Audiophile's Haven

Savoir: Rise against and A Day To Remember at the UIC Pavilion.

2012-01-28T11:07:00.000-08:00

Venue(UIC pavilion: (5/6) Calling a spade a spade, this was an arena show. However, it was a small arena, maybe 9000 people tops. Even from the top tier, I’d imagine there was still a good view. The sound system was, well, arena quality, but that was expected. It was a nice arena, relatively clean and with clear signage the merch booth was accessible. The venue only lost points for the sound system. It was a wonderful place and is in a better location than the other two arenas in the area. (Those being being the Allstate in Rosemont and the United Center downtown).

A note on the staff: During the encore someone got injured (I couldn’t see exactly what happened) and the staff was amazing. Quick to the task, efficient without being cursory. Hats off to good staff. More on how the crowd handled it in the next section. Short version, I was impressed.

The Crowd: (6/6) I’ve been to hundreds of concerts in my day, but I’ve never see such a fervent, lively crowd. I’ve also never seen such a considerate crowd (especially not when there are no fewer than three, and some times up to six, mosh pits going). Any time someone fell from crowd surfing or moshing I could see a distinct dip in the crowd as multiple people picked that person up.

They were also phenomenally supportive when someone did get hurt. They parted like the red sea for the staff and paramedics. They pointed out where the injured person was and made sure to communicate to their fellow fans to get out of the way. They also cheered the staff on.

I have to say I’ve never before seen that kind of mindfulness in a wild crowd and I am proud.

The show itself:

A Day to Remember: (4/6). I was pleasantly surprised with this band. Given how easy it is to make bad screemo I had very low expectations for them.Their energy was intense, especially for an opener. While they weren’t perfect they did a fantastic job and really brought the crowd to life. The band relied a little too heavily on the screaming and grunting for my personal taste and I felt like the melodic sections were a little rough. They put forth a sincere energy and understood how to work the crowd and had solid guitar. Their drum work was really nice, too I confess I’m a sucker for intense drums.

They were also theatrical. At one point there was a person in a Gumby costume on stage firing a t-shirt canon, at another point the front man was in a giant inflatable ball crowd surfing. It was amazing to see. The front man was also very into the crowd. He gave them fist bumps, crow surfed, spoke with them. He even got the crowd to crowd surf using other members of the crowd as surf boards. It was pretty amazing. He was playful and energetic.

Rise Against. (5/6): Both heartfelt and hardcore, Rise Against produces intense lyrics and relentless instrumentation all with fervent energy and commanding stage presence. The conviction with wich the front man spoke and performed was unparalleled. The band was also incredible with the crowd, constantly weaving in and out of its edges, signaling the crowd and interacting directing with them.

In true punk sprit, their music inspires action, but unlike older punk its not obnoxious, nor are they one trick ponies. Runnning the gambit front romantic ballads to thrashing rock songs, their performance was seamless. There was honesty in the music and passion. Above all else, conviction and passion make any music work.

Another element that gave me a new respect for Rise Against was their concern for their fans. At one point, as mentioned, there was a bad injury in the crowd. It was the front man,not the staff, who pointed out something was wrong and asked for the houselights and paramedics. The overall sense of community was fantastic.

I will go back to their shows in a heartbeat.

Kill Hannah’s New Heart for Xmas 8: I'm Alive for Ten More Minutes.

2011-12-18T11:17:00.000-08:00

New Heart for Xmas is an eight year running (with one break last year) multi day event Kill Hannah throws every year.
Day 1: JBTV Studio filming/“Storytellers” event.(VIP only)-- The Songs That Saved My Life
5/6
This was my first experience in a recording studio and I spent a lot of time staring at the walls, which were covered in rows of signed, platinum and rare albums. It was an audiophile’s dream. We filed into the small soundstage that was built for Kill Hannah a few years ago. JBTV and Kill Hannah have had a mutually helpful relationship for nearly a decade giving each other their well-deserved places in Chicago history.

Being this close to one of my favorite artists was a once in lifetime moment. It was breathtaking. Hearing their stories was wonderful, I’ve always loved listening to artists talk about their work. I learned a lot about Kill Hannah’s roots and how lyricists/vocalist Mat Devine was inspired to write some of my favorite Kill Hannah songs. There were also a few lovely moments between the members of the band, which is always a pleasure to see.
I am very proud of them and am thrilled to have been a part of the event.

The performance itself was really wonderful and it was interesting watching the band interact with the studio crew. It really felt like we were a part of something bigger.

