effect and Disclaimer II) and they are solid, though they sound the same much of the time and I keep confusing them with Hinder (a better band with a very similar sound). I’ve also seen them live before and they weren’t half bad then.
This set however, was different. Somehow they managed to suck the majority of the energy out of the audience. Half the audience was sitting. After the kind of show Papa roach put on, there shouldn’t be people sitting. The front man also has apparently lost his sense of aesthetic entirely.
And did I mention he actually messed up some of the lyrics? Only slightly mind you, but I noticed. I even sat down and watched the screen. Front man, Shaun Morgan just seemed tired for most of the set and the only songs that had energy were covers (although, I do encourage checking out their rendition of “careless whisper” its a wonderful angry version)
And then the amphitheater exploded.
Three Days Grace --(5/5): Three Days Grace hales from Ontario, Canada, so they aren’t often in the US and I’ve wanted to see fro some time now so there was major anticipation. However, after Seether I wasn’t holding out for a high-energy performance.
Some of the Radio crew came out to talk at us while they adjusted the pyrotechnics due to the wind.
Then they hit the stage.
From opening siren to final note, Three Days Grace was a force on stage. With the often-depressive tone of their music I’d expected some lulls when the inevitable slow numbers came up. The energy never stopped. (At some point before they came out I’d managed to climb onto a seat so I could see all of the stage. Not a task for the faint of heart, or poorly balanced, my shins still haven’t forgiven me) Front man Adam Gointer also never stopped, weather singing or talking to the crowd, Gointer putt of a charisma and energy that you don’t see often. It wasn’t that he was an arrogant front man, or that the rest of the band was sub-par (on the contrary the guitar work was wonderful) far from it. It was that Gointer was a force all on his own. The way he worked the audience was amazing and his encouragement of the audience made for an unreal amount of participation (when the kids in the seats in the second tear are slam dancing, you know you have something powerful indeed) At one point about half way through the show Gointer actually made his way all the way back to the lawn to perform in the crowd. How he came back with his hat intact I’ll never know.
The music itself was a powerhouse of rock and occasional moments of very deliberate stillness timed perfectly with a brilliant light and pyrotechnic. Show that brought the house down.
For a festival show, that was unreal. Seriously, these guys are artists both in performance and in musical talent.
May 22, 2010
Album Reivew: The Delivery Boys: Starry Skies and Fireflies (sic)
The Delivery Boys: Starry Skies and Fireflies (3/5):
The Delivery Boys are an exceptionally young band from Schaumburg IL. I purchased their album from one of the band members for two dollars selling it out of a duffel bag behind the main stage at Bamboozle last week, so my expectations were low.
I was quite surprised that this was a first album when I sat down to listen to them. Had I not seen the CD (a burn, very clearly home made) I would have guessed they were the latest new band on the radio. They are quite talented and quite professional.
Listening to the album you can tell they grew up in the Chicago music scene with influences such as, The Academy is... audible in their music. They have a pleasantly bouncy sound with many of the quintessential elements of indi/alternative music-- breakup, romance, and budding optimism. Its music you can dance to. These guys were a ton of fun to listen to, if a little on the generic side.
Front man Paul Holloway has a pleasant voice and drummer, Matt Dailly, has the clearest sound of the entire band. Where these boys need a little work is balancing the precision of the guitar work.
They have an impressively seasoned sound for such a green band with some interesting little things that make them stand out, especially amongst smaller bands. This is a first album, completely self produced, but it sounds like a second or third professionally produced album.
The Delivery boys are an excellent find. I have seen headliners that don’t meet with the same standards these guys are starting with
I’ve received word that there is a new album in the works, I very much look forward to it and to seeing what they are like live.
I would listen to this album to: Dance around the apartment, drive.
May 20, 2010
Nickelback and Breaking Benjamin,with Shinedown and Sick Puppies.(Road trip show:Rosemont, IL)
The Venue (Allstate Arena, Rosemont IL): (3/5) I once again feel like I’m comparing two very different things. Arena shows are very different animals from smaller venue shows. This is only one of two arenas I’ve been to for music, the other being the Bradley Center, in Milwaukee, WI) Arenas are not designed to house concerts, so the space always feels a bit jury rigged when they set up a show, but frankly where else would be equipped to hold 20,000 screaming, jumping fans?
Personally, I’m not much of a fan of arena settings. The majority of the seats are too far away and it’s often much more expensive (though this area is pleasantly not as pricey as others (in this case 85$ for floor tickets)) and people are more inclined to sit. As Brent Smith said during Shinedown’s performance, you’re at a rock show not church, stand up. I always feel like sitting through the majority of a rock show is insulting, these people are out there, performing so that you will dance and have a good time. Dance! Tangent aside, this venue did one thing right, they had better ventilation on the floor than I’ve seen in many smaller venues. I could actually feel a cool breeze when I was all the way in the front by the stage.
Another thing this venue has to offer that smaller ones don’t is the ability to use screens and pyrotechnics, which can really enhance a good show (or cover for a bad one like strobe lights)
As with all arenas, the food and drinks were over priced and the merch was rather limited. The bathrooms were clean considering the number of people they served. They were relatively clean, with good, working fixtures and no graffiti.
However, one of the downsides was that the sound system was sub par. Not horrid, just not the best one I’ve encountered.
The Crowd: (2/5) Again, this is partly a function of being at an area show, but the crowd was entirely too laid back for beginning at a show that had at least two bands that should have blown the roof of the place. They were also entirely too drunk to care.
On to the show itself.
First act (Sick Puppies) (3/5 show, 4/5 album): Ladies and gents sharpen your ears, these folks have talent. In person they were good, surprisingly metal for another wise straight up rock show. Being the opener they only played five songs. On the metal side of rock, these folks came all the way from Australia to rock us solid. The vocals were a nice combination of screams, grunts, and melody. Sick Puppies are a small three-person band (guitar/vocals, base, drums), two guys and a girl. Curiously, while bassist Emma Anzai rocks a mean bass, she didn’t sing in the live show (she does on a few tracks on the albums) I am always impressed with a good looking, hard rocking woman, especially in a genera that is dominated by men. Front man, Shimon Moore, can sing, rock out, and play a decent guitar at the same time. Most artists, in my experience, either focus on playing, or singing even when they do both, Moore did both the entire time. While his guitar work isn’t the most complex, it still takes talent to multi-task on that level, especially when there is no rhythm guitar backing him up. Those that do attempt both, often times end up standing still, not true with Moore, he head banged as hard as any other band I’ve seen.
Did I mention the hot girl playing both slap and standard bass? Yeah, there was that.
Anzai tore the bass up in ways I’ve not seen in a long time. Especially not from the first opener.
Well done, folks. Well fucking done.
I would put this music on to: Rock out, Angst, or get rid of pent up anger
Second Act (Shinedown): (4/5) I’ve gushed at length about Shinedown in a previous review. While they played a short set, as they were only the second of four acts. Shinedown is a four-man alternative metal show. Brent smith has a voice that is so powerful that he had to hold the mic back from his mouth when he really belted (see above Re: the mediocre sound system). This particular set didn’t quite have the energy of one of their main act shows, but Smith still managed to get complete strangers to the band to jump and move. His stage presence and ability to work the crowd continue to blow my mind. He’s flirtatious, gracious, and sincere. I was a little surprised “45” never got played, as it was one of their single tracks, however, I think that was because the show was already a heavy on the emotional songs.
Speaking of which, there was a very nice touch about halfway through the set. Ronnie James Dio passed on recently, and they played their cover of Skynard’s “Simple Man,” in tribute to him. Smith put an incredible amount of emotion into it, I’d be lying if I said my eyes were dry for that number and I never really listened to Dio. Smith puts so much emotion and energy into what he does that you can feel it somewhere deep in your chest, its rending.
Unlike many acts, Shinedown’s shows aren’t all about the front man. He plays off his guitarist especially but other band mates as well and is very, very deferential when they have solos and is sure to give his band their moments in the light.
I would put on this music to: Cry, to make myself feel like I can overcome the odds.
Third Act (Breaking Benjamin)(2/5):I tried to like them, because they have a similar style to many bands I listen too, but ultimately I was more interested in the videos they played than the band itself. (Especially when they played a Halo video, I’m nothing if I’m not a geek.) Front man, Benjamin Burnley certainly tried hard, so he gets credit there, but frankly, the band lacked energy, and what energy the crowd produced was absorbed and not returned.
Also, the Burnley, if you read this, its pounced Poly-am-er-ous not Poly-aim-er-us. It’s a little thing, but man it bugged me. The song and video for polyamorous also insulting to people who practice polyamory.
I would put this on to: tune it out, get annoyed
Main Act(Nickelback): (4/5) A Nickelback show is a party that has 20,000 guests. This is the second show of theirs I’ve seen and while it gets a little predictable the second time around, is a true rock show. Frontman Chad Kroeger is a huge flirt and knows how to talk to the crowd. He’s got a terrific, dirty, sense of humor without crossing the line between naughty and crude. He’s a party animal without getting so caught up in the party atmosphere that he forgets how to sing and play. Its obvious that as much work as Kroger puts into his art, he’s there hanging with his best friends and his fans, who he treats as friends--even handing out shots to those who can show ID and shooting free t-shirts into the crowd. Other than for the sentimental songs, the grin never left his face.
