Venue: (4/6) The Aragon Ballroom
This old lady really stepped up her sound system for SSPU. I suspect it was because of Brian Aubert’s ethereal, yet badass, voice. Though the speakers did clip out several times it was worth it for the change in quality. With tweaking, I think the Aragon could really bring up her standard. They also installed more fans in discreet places. It was a much improved show.
School of Seven Bells (4/6):
School of Seven Bells combines an electronic sound with Celtic overtones (Wiki classifies them as “Shoegaze”). Initially it almost sounds like all of their stuff is remixed Celtic music, except that the lyrics are original and the under current is closer in flavor to EDM. Beautiful, lilting vocals mesh seamlessly with a fluttering baseline and heavy keyboard work. Another thing that made this band stand out for me was the fact that it was comprised of a bassist, a keyboardist, a drummer, and a vocalist. There was no lead guitar, which gave them a hollow, spacious sound. Live they also had good energy and a playful demeanor. While it was certainly clear that they were not used to having a big crowd and were more than a little nervous, they pulled through and did an excellent job.
Silversun Pickups (5/6):
I have nothing but wonderful things to say about this show, and this band for that matter. Between Brian Aubret’s ethereal, sharp edged vocals, amazing guitar work and flawless lyrics, he could have been a show unto himself. His energy was explosive, yet always managed to fit the mood of the song. I am, however, convinced if he were forced to sit still he might well explode. The bass work was, as always, phenomenal. What made it even more amazing is that the slight gal slamming away at the bass, and rocking out like the world was ending was their substitute bassist. Their usual bassist is equally small, and massively talent, but she’s just recently given birth to twins. (If you happen to read this, Congratulations, Nikki Monninger!) It is a rare thing to see a substitute or tour member of the band get any applause at all; Sara (whose last name I never caught) got enough applause to bring the show to a halt briefly. She was utterly fantastic, matching Monninger in both energy and style, while still bringing her own attitude to the table. I’ve never seen someone bring who was on par with the original artist like that before. Ace job, Sara, ace job.
And lets not forget their phenomenal drummer, one part Animal of Muppets fame, one part insane metal drummer, and 100% magical, (dude) absolutely killed the drum work. While I’ve always appreciated their drummer, this show brought a new appreciation for exactly how bananas this guy is. Phenomenal job.
The only complaint I had (and it is minor) was that I would have moved “Panic Switch” (their really big) song to the second encore as opposed to being before either encore. It was a positively spectacular, ridiculously long show, with a frenetic, passionate energy that is on par with the best in the business.
This old lady really stepped up her sound system for SSPU. I suspect it was because of Brian Aubert’s ethereal, yet badass, voice. Though the speakers did clip out several times it was worth it for the change in quality. With tweaking, I think the Aragon could really bring up her standard. They also installed more fans in discreet places. It was a much improved show.
School of Seven Bells (4/6):
School of Seven Bells combines an electronic sound with Celtic overtones (Wiki classifies them as “Shoegaze”). Initially it almost sounds like all of their stuff is remixed Celtic music, except that the lyrics are original and the under current is closer in flavor to EDM. Beautiful, lilting vocals mesh seamlessly with a fluttering baseline and heavy keyboard work. Another thing that made this band stand out for me was the fact that it was comprised of a bassist, a keyboardist, a drummer, and a vocalist. There was no lead guitar, which gave them a hollow, spacious sound. Live they also had good energy and a playful demeanor. While it was certainly clear that they were not used to having a big crowd and were more than a little nervous, they pulled through and did an excellent job.
Silversun Pickups (5/6):
I have nothing but wonderful things to say about this show, and this band for that matter. Between Brian Aubret’s ethereal, sharp edged vocals, amazing guitar work and flawless lyrics, he could have been a show unto himself. His energy was explosive, yet always managed to fit the mood of the song. I am, however, convinced if he were forced to sit still he might well explode. The bass work was, as always, phenomenal. What made it even more amazing is that the slight gal slamming away at the bass, and rocking out like the world was ending was their substitute bassist. Their usual bassist is equally small, and massively talent, but she’s just recently given birth to twins. (If you happen to read this, Congratulations, Nikki Monninger!) It is a rare thing to see a substitute or tour member of the band get any applause at all; Sara (whose last name I never caught) got enough applause to bring the show to a halt briefly. She was utterly fantastic, matching Monninger in both energy and style, while still bringing her own attitude to the table. I’ve never seen someone bring who was on par with the original artist like that before. Ace job, Sara, ace job.
And lets not forget their phenomenal drummer, one part Animal of Muppets fame, one part insane metal drummer, and 100% magical, (dude) absolutely killed the drum work. While I’ve always appreciated their drummer, this show brought a new appreciation for exactly how bananas this guy is. Phenomenal job.
The only complaint I had (and it is minor) was that I would have moved “Panic Switch” (their really big) song to the second encore as opposed to being before either encore. It was a positively spectacular, ridiculously long show, with a frenetic, passionate energy that is on par with the best in the business.
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