Day 2:The Show--Welcome To Chicago.
Venue: Bottom Lounge (4/6)
I’ve been to the bottom lounge twice now andI got lost both times because there are two Ashland el stops on the green line. One is on the south side. One is a hop skip and a jump from downtown. Guess where I wound up?
I almost died before I even got to the show.
That being said it is just across the street from the El, very convenient if you don’t get lost. It’s a cozy, not cramped venue with a bar attached and surprisingly decent sound equipment. I found there was minimal distortion and the balance was nice.
And the view was great.
The Bottom Lounge is unique in that it still felt like a concert despite having an under 500 person capacity. Very cozy, yet still a good party.

The Crowd: (3/6) I am continually disappointed in the Kill Hannah crowds. Kill Hannah has an intensely loyal, hardworking street team and fan base, why they can’t give their all at a show is beyond me.

The Show:

(Regrettably due to aforementioned getting lost I didn’t make the openers. I will review their albums at a later date)
The most striking thing about last evening was the amount of gratitude the band expressed. Due to singer Mat Devine being on Broadway New Heart for Xmas didn’t happen last year, and there was a lot of talk about how little the band was doing because of the show. There were even questions as to weather or not New Heart would happen this year. The relief in the air was palpable. Especially from bassist, Greg Corner and have course Divine. I don’t know how many times I heard “thank you” from their lips. It felt like magic.

Having met Divine multiple times now and kept up with his blog/advice column it’s hard for me not to adore his work. He wears his heart on his sleeve and even after over ten years in the industry, he has yet to lose his fearless edge. I’ve seen many artists start out fierce and defiant only to wear out after a few albums. While Kill Hannah has gotten a little less raw, Devine has yet to lose his rebellious sense of self.

Devine has an introversion about him. It is as though after all these years he’s still a bit confused by this whole stardom thing. At the end of the day he’s just Mat. This introversion can be a little detrimental on stage, as he doesn’t have the powerhouse energy some do. However, what he lacks in energy he makes up for in emotional output.

While Devine is certainly Kill Hannah's heart, the band is a family. Bassist Greg Corner has an incredible energy about him and a wonderful charm with the fans. He is the most social of the band (also being a DJ for Dark Wave Disco).

Just seeing drummer Elias Millan on stage with them again was wonderful. He was absent from two of the last shows.

I could honestly gush about each member for pages each. They are a very genuine, wonderful band that I will keep coming back to as long as they come to Chicago.

PSA/ Quick Survey:

2011-11-29T08:50:00.001-08:00

First: Sorry I've been absent Nanowrimo ate my soul. Two more days and I'll be normal again
A few things:
1. How many if any of you would want a mobile version of the blog?
2. There's gonna be a bit of a facelift. More content, some rants et. Any thing you'd like to see as my readers? Comments/ criticism. If you don't want to figure out how to comment on the blog, email me at my business email over on the sidebar.
3. I may be jumping ship to a real website in the next year. Any recommendations?

Patrick stump with Rockie Fresh and Mark Rose ( not reviewed) at The Metro (chicago)

2011-11-12T10:33:00.000-08:00

Venue, The Metro(4/6):
The Metro is one of the faded glories of the Chicago music scene. In its day it was a wonderful venue. You’d made it in Chicago if you played the Metro even two years ago. It is a great venue; don’t get me wrong. It is very intimate-- maximum of 1000 people, two tiers, and a cheap bar. The bathrooms are even decent for a bar/concert venue. However, you can see it fading. It is sad in a way, as that place has a lot of sentimental value for the music scene in Chicago. I still love it there; one of my first big shows in Chicago was there. However, the sound system is probably older than the venue itself and dying. The building itself is falling apart in minor ways-- it could stand to have fresh coat of paint and have the floors redone as they are mostly that odd cardboard like stuff that many dance floors are covered in and lots of gaff tape.

However, it is one of the few places that you can still get a 20oz water for 3$ and it still draws good music. The small size also makes the crowds more manageable.

The Crowd (3/6): The one thing I dislike about the music crowds I tend to run in is a certain flavor of audience member. Stop me if you’ve seen this person. Loud voice, that just gets louder when the music starts, often stands facing his friend rather than the stage, thus running into the person in back of him constantly. He is completely unaware of his body, usually bitching about something regarding the act on stage. If you think the artist sucks either leave or don’t come in the first place.

If you’re not there to watch/listen to your artist, then get the fuck out of my way. Especially if your over six feet tall and standing in front of a five foot tall fan of the artist on stage.