Kroger also interacted very closely with his band mates, more so than others I’ve complemented for it. He even threw his band mates' names into a few of the songs to direct the crowd to them.
Then there was the drum solo, which was simply epic. Daniel Adair is an excellent drummer and has the endurance of a horse.
I don’t think I could talk about their set without talking about the pyro-show. Many times, Shiny Bright Things are used to distract the audience when the artist isn’t as goo d. However, in Nickelback’s case it functioned as punctuation, accentuating an already great show.
I would put this music on to: Party, kick back, drink, get laid.
Personally, I’m not much of a fan of arena settings. The majority of the seats are too far away and it’s often much more expensive (though this area is pleasantly not as pricey as others (in this case 85$ for floor tickets)) and people are more inclined to sit. As Brent Smith said during Shinedown’s performance, you’re at a rock show not church, stand up. I always feel like sitting through the majority of a rock show is insulting, these people are out there, performing so that you will dance and have a good time. Dance! Tangent aside, this venue did one thing right, they had better ventilation on the floor than I’ve seen in many smaller venues. I could actually feel a cool breeze when I was all the way in the front by the stage.
Another thing this venue has to offer that smaller ones don’t is the ability to use screens and pyrotechnics, which can really enhance a good show (or cover for a bad one like strobe lights)
As with all arenas, the food and drinks were over priced and the merch was rather limited. The bathrooms were clean considering the number of people they served. They were relatively clean, with good, working fixtures and no graffiti.
However, one of the downsides was that the sound system was sub par. Not horrid, just not the best one I’ve encountered.
The Crowd: (2/5) Again, this is partly a function of being at an area show, but the crowd was entirely too laid back for beginning at a show that had at least two bands that should have blown the roof of the place. They were also entirely too drunk to care.
On to the show itself.
First act (Sick Puppies) (3/5 show, 4/5 album): Ladies and gents sharpen your ears, these folks have talent. In person they were good, surprisingly metal for another wise straight up rock show. Being the opener they only played five songs. On the metal side of rock, these folks came all the way from Australia to rock us solid. The vocals were a nice combination of screams, grunts, and melody. Sick Puppies are a small three-person band (guitar/vocals, base, drums), two guys and a girl. Curiously, while bassist Emma Anzai rocks a mean bass, she didn’t sing in the live show (she does on a few tracks on the albums) I am always impressed with a good looking, hard rocking woman, especially in a genera that is dominated by men. Front man, Shimon Moore, can sing, rock out, and play a decent guitar at the same time. Most artists, in my experience, either focus on playing, or singing even when they do both, Moore did both the entire time. While his guitar work isn’t the most complex, it still takes talent to multi-task on that level, especially when there is no rhythm guitar backing him up. Those that do attempt both, often times end up standing still, not true with Moore, he head banged as hard as any other band I’ve seen.
Did I mention the hot girl playing both slap and standard bass? Yeah, there was that.
Anzai tore the bass up in ways I’ve not seen in a long time. Especially not from the first opener.
Well done, folks. Well fucking done.
I would put this music on to: Rock out, Angst, or get rid of pent up anger
Second Act (Shinedown): (4/5) I’ve gushed at length about Shinedown in a previous review. While they played a short set, as they were only the second of four acts. Shinedown is a four-man alternative metal show. Brent smith has a voice that is so powerful that he had to hold the mic back from his mouth when he really belted (see above Re: the mediocre sound system). This particular set didn’t quite have the energy of one of their main act shows, but Smith still managed to get complete strangers to the band to jump and move. His stage presence and ability to work the crowd continue to blow my mind. He’s flirtatious, gracious, and sincere. I was a little surprised “45” never got played, as it was one of their single tracks, however, I think that was because the show was already a heavy on the emotional songs.
Speaking of which, there was a very nice touch about halfway through the set. Ronnie James Dio passed on recently, and they played their cover of Skynard’s “Simple Man,” in tribute to him. Smith put an incredible amount of emotion into it, I’d be lying if I said my eyes were dry for that number and I never really listened to Dio. Smith puts so much emotion and energy into what he does that you can feel it somewhere deep in your chest, its rending.
Unlike many acts, Shinedown’s shows aren’t all about the front man. He plays off his guitarist especially but other band mates as well and is very, very deferential when they have solos and is sure to give his band their moments in the light.
I would put on this music to: Cry, to make myself feel like I can overcome the odds.
Third Act (Breaking Benjamin)(2/5):I tried to like them, because they have a similar style to many bands I listen too, but ultimately I was more interested in the videos they played than the band itself. (Especially when they played a Halo video, I’m nothing if I’m not a geek.) Front man, Benjamin Burnley certainly tried hard, so he gets credit there, but frankly, the band lacked energy, and what energy the crowd produced was absorbed and not returned.
Also, the Burnley, if you read this, its pounced Poly-am-er-ous not Poly-aim-er-us. It’s a little thing, but man it bugged me. The song and video for polyamorous also insulting to people who practice polyamory.
I would put this on to: tune it out, get annoyed
Main Act(Nickelback): (4/5) A Nickelback show is a party that has 20,000 guests. This is the second show of theirs I’ve seen and while it gets a little predictable the second time around, is a true rock show. Frontman Chad Kroeger is a huge flirt and knows how to talk to the crowd. He’s got a terrific, dirty, sense of humor without crossing the line between naughty and crude. He’s a party animal without getting so caught up in the party atmosphere that he forgets how to sing and play. Its obvious that as much work as Kroger puts into his art, he’s there hanging with his best friends and his fans, who he treats as friends--even handing out shots to those who can show ID and shooting free t-shirts into the crowd. Other than for the sentimental songs, the grin never left his face.
Kroger also interacted very closely with his band mates, more so than others I’ve complemented for it. He even threw his band mates' names into a few of the songs to direct the crowd to them.
Then there was the drum solo, which was simply epic. Daniel Adair is an excellent drummer and has the endurance of a horse.
I don’t think I could talk about their set without talking about the pyro-show. Many times, Shiny Bright Things are used to distract the audience when the artist isn’t as goo d. However, in Nickelback’s case it functioned as punctuation, accentuating an already great show.
I would put this music on to: Party, kick back, drink, get laid.
May 19, 2010
Tangent: Bad fans and Booze.
This is a tangent that has been brewing in my brain since i started paying attention to the audience. Hell, some of it has been brewing for longer.
so here are some mini rants for you:
section one: Booze
so here are some mini rants for you:
section one: Booze
- If you go to a show, don’t get to drunk to actually enjoy the show or drunk enough to bother other people. I’m not talking the “its my first time really drinking, and I had a beer/ shot too many” drunks. Those people i can deal with, they wobble a little, maybe even go politely puke somewhere. Everyone has a little too much occasionally, whatever, its cool. But I’ve run into far, far too many people so waisted they can’t stand properly, are being belligerent and oblivious, or are just plain rude.
- If you’re spilling your drink without anyone running into you, you can’t possibly have enough taste buds left to enjoy the taste, and you should not be trying to get more ‘buzzed.’ True story. My girlfriend and I were at a show at the lovely Metro on the floor. Someone on the balcony above repeatedly spilled her beer on us and the people around us. I brushed it off the first few times. It got bad enough that one of the other gals got security to talk to her. Her response: “where did my beer go?” perhaps another point should be “if you don’t notice it’s missing, you don’t need it.”
- Nearly knock me over, hit me hard enough to really hurt * or try to shove me out of the way while your trying to carry drinks and you will get elbowed/ shoved back. I have no issue defending myself/ my space. (see section 2: Bad fans)
- If you are so drunk that you are crying, its time to stop.
- Don’t even try if you’re under 21, you will get caught. Have the grace to go drink at a house, or a parking lot or somewhere where there aren’t dozens of security guards.
- If you arrived late, your ass is stuck in the back, I’m sorry. No, I will not move if you shove me out of the way. I will let you past but this is my spot. I got here at door. You couldn’t be arsed to stand through the openers? Tough titties. The exception to my spot guarding is the polite, 5’1 and under people who aren’t shovy and just really want to see, if i can see over you and you can’t see past me, you’re free to have some of the space in front of me. We’re all in this to enjoy the show. Or if you say “excuse me I’m just trying to get to my friend,” Fine, by all means nothing is scarier than getting isolated in a wild crowd.
- I am not paying to see your cell phone/ camera. I know you brought the camera to snag a few shots of the act, fine and dandy. Don’t just sit there with your camera in front of my face. Snag, and stash. I’m not paying to watch TV on a shitty LCD.
- If you shove, I will shove back. I have no problems doing so. I except some of this but if you’re being a shit, I’ll be a worse one guaranteed. and I’ll do it without bothering my bubble-mates. I’ m fine with a little jostling, that's par for the course.
- Don’t split up, you won’t find them again: This is mostly for the really huge packed crowds at places like areas/ on the floor. If your friend is buried in the crowd and you decided to get a beer mid show, you are stuck, I’m sorry.
Rating change
I’m going back to the 1-6 system because for some reason the 1-10 system is hurting my head. Same criteria really:
1. reserved for the worst of the worst. Something hopefully you will never see.
2: Not worth buying the CD, but tolerable
3: Alright, might be worth the CD if its a 5-10$ concert CD probably not worth shipping price. This is where I expect the majority of bands I’m not actively seeking out will fall
4.Worth buying, very good stuff.This is the stuff I actively seek out.
5 stuff a step above the average that really, really sands out.
6. reserved for the crème de la crème. Run and get this music: it will turn heads and blow minds.
EDT:
A new addition, in the sprit of making some of this more personal, I’m going to add a line about what I think this music is good for. (ie good makeout music, good dance music, good angry music)
1. reserved for the worst of the worst. Something hopefully you will never see.
2: Not worth buying the CD, but tolerable
3: Alright, might be worth the CD if its a 5-10$ concert CD probably not worth shipping price. This is where I expect the majority of bands I’m not actively seeking out will fall
4.Worth buying, very good stuff.This is the stuff I actively seek out.
5 stuff a step above the average that really, really sands out.
6. reserved for the crème de la crème. Run and get this music: it will turn heads and blow minds.
EDT:
A new addition, in the sprit of making some of this more personal, I’m going to add a line about what I think this music is good for. (ie good makeout music, good dance music, good angry music)
May 16, 2010
Bamboozel 2010: Kill Hannah, 3OH!3 at the Charter One Pavillion
Bamboozle (8/10): Music festivals are an entirely different animal than most other shows. They tend to be outside and people don’t usually come explicitly for one artist. Some people come just for the atmosphere. Overpriced beer and junk-food may not be as appealing in other arenas but when you’re hanging out with friends and hearing live music, to some that is excellent.
And of course, there’s the music, for the price of one show (or less for some festivals) you can see multiple artists. The sets and the fame usually get bigger as the night progresses.
In Bamboozle’s case it was $35 for up to twelve acts (some were DJ). I was a little more selective than that and went to just three acts(I skipped reviewing Treaty of Paris as I was exhausted) and overheard the rest. One of the things that made Bamboozle unique from what I’ve seen is that you could actually see all of the acts present. There was no overlap between sets. While this meant shorter sets, it also meant you didn’t have to pick and choose. The side stage was also close to the main stage so you didn’t have to bolt between sets.
This was like the speed dating of festivals. other festivals i’ve seen are 3 days or more with 1-2 hour sets (my old home town, Milwaukee festival Summerfest (warning flash site), is a full 11 days long) Bamboozle managed to cram what could have been two days worth of music into one. The result could have been catastrophic, but it was amazing. The sets i saw were only 30 minutes a piece, and were very close together.
The Venue--( Charter One Pavilion at Northerly Island)(7/10) I feel like im comparing apples to oranges when rating an outdoor venue against indoor venues. They are really differnt animals. The Charter One Pavilion has an enormous 7,500 person capcity, yet I’ve been in several plces at the venue and you can generally see fairly well (exception is the par for the corse 6 foot tall guy in front of my 5’1“ self, which thankfully didn’t happen this go). Another nice thing about sprawling outdoor venues is you get all the volume without as much pain on the ears. This venue has been suprisingly cheep too. I think the most I’ve paid for a show there was $75.
I feel most of the downsides are part of the nature of outside venues (weather, not as clean). However, the food and beverage prices are a bit ridiculous even for a concert ($4-5 for a 20oz bottle of water, $8 for nachos)
There was one odd nice touch, the merch booth took credit cards wich I’ve never seen before at an outdoor festival, heck some indoor shows don’t take credit, wich was a huge load off my mind.
The crowd--(6/10) The usual festival crowd which was a mix of very lively fans and laid back folks who were just there for the festival. A very comfortable, but hard to rate and even harder to anylize crowd.
On to the shows:
First Act-- (Kill Hannah)(7/10) An old favorite of mine that I’ve gushed over repeatedly, so I’ll keep it short. This was the welcome home show after an intense three week tour of Europe. They were wonderful as usual, with front man Mat Divine’s powerhouse energy and unique voice carried over a set that comprised of as many songs as the band could play in thirty minutes. It was a pleasure to see the guys back on their home stomping grounds.
And even more of a pleasure to see the guys Just hanging out and signing and chatting with fans. It was not the traditional Meet them from behind a table, be forced to buy a CD and wait in a huge line set up. They were just there among the people. While not part of the set, i found it really cool how amicable they are with their fans.
Second Act (3OH!3) (8/10): A total surprise considering It took a very long time for me to warm up to their recorded work and even now I only really like a few songs. They really brought the metaphoric house down.
3OH!3 is an odd band that is hard to figure out what to make of (according to wikipeda they are ”crunkcore“ I’d put them closer to hip-hop). On first listen their lyrics are rude, and seem sexist but there is something inexplicably catchy about it. However, the more i listen to them, the more i think they are parodying the hip hop culture, a bold move for young men who very clearly don’t look like they are a part of that culture. Its tongue in cheek that often comes very close to the style it is parodying.
Frontmen Nat Motte and Sean Forman were smashing on stage. I’ve never seen a hip hop show live before, and this was really something. The two of them were not only very articulate but incredibly fast spoken. I found myself genuinely liking them which frankly surprised me. They also took a moment to introduce the rest of the band, a nice touch and balanced the set nicely only intruding one completely new song, which the crowd liked as much as the previous set.
Electronic is hard to balance, and I think they did a very nice job incorporating electronic elements without it being a distraction.
Overall a good show.
And of course, there’s the music, for the price of one show (or less for some festivals) you can see multiple artists. The sets and the fame usually get bigger as the night progresses.
In Bamboozle’s case it was $35 for up to twelve acts (some were DJ). I was a little more selective than that and went to just three acts(I skipped reviewing Treaty of Paris as I was exhausted) and overheard the rest. One of the things that made Bamboozle unique from what I’ve seen is that you could actually see all of the acts present. There was no overlap between sets. While this meant shorter sets, it also meant you didn’t have to pick and choose. The side stage was also close to the main stage so you didn’t have to bolt between sets.
This was like the speed dating of festivals. other festivals i’ve seen are 3 days or more with 1-2 hour sets (my old home town, Milwaukee festival Summerfest (warning flash site), is a full 11 days long) Bamboozle managed to cram what could have been two days worth of music into one. The result could have been catastrophic, but it was amazing. The sets i saw were only 30 minutes a piece, and were very close together.
The Venue--( Charter One Pavilion at Northerly Island)(7/10) I feel like im comparing apples to oranges when rating an outdoor venue against indoor venues. They are really differnt animals. The Charter One Pavilion has an enormous 7,500 person capcity, yet I’ve been in several plces at the venue and you can generally see fairly well (exception is the par for the corse 6 foot tall guy in front of my 5’1“ self, which thankfully didn’t happen this go). Another nice thing about sprawling outdoor venues is you get all the volume without as much pain on the ears. This venue has been suprisingly cheep too. I think the most I’ve paid for a show there was $75.
I feel most of the downsides are part of the nature of outside venues (weather, not as clean). However, the food and beverage prices are a bit ridiculous even for a concert ($4-5 for a 20oz bottle of water, $8 for nachos)
There was one odd nice touch, the merch booth took credit cards wich I’ve never seen before at an outdoor festival, heck some indoor shows don’t take credit, wich was a huge load off my mind.
The crowd--(6/10) The usual festival crowd which was a mix of very lively fans and laid back folks who were just there for the festival. A very comfortable, but hard to rate and even harder to anylize crowd.
On to the shows:
First Act-- (Kill Hannah)(7/10) An old favorite of mine that I’ve gushed over repeatedly, so I’ll keep it short. This was the welcome home show after an intense three week tour of Europe. They were wonderful as usual, with front man Mat Divine’s powerhouse energy and unique voice carried over a set that comprised of as many songs as the band could play in thirty minutes. It was a pleasure to see the guys back on their home stomping grounds.
And even more of a pleasure to see the guys Just hanging out and signing and chatting with fans. It was not the traditional Meet them from behind a table, be forced to buy a CD and wait in a huge line set up. They were just there among the people. While not part of the set, i found it really cool how amicable they are with their fans.
Second Act (3OH!3) (8/10): A total surprise considering It took a very long time for me to warm up to their recorded work and even now I only really like a few songs. They really brought the metaphoric house down.
3OH!3 is an odd band that is hard to figure out what to make of (according to wikipeda they are ”crunkcore“ I’d put them closer to hip-hop). On first listen their lyrics are rude, and seem sexist but there is something inexplicably catchy about it. However, the more i listen to them, the more i think they are parodying the hip hop culture, a bold move for young men who very clearly don’t look like they are a part of that culture. Its tongue in cheek that often comes very close to the style it is parodying.