We had at least three of those in our row alone. I was ready to pull out my metal elbows and start a throw down.

Luckily, I’m a shrimp.

The show:

Rockie Fresh (2/6) I will add a caveat here, I’m not as familiar with hip-hop/rap as a genre, so its sometimes tricky for me to judge quality versus something I’m not used to. I should also add that this particular artist caters to a flavor of hip-hop that I don’t care for. I try to put my personal genre biases aside when reviewing, however, and focus on the technical talent and overall quality. I also acknowledge that one of the things that makes hip-hop so innovative is the use of sampling to change the way a song sounds. I like that.

It is however, a genre that relies on a persons sense of beat being razor sharp and vocal talent to being articulate and precise.

I found that Rockie Fresh lacked the edge needed to make his vocals stand out. I also found his music too busy. There is a line between well-layered music-- a common thing in hip-hop-- and cacophony. I find his work comparable to the young musicians that, rather than specializing, learn to play multiple instruments, but not very well. While innovation is one of the keys to success in the music industry, without that foundation, any diversification becomes noise, rather than style. If he simplified his work and really honed his vocals, I think he could have a shot at success in the club scene.

Patrick Stump(4/6):
Patrick Stump has a distinctive, clear voice that is a pleasure to listen to. He is a fun, talented artist with a striking look and energy in spades.
Stump is also playful on stage and constantly bouncing, flailing and bolting from one side to the other of the stage. He has a wonderful smile both in his face and in his sound. He is very much riding the high of being able to finally do what he wants instead of having to fight with band mates.
What Stump lacks, however, is structure and a foundation. I find him very chaotic and uncoordinated in both his sound and his presence. I feel like he is used to having something to rein in his raw energy and direct it and now that he is no longer in Fall out boy, he doesn’t have any direction and structure. It is as though he’s gone back to the beginning, but maintained some of his popularity from Fall Out Boy. He’s still struggling to find exactly what he wasn’t to sound like and how he wants to present himself as an artist. I’m willing to give him a couple years, however,I do not know if the fan-base is. During the show I saw more than a few people leave. On the other hand the fans that stayed were intensely loyal and very vocal. If stump is going to succeed I feel like he needs to recognize that he is not as big as he used to be and really work on honing himself as an artist.

He also needs a better backup band, I didn’t find any of them particularly talented.

In short, Stump is a nice Midwestern boy who needs to gain a little of the big city edge to succeed on his own.

Album Reivew: LaZae "Self help--EP"

2011-10-22T12:34:00.000-07:00

3/6
I picked this up from my girlfriend who lives in LA. Not bad. Not bad at all.

LaZae has ariculate and throaty vocals with a pop-rock sound. Combining lyered gutarwork with minimal drumwork and the occasional keyboard, LaZe keeps things interesting, but consistent.
Brave lyrics jam along side rugged, not always polished guitar work. LaZae is leagues ahead of her instrumentalists. The guitar work has a lot of heart, but sometimes doesn' always match up with the vocals and sometimes collides head on with the other guitars, or with the keyboard work.
Her voice is solid, but she needs to simplify the music itself. While I am a sucker for well done layering its something that requires a delicacy that isn't here.

Album Review: The Browncoat Mixtape (Adam WarRock & Milka kHill)

2011-10-13T12:47:00.000-07:00

Have a soft spot for nerdcore, and a soft spot for Joss Wedon’s Firefly. When I got wind of an album that combined the two I was quite piqued.

Considering how very amateur the creators of these albums are I was relatively impressed. Adam WarRock brings a slower variation of nerdcore combined with samples form Firefly’s unique soundtrack. (Firefly’s sound combines an Asian fusion influence with an old west sound) While I tend to prefer harder, faster nerdcore I can appreciate a good fan tribute and I can appreciate the technical talent that WarRock has. I also enjoy the use of samples from the firefly soundtrack.

That being said, something about it didn’t really grab. It is almost too articulate in places and too polished. I would suggest that WarRock sharpen the edges and really reach for that passionate primal element that peeks through in “Independents.” As a Nerd I understand the amount of passion that goes into loving a show, and no show has a fanbase like Firefly. I find WarRock tends toward being a little more laid back, while I don’t mind that, I find it does not do firefly justice.

I look forward to listening to more of his music. I love nerdy music.