Frontmen Nat Motte and Sean Forman were smashing on stage. I’ve never seen a hip hop show live before, and this was really something. The two of them were not only very articulate but incredibly fast spoken. I found myself genuinely liking them which frankly surprised me. They also took a moment to introduce the rest of the band, a nice touch and balanced the set nicely only intruding one completely new song, which the crowd liked as much as the previous set.
Electronic is hard to balance, and I think they did a very nice job incorporating electronic elements without it being a distraction.
Overall a good show.
April 25, 2010
Makeshift Prodigy at Schuba's Tavern
Venue:
Schubas (5/10)(Price range: 8$-15$): Schubas is what it is: a bar with a stage in back. I do love the place. The atmosphere is very relaxed. It’s the sort of place you can kick back with a beer and listen to local talent or small bands that aren’t quiet well known enough to open for anyone. The floor is lined with tables. Schubas is clean, which is nice and has a decent balance between the bar element and the stage element. There is an auxiliary bar toward the back of the stage area and the merch booth is squeezed in next to it just by the door. The stage feels a bit jerry rigged in places and security for the band is a bit lax, not that it’s needed for the sort of band that finds itself at Schubas. Allegedly they have food, but I’ve never seen it or where it’s served, so I will refrain from comment on that.
However, the sound quality is sub par at best and it really limits what a band can do on stage as all of the audio channels are set at the same volume: loud. The music is then pumped through sub par speakers.
I never saw the bathrooms so no marks on that.
The Crowd: (6/10) a sparse but lively bunch considering the fact that a) it was electronics rain out and b) the show was short notice. I’m sensing a cult following.
The Band: Makeshift Prodigy (7/10) I know a gal who works with them so I’d already been warmed up to them and they were no let down. Their recorded music is good; don’t get me wrong (review forthcoming). But live they really come to life. I wish I’d heard them somewhere with a better balance of sound and in venue lighting equipment. Front man Anthony Bagnara has a good range and a unique sense of how to use it. Bagnara uses the high notes to accentuate already intense emotion rather than impress the audience, though he accomplishes both. However, I’d encourage him to use his chest voice more as you can hear the strain on his throat in places. His smooth tenor voice meshed curiously with the other vocalist, Brandon fox’s rap. I have to confess; I was a little skeptical as to how the melodic, passionate tones of Bagnara’s voce would work with the sharp edged, pulses of rap. But work it did. Fox really brought an extra edge to the show and got the crowd moving. Both front men were extraordinarily emotive. Bagnara in particular was so caught up in intense emotion that he actually wound up on his knees for part of the show. Bagnara also paid as much attention to the crowd as was feasible in the venue, and seemed genuinely amused by the crowd’s antics, breaking into a grin in the midst of a relatively serious song.
Musically, its clear all of them have talent, however, they need to work on balancing their guitar work against the vocals. Bagnara has quite a soft voice and it’s easy for the louder guitar work to distract from it. The piano (Bagnara’s handy work as well) work was beautiful and had a degree of precision above the other instrumentation. Oddly enough, the electronics were very nicely timed and well done. The guitar work was alternately good and cacophonous, its clear guitarist Jake Foy, has talent but he sounds the least less talented of the band. While all of them are gifted artists, Bagnara’s work both on the piano and the vocals is a cut well above the rest.
I sincerely look forward to seeing these guys really come into their own, I don’t think they are there yet, but I have every confidence they will be very soon.
Schubas (5/10)(Price range: 8$-15$): Schubas is what it is: a bar with a stage in back. I do love the place. The atmosphere is very relaxed. It’s the sort of place you can kick back with a beer and listen to local talent or small bands that aren’t quiet well known enough to open for anyone. The floor is lined with tables. Schubas is clean, which is nice and has a decent balance between the bar element and the stage element. There is an auxiliary bar toward the back of the stage area and the merch booth is squeezed in next to it just by the door. The stage feels a bit jerry rigged in places and security for the band is a bit lax, not that it’s needed for the sort of band that finds itself at Schubas. Allegedly they have food, but I’ve never seen it or where it’s served, so I will refrain from comment on that.
However, the sound quality is sub par at best and it really limits what a band can do on stage as all of the audio channels are set at the same volume: loud. The music is then pumped through sub par speakers.
I never saw the bathrooms so no marks on that.
The Crowd: (6/10) a sparse but lively bunch considering the fact that a) it was electronics rain out and b) the show was short notice. I’m sensing a cult following.
The Band: Makeshift Prodigy (7/10) I know a gal who works with them so I’d already been warmed up to them and they were no let down. Their recorded music is good; don’t get me wrong (review forthcoming). But live they really come to life. I wish I’d heard them somewhere with a better balance of sound and in venue lighting equipment. Front man Anthony Bagnara has a good range and a unique sense of how to use it. Bagnara uses the high notes to accentuate already intense emotion rather than impress the audience, though he accomplishes both. However, I’d encourage him to use his chest voice more as you can hear the strain on his throat in places. His smooth tenor voice meshed curiously with the other vocalist, Brandon fox’s rap. I have to confess; I was a little skeptical as to how the melodic, passionate tones of Bagnara’s voce would work with the sharp edged, pulses of rap. But work it did. Fox really brought an extra edge to the show and got the crowd moving. Both front men were extraordinarily emotive. Bagnara in particular was so caught up in intense emotion that he actually wound up on his knees for part of the show. Bagnara also paid as much attention to the crowd as was feasible in the venue, and seemed genuinely amused by the crowd’s antics, breaking into a grin in the midst of a relatively serious song.
Musically, its clear all of them have talent, however, they need to work on balancing their guitar work against the vocals. Bagnara has quite a soft voice and it’s easy for the louder guitar work to distract from it. The piano (Bagnara’s handy work as well) work was beautiful and had a degree of precision above the other instrumentation. Oddly enough, the electronics were very nicely timed and well done. The guitar work was alternately good and cacophonous, its clear guitarist Jake Foy, has talent but he sounds the least less talented of the band. While all of them are gifted artists, Bagnara’s work both on the piano and the vocals is a cut well above the rest.
I sincerely look forward to seeing these guys really come into their own, I don’t think they are there yet, but I have every confidence they will be very soon.
Format change
When I first started this blog, I didn’t have as much experience really paying attention to the nuances of music Now I’ve trained my ears and really learned to listen to the music. So here’s my new scale of assessment, roughly, and subject to whims.
1-10 With a breakdown as follows:
1- reserved for the worst of the worst. Something hopefully you will never see.
2-3: Not worth buying the CD, but tolerable
3-5: Alright, might be worth the CD if its a 5-10$ concert CD certainly not worth shipping price
5-7 Worth buying, very good stuff. This is where I expect the majority of bands I’m not actively seeking out will fall.
7-9 stuff a step above the average that really, really sands out. This is the stuff I actively seek out.
10- reserved for the crème de la crème. Run and get this music: it will turn heads and blow minds.
New Criterion for Venues (I will re-review some) :
1) Promised amenities-- How are the bathrooms? Is there actually a coat check? How are the bars?
2) the floor: Is it properly ventilated? Cramped? Too flat? Too full of pillars?
3) Pricing
4) Atmosphere: does the place generally creep you out? Is it cozy? Boisterous?
5) Sound Quality/ audio balance-- this is partly the bands responsibility, but the venue can often play a critical role
The crowd:
1)participation: you are at a rock show, not the symphony, it says something if you can’t at least give a golf clap.
2) Turn out.
3) vibe: the general energy of the crowd.
The band(s):
1) the attitude: Part of the point of going to a live show is to interact with the artist in a way, if their a jerk it really detracts from the show. How do they comport themselves to their fans? to each other?
2) sound balance
3) (on albums) Speed balance: too many slow tracks? fast ones?
4) Vocal sound:
5) overall sound
6)Instrumentation/ use of electronics: I find some bands use electronics to cover for their lack of talent, but electronics can be highly effective.
1-10 With a breakdown as follows:
1- reserved for the worst of the worst. Something hopefully you will never see.
2-3: Not worth buying the CD, but tolerable
3-5: Alright, might be worth the CD if its a 5-10$ concert CD certainly not worth shipping price
5-7 Worth buying, very good stuff. This is where I expect the majority of bands I’m not actively seeking out will fall.
7-9 stuff a step above the average that really, really sands out. This is the stuff I actively seek out.
10- reserved for the crème de la crème. Run and get this music: it will turn heads and blow minds.
New Criterion for Venues (I will re-review some) :
1) Promised amenities-- How are the bathrooms? Is there actually a coat check? How are the bars?
2) the floor: Is it properly ventilated? Cramped? Too flat? Too full of pillars?
3) Pricing
4) Atmosphere: does the place generally creep you out? Is it cozy? Boisterous?
5) Sound Quality/ audio balance-- this is partly the bands responsibility, but the venue can often play a critical role
The crowd:
1)participation: you are at a rock show, not the symphony, it says something if you can’t at least give a golf clap.
2) Turn out.
3) vibe: the general energy of the crowd.
The band(s):
1) the attitude: Part of the point of going to a live show is to interact with the artist in a way, if their a jerk it really detracts from the show. How do they comport themselves to their fans? to each other?
2) sound balance
3) (on albums) Speed balance: too many slow tracks? fast ones?
4) Vocal sound:
5) overall sound
6)Instrumentation/ use of electronics: I find some bands use electronics to cover for their lack of talent, but electronics can be highly effective.
April 23, 2010
Sneak peek review: Makeshift Prodogy
This isn’t something I normally do but I’ve been meaning to talk about these guys for a while now.
Makeshift Prodigy Call themselves "indy/rock" however, their sound is unlike anything I've ever heard so I’ve struggled with how best to describe them for quite some time now.
If Bullet for My Valentine collaborated with Lifehouse. I think they’d sound a little like these guys. It's a sound I’ve heard parts of before, but as a whole it's something entirely their own. Melodic vocals, engaging piano work, with a slightly 80s feel but not so much that its hindering. Yet despite this mellow vibe, there’s an undercurrent of substance and innovation that is distinctly lacking in a lot of music these days, especially when comparing their first album to their new work.
Tomorrow I’m going to a show so a longer review is forthcoming. I just had to get the word out about these guys.
This show and this next album should be interesting indeed.
Makeshift Prodigy Call themselves "indy/rock" however, their sound is unlike anything I've ever heard so I’ve struggled with how best to describe them for quite some time now.
If Bullet for My Valentine collaborated with Lifehouse. I think they’d sound a little like these guys. It's a sound I’ve heard parts of before, but as a whole it's something entirely their own. Melodic vocals, engaging piano work, with a slightly 80s feel but not so much that its hindering. Yet despite this mellow vibe, there’s an undercurrent of substance and innovation that is distinctly lacking in a lot of music these days, especially when comparing their first album to their new work.
Tomorrow I’m going to a show so a longer review is forthcoming. I just had to get the word out about these guys.
This show and this next album should be interesting indeed.
April 19, 2010
30 Seconds to Mars with Mutemath and Neon Trees
Venue: The Aragon Ballroom (see previous review)(2.5/5) I was up on the balcony and got to observe the venue from a different angle, which solved some of the problems The Aragon has, namely ventilation and being able to see as a short person. I also had the unpleasant experience of being near their “coat check” which is a lie. Its a shady woman in the ladies room who just sticks your stuff under the counter and apparently also does not have change. She had wandered off with a twenty from the girl in front of me. I don’t know what became of that as my girlfriend and I took one look at each other and decided to get the fuck out of Dodge. Which meant I spend the show with the stuff I’d brought from the comic book convention I’d been to earlier. Luckily we were in the seated section.
The Crowd: (4/5) I had an interesting perspective on the massive crowd as I was removed from the bulk who were on the floor. They were an active bunch. Especially for 30 Seconds to Mars. As a member of the 30 seconds to mars “Echelon” I’ve been impressed by the fervor in that fan-base. They are intensely devoted and damn, are they loud. I got to see a visual representation of this pleasant fanaticism. When Front man Jared Leto said “take three steps forward,” the entire crowd not just shuffled, but surged forward. The crowd for that part of the show was just as wild and passionate as Leto.
On to the show.
Neon Trees (2/5): They had a song that said something to the effect of “take me back to 1985” and I agree that they should perhaps go back to 1985 and leave 2010 to people who aren’t stuck in the past. A decent sound musically, the front man was a touch whiney both in the vocals and the lyrics. Very much 80s revival music they sounded like a bad attempt at billy idol with a little bit of metro station’s perky beat.
Pleasantly, they are better recorded. Still a little 80s bubblegum without actually being 80s bubblegum for my taste.
Mutemath (2/5) Too many strobe lights with too little talent and too many laser sounds. The show had an odd division the first half was fair at best with way too many flashy lights. Toward the end of the set, they suddenly gained some talent and quite literally trashed the stage, throwing soundboards, guitars and drums everywhere. The front man even screwed up the mic. While they were a fun listen, this band was more show than substance.
30 Seconds to Mars (6/5)-- 30STM, as they are known in the fan community, is a powerhouse of, layered instrumentation, intense effects and a front man whose stage presence alone could leave many bands in the dust. On top of his incredibly powerful prescience and striking good looks, Leto has a voice like none other with incredible power, range and precision. He was deep in the crowd for parts of the show, playing both the main-stage and a smaller, jury rigged stage in the sound both. His graciousness came as a pleasant surprise. He was also very gracious to the fans, expounding on how much that night, and his fans meant to him and his band.
The band itself was precise and very professional. On top of their coordination, each member could stand on his own. However, there was no mistaking that this was Leto’s show, not for vanity or lack of talent on the band’s half, but for the simple fact that Leto is a force on stage.
I look forward to whatever 30 Seconds to Mars does next, this band is something to be reckoned with and if the evolution of their albums is any indicator, we have not seen one tenth what they are capable of.
The Crowd: (4/5) I had an interesting perspective on the massive crowd as I was removed from the bulk who were on the floor. They were an active bunch. Especially for 30 Seconds to Mars. As a member of the 30 seconds to mars “Echelon” I’ve been impressed by the fervor in that fan-base. They are intensely devoted and damn, are they loud. I got to see a visual representation of this pleasant fanaticism. When Front man Jared Leto said “take three steps forward,” the entire crowd not just shuffled, but surged forward. The crowd for that part of the show was just as wild and passionate as Leto.
On to the show.
Neon Trees (2/5): They had a song that said something to the effect of “take me back to 1985” and I agree that they should perhaps go back to 1985 and leave 2010 to people who aren’t stuck in the past. A decent sound musically, the front man was a touch whiney both in the vocals and the lyrics. Very much 80s revival music they sounded like a bad attempt at billy idol with a little bit of metro station’s perky beat.
Pleasantly, they are better recorded. Still a little 80s bubblegum without actually being 80s bubblegum for my taste.
Mutemath (2/5) Too many strobe lights with too little talent and too many laser sounds. The show had an odd division the first half was fair at best with way too many flashy lights. Toward the end of the set, they suddenly gained some talent and quite literally trashed the stage, throwing soundboards, guitars and drums everywhere. The front man even screwed up the mic. While they were a fun listen, this band was more show than substance.
30 Seconds to Mars (6/5)-- 30STM, as they are known in the fan community, is a powerhouse of, layered instrumentation, intense effects and a front man whose stage presence alone could leave many bands in the dust. On top of his incredibly powerful prescience and striking good looks, Leto has a voice like none other with incredible power, range and precision. He was deep in the crowd for parts of the show, playing both the main-stage and a smaller, jury rigged stage in the sound both. His graciousness came as a pleasant surprise. He was also very gracious to the fans, expounding on how much that night, and his fans meant to him and his band.
The band itself was precise and very professional. On top of their coordination, each member could stand on his own. However, there was no mistaking that this was Leto’s show, not for vanity or lack of talent on the band’s half, but for the simple fact that Leto is a force on stage.
I look forward to whatever 30 Seconds to Mars does next, this band is something to be reckoned with and if the evolution of their albums is any indicator, we have not seen one tenth what they are capable of.
April 12, 2010
Sonata Arcitca with Mutiny Within and Powerglove
Now, that was a metal show. None of this Nü Metal either (not that I don't love some of that stuff, its just, frankly, not metal)
But I'm getting ahead of myself.
The venue: (4/5) (see also previous reviews of the House of Blues in Chicago). The House of Blues has fallen from grace in a little my eyes though it is still an amazing venue. However, the rules are a little tighter than other venues. I stand by everything I said before; it’s just a mater of personal preference.
As a side note, apparently you can find Tony Kakko’s signature on one of the bathroom wall from 2006. He noticed it this past show.
The crowd: (3/5) Not as wild as some crowds I've seen, but still very much a rocking metal crowd. I was a little surprised that I didn't see much of a mosh pit (though that’s partially the venue's rules). However, there is an interesting phenomenon in the metal scene that was prevalent at this show. Some people stand and occasionally throw up the horns or head bang but otherwise are unmoving. However, if you see their faces, they are intently focused on the music. I pity the person who gets between them and their metal.
I was running late, so I missed the first opener, Power Glove Upon giving them a listen, I'm still trying to figure out exactly how I feel about them. Nerdcore goes metal with a huge 80’s vibe. It was just flat out weird, but the more I listen the more they grow on me. However, they had to do just that. They have a strong electronica influence, and strange sampling (one form a work out video, I kid you not). I'm still scratching my head at their lyrics (in one verse the woman the lead man is lusting after was compared favorably to both methamphetamine and a computer monitor). 2.5/5.
Moving right along...