Rockstar Energy Drink Uproar Music Festival:

2011-09-19T10:43:00.000-07:00

Event: Rockstar Energy Drink Uproar Music Festival(3/6) I’ve been to several music festivals ranging in size to small local events to one of the world’s largest. Uproar was mediocre. My thoughts on the show may have been colored by my active dislike for the venue. The line up was phenomenal, however, I found the whole thing disorganized and the staff unhelpful.

For example, they alleged that there was a signing. I personally saw no indicators as to the location or any potential time changes. I didn’t even see my usual indicator (a line). I checked both sides of the stage just to be sure. I’m not sure if this is the fault of the horrid venue or the festival organization.

Venue: (2/6)—Honestly, the only reason I end up going to the First Midwest Amphitheater is the talent it brings. I find it a dirty, unorganized, venue with staff that isn’t knowledgeable and often is more likely to stand around looking bored than actually help. They will, however, be very insistent about looking in your purse and patting you down in the poring rain. More than once I walked straight past the people who were supposed to check my ticket. I had mine in my hand, mind you, but once I was past the gates I could have gone anywhere but the pit (which requires a wristband, so I’m not sure how good security was down there) Now, I had the best tickets next to the pit so it didn’t matter. (I may be a seasoned concert go-er, but I’m not about to put myself in the pit for “Riot” or anything Avenged Sevenfold plays. I doubt I’d survive.)

Every time I’ve been to this venue the staff has been unfriendly and useless. They seem to have very little knowledge of the venue and the events therein. Moreover, they don’t seem to care to find out. The concessions are overpriced even by festival standards and the verity of concessions is piss-poor at best.

The sound system is also awful, bass heavy to a fault and constantly distorted.
The there are a few things that keep the venue from completely losing me.
First, it is a permanent venue. There are real bathrooms (not portable ones) and there is a decent covered section and the tickets are often not very expensive. Also this place tends to draw a phenomenal line up, and artists who come to Tinley Park often don’t come to Chicago itself. It also seats more people than the Charter One Pavilion, making it a prime target for rising artists and larger artists who don’t want to play arenas or aren’t quite big enough to fill an arena.

Escape The Fate (3/6): Escape The Fate is a traditional screamo/ heavy metal band with a young sound and some obvious roots in the 80s hair metal sound. Heavy metal is very easy to do badly. While far from terrible this band lacked a certain spark. Even recorded they are just slightly uncoordinated. Not enough to truly bother the listener but enough that it puts them behind the pack from a sound stand point. Lyrically, they are traditional dark metal. When opening for bands like “Bullet for My Valentine” and “Avenged Sevenfold” you need a little more kick than they had. Put forth the effort to produce energy however, they fell short. Overall they were nothing to write home about good or bad. As the first of four acts they were certainly in the right spot. They felt very green and forgettable.

Bullet for My Valentine (4/6): I’d heard their first two albums a few years back and while I enjoyed a few of the songs I largely forgot about them. I liked them enough that I was interested in the show, however, I had low expectations, I admit.

While I would hardly call Bullet For My Valentine brilliant, I’ve always been enamored with their ability to change from melody to screams and back. Musically they too have their roots in 80s metal, but there is clarity to their work that makes them stand out as well as a degree of coordination that is often lacking in scremo especially. In a genre that can easily devolve into noise, Bullet took the effort to make their sound unique and sharp.
Live they also had a primal metal energy that is rare outside of harder metal.

Bullet for My Valentine had that live. The adrenaline was fantastic. On a technical level, they were also very solid, a surprise in their genera. The guitarist was especially on top of his game.

Another thing that made Bullet for My Valentine interesting is that the vocals were split. The lead handled the melodies and the guitarist picked up the grunts and screams. This illustrated their lovely coordination further and let the guitarist and front man play off each other very nicely.

Bullet for My Valentine also showed passion, which was a nice way to start an evening full of it.

Bullet for My Valentine also made the abundance start moving and after Escape the Fate, this was no easy thing. However, from opening cord to ending progression the crowd was on its feet. I think they even got a mosh pit started, which doesn’t happen often with openers.

Three Days Grace (5/6): I didn’t think I could be any more impressed with Three Days Grace than I already was. However, they did something that I haven’t seen in any other band. Most bands that I’ve seen several times lose some of their sparkle, not often enough of it to mater, but the shows get familiar and predictable. Not so with Three Days Grace. Even the parts I’ve seen several times had little pieces of variation that make a show just that much more engaging. I did not think they could top their last show, with its unbridled energy and raw emotion.

I underestimated Adam Gointer. Heavily.