Second opener: Mutiny Within (3/5): Even on a re-listen I wanted to head bang to these guys. As a metal fan, I can dig the occasional death grunt or scream-o moment, so Muntany Within's emphasis on those elements didn't bother me. Two things particularly stuck out for me. First: front man, Chirs Clancy has a fantastic range that includes the 80's style high falsetto notes and the deep rumbling growls. This is further impressive because he could do the grunts and screams without losing his ability to hold the key and could not only sing, but also articulate. His spoken voice was a little sloppy, but that wasn't a bother. The second impressive element was the guitar work. I'm a sucker for a good guitar solo and watching lead guitarist, Brandon Jacobs, shred that guitar was amazing.
It was also nice to hear a balance between melody and the death grunts. While the screaming/grunting is very much a part of what makes metal, well, metal, it can get tiresome very quickly. However, an effectively used death grunt in an otherwise melodic song can be quite powerful.
Very impressive for such a green band.
They do have a tendency toward unoriginality. I don't think i could pick them out of a set similar metal bands without focusing. Clancy's voice isn't particularly distinctive, though he's certainly talented. I also thought they weren't quite as coordinated live as they are on the album. Once they hone their sound I think they have the chance to be powerful.
Main Act: Sonata Arctica(4.5/5)
Wow. Despite being a fan of theirs for the better part of ten years, I'd only seen them as an opener with Nightwish. This was far and away more amazing. Front man, Tony Kakko comes across much like one of the wolves, which have become a theme with many of their albums. Shaggy, a touch goofy, but positively breathtaking in his performance. He has a distinctive voice. His heavy, Finnish accent and odd intonation make for something you wouldn't expect to be find in power metal. But when Tony puts that mike to his lips something explosive happens. Sonata Arctica's songs very from deeply melodic, sad songs, to thrashing guitar work, by way of obsessive chilling pieces. Tony's lyrics are often strangely worded and surprisingly precise. His recorded work is wonderful, but on stage is he is unworldly moving constantly face distorted with passion, he belts, growls and holds the watcher in an intense gaze.
Kakko, does not the entire band make, however. I never thought I’d be impressed by a key-tar solo. But I heard one like nothing i've ever heard before. If i hadn't known it was a key-tar, I would have thought it was a heavily pedaled guitar. Simply amazing. The guitar work itself was incredible. Lead guitarist, Elias Viljanen, also contributed a great deal of personality to the performance (at one point covering his eyes during a guitar solo). The entire band had a distinctive sense of balance and each piece was pivotal and had its own moments and quarks.
The show itself was an odd creature, filled alternately with skin tearing, mind blowing metal and strange little interludes. Because of how much they all put into the performance, there were times when each of them needed a brief rest, but the abundance was never neglected. At one point the keyboardist (and keytarest) needed a drink, so Tony took up the mike, chatted with the audience and started to yodel--I'm not kidding. He was good at it too.
The entire band was also exceedingly gracious. When it finally came time to say good night, The Enter band came up and took a bow together. Tony actually 'hugged" and blew kisses to the audience. (Bear in mind, this is the man I compared to a wolf earlier, not a feminine sort). I will go back to them in a heartbeat. Excellent show.
But I'm getting ahead of myself.
The venue: (4/5) (see also previous reviews of the House of Blues in Chicago). The House of Blues has fallen from grace in a little my eyes though it is still an amazing venue. However, the rules are a little tighter than other venues. I stand by everything I said before; it’s just a mater of personal preference.
As a side note, apparently you can find Tony Kakko’s signature on one of the bathroom wall from 2006. He noticed it this past show.
The crowd: (3/5) Not as wild as some crowds I've seen, but still very much a rocking metal crowd. I was a little surprised that I didn't see much of a mosh pit (though that’s partially the venue's rules). However, there is an interesting phenomenon in the metal scene that was prevalent at this show. Some people stand and occasionally throw up the horns or head bang but otherwise are unmoving. However, if you see their faces, they are intently focused on the music. I pity the person who gets between them and their metal.
I was running late, so I missed the first opener, Power Glove Upon giving them a listen, I'm still trying to figure out exactly how I feel about them. Nerdcore goes metal with a huge 80’s vibe. It was just flat out weird, but the more I listen the more they grow on me. However, they had to do just that. They have a strong electronica influence, and strange sampling (one form a work out video, I kid you not). I'm still scratching my head at their lyrics (in one verse the woman the lead man is lusting after was compared favorably to both methamphetamine and a computer monitor). 2.5/5.
Moving right along...
Second opener: Mutiny Within (3/5): Even on a re-listen I wanted to head bang to these guys. As a metal fan, I can dig the occasional death grunt or scream-o moment, so Muntany Within's emphasis on those elements didn't bother me. Two things particularly stuck out for me. First: front man, Chirs Clancy has a fantastic range that includes the 80's style high falsetto notes and the deep rumbling growls. This is further impressive because he could do the grunts and screams without losing his ability to hold the key and could not only sing, but also articulate. His spoken voice was a little sloppy, but that wasn't a bother. The second impressive element was the guitar work. I'm a sucker for a good guitar solo and watching lead guitarist, Brandon Jacobs, shred that guitar was amazing.
It was also nice to hear a balance between melody and the death grunts. While the screaming/grunting is very much a part of what makes metal, well, metal, it can get tiresome very quickly. However, an effectively used death grunt in an otherwise melodic song can be quite powerful.
Very impressive for such a green band.
They do have a tendency toward unoriginality. I don't think i could pick them out of a set similar metal bands without focusing. Clancy's voice isn't particularly distinctive, though he's certainly talented. I also thought they weren't quite as coordinated live as they are on the album. Once they hone their sound I think they have the chance to be powerful.
Main Act: Sonata Arctica(4.5/5)
Wow. Despite being a fan of theirs for the better part of ten years, I'd only seen them as an opener with Nightwish. This was far and away more amazing. Front man, Tony Kakko comes across much like one of the wolves, which have become a theme with many of their albums. Shaggy, a touch goofy, but positively breathtaking in his performance. He has a distinctive voice. His heavy, Finnish accent and odd intonation make for something you wouldn't expect to be find in power metal. But when Tony puts that mike to his lips something explosive happens. Sonata Arctica's songs very from deeply melodic, sad songs, to thrashing guitar work, by way of obsessive chilling pieces. Tony's lyrics are often strangely worded and surprisingly precise. His recorded work is wonderful, but on stage is he is unworldly moving constantly face distorted with passion, he belts, growls and holds the watcher in an intense gaze.
Kakko, does not the entire band make, however. I never thought I’d be impressed by a key-tar solo. But I heard one like nothing i've ever heard before. If i hadn't known it was a key-tar, I would have thought it was a heavily pedaled guitar. Simply amazing. The guitar work itself was incredible. Lead guitarist, Elias Viljanen, also contributed a great deal of personality to the performance (at one point covering his eyes during a guitar solo). The entire band had a distinctive sense of balance and each piece was pivotal and had its own moments and quarks.
The show itself was an odd creature, filled alternately with skin tearing, mind blowing metal and strange little interludes. Because of how much they all put into the performance, there were times when each of them needed a brief rest, but the abundance was never neglected. At one point the keyboardist (and keytarest) needed a drink, so Tony took up the mike, chatted with the audience and started to yodel--I'm not kidding. He was good at it too.
The entire band was also exceedingly gracious. When it finally came time to say good night, The Enter band came up and took a bow together. Tony actually 'hugged" and blew kisses to the audience. (Bear in mind, this is the man I compared to a wolf earlier, not a feminine sort). I will go back to them in a heartbeat. Excellent show.
Adendum to the Concert PSA
Someone I met at my most recent concert (review forthcoming) added the following (very valid) points that i found worth metioning
If you’re at a rock or metal show, you might encounter the mosh pit. It can be awesome and intense for those used to getting hit hard. However, it can be dangerous to the those not as experienced or of a slighter stature. I’m not a pit bunny, but a lot of people are. WHile I have no advice about being in the pit other than “good luck and don’t whine about being hit”
tips on avoiding the pit:
- Don’t count on an ATM: Don’t count on there being one at all in smaller venues If there is one expect a large fee.
- Get there early, leave late: Show times are not always precise and this insures you aren’t stuck in a bad spot in the crowd.
- Buy cds there: More of the money goes directly to the band than it does online.
- Coat checks can be pricy:see also the rant about bringing less
If you’re at a rock or metal show, you might encounter the mosh pit. It can be awesome and intense for those used to getting hit hard. However, it can be dangerous to the those not as experienced or of a slighter stature. I’m not a pit bunny, but a lot of people are. WHile I have no advice about being in the pit other than “good luck and don’t whine about being hit”
tips on avoiding the pit:
- stay to the back or at least one layer of people to either side. In front can be dangerous.
- Don’t fear the pit, but don’t be afraid to move. Even if it means cutting through people.
March 20, 2010
Tangent: Concert 101
So it’s nearing summer (ok its still spring, but it snowed today so I’m dreaming of summer) and summer means heavy concert season. A lot of people go and don’t know what they’re getting into, don’t know what they’re doing. It ends poorly, not just for them but for others too. I’ve been at this for the better part of thirteen years, so I figured I’d give some of the less experienced folks a crash course.
- If you don’t absolutely need it, don’t bring it. Or check it in the coat check that most indoor venues have. In fact it’s a good general rule that if it doesn’t fit in your pockets or a bag no wider than your hip, leave it at home.
- Do bring:A cell phone, ID (even if its an all ages show), and money/ credit cards. Poncho if its outdoors. Personally, I like to bring at least $20-40 in case i have to cab it home for some reason
- Do not bring large bags larger than you are wide or backpacks. This is not only asking to be robbed, but it’s a hazard to anyone near by. Epically in standing room only venues. You’ll end up having to buy people drinks because your huge bag knocks them.
- Wear sensible clothes/ shoes.Yes, we all go a little nuts at concerts bur bear in mind, you are going to be in a crowd of people dancing, jostling and above all trying to see. Ditch the parka and the heals.
- Be nice to the openers.Your band was once an opener, and odds are there is someone trying to enjoy them. There are people on a stage, putting themselves out for a crowd that, odds are, are not here to see them. Clap at least. Even if they are bad.
- Be nice to security. It could save your life.
- Don’t stand around bored. This is sort of part of five, but bears reiterating. The people who go to shows and stand bored, huffing and puffing until their song/ artist comes on are really rude.
- Stay hydrated. Yes, water can be over priced at some venues. But 3$ for water, is better than 300$ for an ER visit
- Don’t be afraid to shove a little, but don’t be a jerk. –It’s a concert, especially if it’s a rock/ metal sort of show, there’s going to be jostling, head banging, probably moshing et.
- Be careful, but not too careful. You may think you’re ready to be thrown around, thrash danced into etc. But pits can be pretty dangerous if you’re not prepared. I tend to stay toward the middle of the crowd, just behind/ to one side of the proper mosh pit. But you are at a concert; most fans I’ve run into are good to each other, if you really get scared and need to get out odds are you can.
- Water bottles: Most venues will not let them in as they are a safety hazard
- Large bags; Bear in mind a) you’ll be holding it for 2-6 hours b) it will be hitting people.
- Cameras:some venues are flexible on this, know what you’re getting into.
- Anything you don’t want getting hurt that isn’t signed there.
- Young Children. This is a use your own judgment sort of thing, some kids fair well at concerts I saw a 7 year old with at a metal show once having an absolute ball but I’ve also seen crying, unhappy ones.
- Anything that can’t fit into a small bag.
- A person who won’t enjoy it: yes it may feel better to bring your friend/SO, but it brings all of us down if someone is not having it.
March 19, 2010
March 14, 2010
Concert revew: Flogging Molly with, The Architectsand Frank turner at the Aragon Ballrom
Venue: The Aragon Ballroom (4/5) The most beautiful venue I've ever seen. The pictures on the site don't come close to doing it justice. Originally a legit ball room in the twenties, the Aragon is a larger venue than most (Holding up to 4,500 people, compared to the House of Blues at 1000people ). The entry way is a little cramped, and has an appearance of converted movie theater. there's one bar as you walk in across from the merch booth. You walk up the stairs into a beautifully painted and molded dance floor with balconies and little towers ornately carved and painted in oranges and creams. Each turret has intricately carved windows. I'm neglecting however, the most breathtaking element.
The ceiling is high and arced a little giving the place avery airy open feel. It is painted like a night sky with swirling blue clouds and a white moon toward the stage. The top of the stage is framed with swords. If that wasn't enough, when the houselights go down, little stars appear, winking in and out alternately. The orange windows in the turrets reflect onto the ceiling reminiscent of citylights. The total effect transports you to a Spanish plaza, rather than a concert venue jammed in the bar district.
There is a coat check, i didn't use it, nothing to report on that or the bathrooms.
The bars were irritating. Rather than wristband you when you enter, they wrist band you on your way to the bar, thus creating huge lines, and causing those of us who just want water undue amounts of hassle. The bars are also more like kiosks than real bars. And I was charged $3 for an 8oz bottle of water. Irritating.
There were only two problems with the floor itself. The first was minor, That being because there is very little variation (no steps, et.) and its a larger venue its very hard to see from the back. I'm five foot one so I'm use to this problem.
However, they are in desperate need of fans, and better ventilation. I'm a stubborn concert goer once I'm in the crowd and the main act is on i break for nothing except illness. I had to go out for water, after already having some at the start of the show. It was ridiculously stuffy.
The crowd: (2.5/5)The problem of such a large space is that the crowd varies wildly and I didn't get as much of a chance to weave through as I had a wonderful group of friends with me. For being such a great band, the crowd was tame. They were amicable, but very relaxed. However, I was in a bit of a dead zone for part of the show. I find just standing there bored absolutely rude, especially when you're over six feet and toward the middle of the crowd.
on to the show.
First Act: Frank Turner (3/5) All the way from Manchester, it was just Frank Turner and his guitar for this show, though according to his myspace he has a backup band. I have to confess, for part of his act I was distracted by the gorgeous venue. His music was enjoyable with the occasional lyric that made me grin and a few others that I sympathized with. A little relaxed for what was to come, with a more ethnic engish feel to it, Turner's music was a perfect warm up for a band like Flogging Molly.
Second Act: The Architects (2.5/5). There are three bands easily found on the internet with that name, and if your forming a band in this day and age it pays to check these things. It made them harder to track down. Not that I especially wanted to. While they significantly improved over the course of these set, they were out of place in that they sounded much more like mainstream rock/metal than the Irish flavored music of the evening. They were thrashy, hard to understand and the numbers of theirs that caught my attention were either covers, or stylistic rip off of other bands. They aren't half bad recorded however, with some decent lyrics. On stage, they were discordant and inarticulate. Worth dancing to, very much not worth buying a CD from.
The Main Act: Flogging Molly (3.5/5) Great live show, good solid sound. For those of you who may be new to this band they are about two parts traditional Irish music. This band manages to keep to their Irish roots, while still engaging with modern politics and more importantly a modern audience. These guys may be in their late fifties, but they still no how to rock without coming across as clinging to their younger days. The sound they make is insane, and unmistakably their own. Even front man, Dave king, doesn't quite know what genera to put them in, nor does he care. I would have been happy indeed with the guitar work with the mandolin and banjo work, but then the fiddle came in.
And let me tell you something, you've never seen or heard anything quite like an electric fiddle player rocking out, let alone one dueling with a guitarist. It was intense. The lyrics are serious and at times irreverent. Its wonderful to see a band that's been around as long as they have keeping the edge sharp politically and musically.
While predominantly thrashy, they do have their share of ballads that are equally strong and more articulate.
Where they lose points is that they are a bit of a one trick pony. Most of their stuff sounds similar weather its from 2002 or 2010. However, it's quite an enjoyable trick and a lot of fun.
The ceiling is high and arced a little giving the place avery airy open feel. It is painted like a night sky with swirling blue clouds and a white moon toward the stage. The top of the stage is framed with swords. If that wasn't enough, when the houselights go down, little stars appear, winking in and out alternately. The orange windows in the turrets reflect onto the ceiling reminiscent of citylights. The total effect transports you to a Spanish plaza, rather than a concert venue jammed in the bar district.
There is a coat check, i didn't use it, nothing to report on that or the bathrooms.
The bars were irritating. Rather than wristband you when you enter, they wrist band you on your way to the bar, thus creating huge lines, and causing those of us who just want water undue amounts of hassle. The bars are also more like kiosks than real bars. And I was charged $3 for an 8oz bottle of water. Irritating.
There were only two problems with the floor itself. The first was minor, That being because there is very little variation (no steps, et.) and its a larger venue its very hard to see from the back. I'm five foot one so I'm use to this problem.
However, they are in desperate need of fans, and better ventilation. I'm a stubborn concert goer once I'm in the crowd and the main act is on i break for nothing except illness. I had to go out for water, after already having some at the start of the show. It was ridiculously stuffy.
The crowd: (2.5/5)The problem of such a large space is that the crowd varies wildly and I didn't get as much of a chance to weave through as I had a wonderful group of friends with me. For being such a great band, the crowd was tame. They were amicable, but very relaxed. However, I was in a bit of a dead zone for part of the show. I find just standing there bored absolutely rude, especially when you're over six feet and toward the middle of the crowd.
on to the show.
First Act: Frank Turner (3/5) All the way from Manchester, it was just Frank Turner and his guitar for this show, though according to his myspace he has a backup band. I have to confess, for part of his act I was distracted by the gorgeous venue. His music was enjoyable with the occasional lyric that made me grin and a few others that I sympathized with. A little relaxed for what was to come, with a more ethnic engish feel to it, Turner's music was a perfect warm up for a band like Flogging Molly.
Second Act: The Architects (2.5/5). There are three bands easily found on the internet with that name, and if your forming a band in this day and age it pays to check these things. It made them harder to track down. Not that I especially wanted to. While they significantly improved over the course of these set, they were out of place in that they sounded much more like mainstream rock/metal than the Irish flavored music of the evening. They were thrashy, hard to understand and the numbers of theirs that caught my attention were either covers, or stylistic rip off of other bands. They aren't half bad recorded however, with some decent lyrics. On stage, they were discordant and inarticulate. Worth dancing to, very much not worth buying a CD from.
The Main Act: Flogging Molly (3.5/5) Great live show, good solid sound. For those of you who may be new to this band they are about two parts traditional Irish music. This band manages to keep to their Irish roots, while still engaging with modern politics and more importantly a modern audience. These guys may be in their late fifties, but they still no how to rock without coming across as clinging to their younger days. The sound they make is insane, and unmistakably their own. Even front man, Dave king, doesn't quite know what genera to put them in, nor does he care. I would have been happy indeed with the guitar work with the mandolin and banjo work, but then the fiddle came in.
And let me tell you something, you've never seen or heard anything quite like an electric fiddle player rocking out, let alone one dueling with a guitarist. It was intense. The lyrics are serious and at times irreverent. Its wonderful to see a band that's been around as long as they have keeping the edge sharp politically and musically.
While predominantly thrashy, they do have their share of ballads that are equally strong and more articulate.
Where they lose points is that they are a bit of a one trick pony. Most of their stuff sounds similar weather its from 2002 or 2010. However, it's quite an enjoyable trick and a lot of fun.
A Rant/PSA
I don't normally do this but, I have a public service announcement.
I understand sometimes you have to bring stuff with you, I had on me last night: one eyeshadow, two brushes two crayons, a cell phone, several cards (both credit/debit and store related), my ID et. I also acknowledge that some outfits aren’t conducive to pockets (I ware cargos so I don’t have to face this issue). But if you’re at a show that is standing room only, or crowded in anyway, LEAVE THE BULKY PURSE/ BAG/BACKPACK AT HOME or check it. If the purse juts past your body more than a couple inches, I guarantee you will be obliviously hitting people, getting in people’s way and generally be “that girl” You don’t want to be that person at a sold out jammed to the walls show. Hell , if you’re near me, a seasoned concert goer and tiny metal head, you don’t want to be at any show with more than a very few people. )Also wear as thin a coat as you can justify, for the same problem.) You also hold up the pat down line and make yourself look like a giant newbie.
Not only is your giant bag a danger to people who are jumping around and ducking through the crowd and generally not keen on being smacked by a purse, its a danger to you. People generally at concerts are there to have fun, bond and drink. (I got my cell back when it slipped out of my pocket last night!) However, people are human, and some people are assholes. You could get robbed, or things could simply fall out/ get hurt. And at concert hall, even the nicest ones, you will never see said stuff again. At best its in the trash, at worst someone stole your cards.
Please for your sake and mine, leave the giant bag at home.
I understand sometimes you have to bring stuff with you, I had on me last night: one eyeshadow, two brushes two crayons, a cell phone, several cards (both credit/debit and store related), my ID et. I also acknowledge that some outfits aren’t conducive to pockets (I ware cargos so I don’t have to face this issue). But if you’re at a show that is standing room only, or crowded in anyway, LEAVE THE BULKY PURSE/ BAG/BACKPACK AT HOME or check it. If the purse juts past your body more than a couple inches, I guarantee you will be obliviously hitting people, getting in people’s way and generally be “that girl” You don’t want to be that person at a sold out jammed to the walls show. Hell , if you’re near me, a seasoned concert goer and tiny metal head, you don’t want to be at any show with more than a very few people. )Also wear as thin a coat as you can justify, for the same problem.) You also hold up the pat down line and make yourself look like a giant newbie.
Not only is your giant bag a danger to people who are jumping around and ducking through the crowd and generally not keen on being smacked by a purse, its a danger to you. People generally at concerts are there to have fun, bond and drink. (I got my cell back when it slipped out of my pocket last night!) However, people are human, and some people are assholes. You could get robbed, or things could simply fall out/ get hurt. And at concert hall, even the nicest ones, you will never see said stuff again. At best its in the trash, at worst someone stole your cards.
Please for your sake and mine, leave the giant bag at home.
March 4, 2010
Album Review: Halestorm(self-titled)
Halestorm(self titled) 4/5
I've gushed about this little band(particularly their front woman, Lzzy Hale) multiple times. Sexy, hard edged, but still feminine, I don't think there's much Lzzy Hale couldn't do if she set her mind to it.
The album itself, like the band, is a powerhouse. Strong guitar work coupled with vocals like I've seen in no other band of this generation. The lyrics are fearless and sexually charged. Finally, the music scene has a woman who isn't afraid to be sexual without being obscene. The album has a running theme of strength and danger. Between the pained"Familiar Taste of Poison" and the white hot anger of "It's Not You," Halestorm demonstrates stylistic variety without betraying the underlying tone of the album.
Highlights:
It’s Not You (linked above)-- Its the opening song, and what an opener. It's an attention grabbing, fierce rock song that inspires defiance and tells the listener very clearly "read my finger."
Innoncence-- -- an interesting reversal of the classing man-takes-woman's-virginity, story this song is about the conflict of a woman taking someone's virginity.
Familiar Taste of Poison (also linked above)-- This bitter lullaby demonstrates Halestorm's range of style wonderfully. I think its also a feeling a lot of people have experienced-- the desire to stay with a toxic relationship.
Dirty Work: This song made me grin, this song is an aggressive song that could only be about one thing--sexual dominance
In short, I still have nothing but good things to say about this band. Wonderfully bitter, sexy and talented. My only hope is that they come back to Chicago soon.
I've gushed about this little band(particularly their front woman, Lzzy Hale) multiple times. Sexy, hard edged, but still feminine, I don't think there's much Lzzy Hale couldn't do if she set her mind to it.
The album itself, like the band, is a powerhouse. Strong guitar work coupled with vocals like I've seen in no other band of this generation. The lyrics are fearless and sexually charged. Finally, the music scene has a woman who isn't afraid to be sexual without being obscene. The album has a running theme of strength and danger. Between the pained"Familiar Taste of Poison" and the white hot anger of "It's Not You," Halestorm demonstrates stylistic variety without betraying the underlying tone of the album.
Highlights:
It’s Not You (linked above)-- Its the opening song, and what an opener. It's an attention grabbing, fierce rock song that inspires defiance and tells the listener very clearly "read my finger."
Innoncence-- -- an interesting reversal of the classing man-takes-woman's-virginity, story this song is about the conflict of a woman taking someone's virginity.
Familiar Taste of Poison (also linked above)-- This bitter lullaby demonstrates Halestorm's range of style wonderfully. I think its also a feeling a lot of people have experienced-- the desire to stay with a toxic relationship.
Dirty Work: This song made me grin, this song is an aggressive song that could only be about one thing--sexual dominance
In short, I still have nothing but good things to say about this band. Wonderfully bitter, sexy and talented. My only hope is that they come back to Chicago soon.
Errata
I said that the self titled album was Halestorm's debut, While its their first full album, they also had an EP in 2006 (One and Done EP (2006)
Album Review 3DR: In the Bedroom-EP
3DR: In the Bedroom EP(2009)(1/5)
I Picked these guys up because I'd been a big fan of Red Line District, the band these guys used to be in. What a disappointment.
3DR(short for Third Day Rising) should NOT be confused with the band Third Day Rising the Christian screamo band, they are very different.
I wanted to like this album—the band’s previous incarnation Red Line District* was edgy and good old fashioned teen rock with songs like “Stuck” that had a lot of promise. Apparently, the band members that left took the majority of the bite and talent with them. Here we have a discordant EP that tries very hard to be a real album but falls flat. The vocals are decent, but very hard to hear over the cacophonous background While it is growing on me, as I do have a fondness for strange music, This EP is not up to any of my standards.
The lyrics are whiney, which can be alright if pared with strong vocals and clean instrumentation. However, the guitar work is just as whiney.
I do hope these guys get better, though judging by their work on Myspace, they haven’t. I really support local talent, but I think these guys sadly only fit one of those terms.
No highlights, due to length and quality of the album. If I had to pick one song that may have been a little better than the others, it would be “In Recovery” but even that, frankly, isn't that good.
I Picked these guys up because I'd been a big fan of Red Line District, the band these guys used to be in. What a disappointment.
3DR(short for Third Day Rising) should NOT be confused with the band Third Day Rising the Christian screamo band, they are very different.
I wanted to like this album—the band’s previous incarnation Red Line District* was edgy and good old fashioned teen rock with songs like “Stuck” that had a lot of promise. Apparently, the band members that left took the majority of the bite and talent with them. Here we have a discordant EP that tries very hard to be a real album but falls flat. The vocals are decent, but very hard to hear over the cacophonous background While it is growing on me, as I do have a fondness for strange music, This EP is not up to any of my standards.
The lyrics are whiney, which can be alright if pared with strong vocals and clean instrumentation. However, the guitar work is just as whiney.
I do hope these guys get better, though judging by their work on Myspace, they haven’t. I really support local talent, but I think these guys sadly only fit one of those terms.
No highlights, due to length and quality of the album. If I had to pick one song that may have been a little better than the others, it would be “In Recovery” but even that, frankly, isn't that good.
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