There is a raw honesty that comes forward in their music that is only a glimmer in most other bands’ music. Every band I’ve seen live has songs they’ve written just to put something out there. It is the unfortunate nature of the industry. Most also have at least one song that is straight from the raw nerve. Any fan who’s seen a good live show knows that song, it’s the one that taps into your own heart because it is palpable that every word rings true.

That is everything Three Days Grace has ever created. Their live performances have a powerful charge that rivals no other show I’ve seen in its emotional intensity. I confes that I lose a degree of professionalism when I’m at their shows, something in what he writes taps my own nerves.

And that usual redundancy I talked about? Even the songs that they’ve been performing for their entire care are different each time they perform them.

In addition to having energy and emotion Three Days Grace also have an incredible amount of talent. Their coordination is flawless and seasoned. Are they the most technical band on the planate? No. I think that is one of the things that make them so powerful. They are raw, torn, emotional and utterly wonderful live.

Avenged Sevenfold (4/6): Avenged Sevenfold is another band that I had kicking around my computer for a while. I liked what I’d heard but not enough to actively seek it out. I expected to have my earplugs in and head bob, but not really engage in the show. Then it happened, somewhere during “Beast and the Harlot” the raw, primal energy that metal is known for kicked in. The crowd was alive, and I was on. While they certainly don’t have the emotional content of Three Days Grace, they certainly put on a great show. I don’t think emotional content is the point of their particular flavor of metal; its music to cut loose to, rather than music for catharsis. The general tone of an Avenged Sevenfold show is one of defiant, almost flippant dismissal. Despite this tone, front man M. Shadows engaged the fans often enough to keep them interested but not so often that it became tedious or interrupted the flow of the concert. He was sincere when he needed to be, encouraged the fans when they needed to be encouraged and generally put on a good rock show. However, something happened about half way through the show and I’m still thinking over exactly what caused it. There was a distinct energy lull. Part of it, I’m sure, was the solemnity of “so far away” dedicated to their former drummer who passed on around this time of year two years back.

I’ve never seen a band lose a member and fully recover, while the new drummer is very good, I’d imagine there would always be a hole in the band. However, while I can’t see a talent difference (I’m not very familiar with their older works) I noticed that the songs from the newest album displayed a degree of emotion that others did not. I’m wondering if this is a new turn for the band or if they are simply coming to terms with a friend’s death. Time will tell. I certainly appreciated the emotional elements however; it is not what most people come to an Avenged Sevenfold show for. I can see that affecting their fan base heavily.

I’ve talked a lot about Shadows’ performance but he is far from the most talented of the band. In fact, I’d say he’s the least talented of them. Not that he isn’t talented, he is. However, their guitarist and drummer are both phenomenal. I was particularly impressed with the drummer, given that he is a very recent addition to the band. While I’m confidant that no one will ever replace “The Rev,” I have faith in this his or her new drummer.

On the whole, I was impressed with these people and while their performance will never make my top ten lists, it was certainly good.

Kings and Queens of Redundancy-- MTV Unplugged: Thirty Seconds to Mars

2011-08-26T10:47:00.000-07:00

A few days ago Thirty Seconds to Mars released an “MTV Unplugged” ep. I’ve given it a few listens now. It is comprised of songs from their newest album This is War. Initially, I was excited, as my favorite Thirty Seconds to Mars song “Night of The Hunter” is on this piece and I always love listening to how a song sounds pared down to acoustic.
Jared Leto has a wonderful voice and articulates incredibly well courtesy of his acting background. However, one thing he does not do well is improvise. He is a very stick to the script type. On one hand, this leads to a degree of practiced percussion that doesn’t happen often. On the other hand, there is a level of redundancy to his work that is really noticeable in the acoustic sessions. The challenge of acoustic work is that it is so much subtler than electric can be. If the artist sticks to closely to the original piece, it can often fall apart. And that is exactly what happened with Night of the Hunter, unfortunately. Rather than becoming a chilling, heart-stopping piece it goes from layered to cacophonous. While still a gorgeous song, it lacks the knife twist that it has electric.

Every album by an artist that gets radio play has one “radio song” a song that is often not their most powerful, but has something that will catch the ear and compel the listen to look for more. That was “Kings and Queens.” Most of the time this song becomes the boring song on the album. While I adore Kings and Queens on the original album, it is the shallow, radio song. Not so on the Acoustic. The pain so easily overlooked in the album version is palpable in the acoustic. It haunts, chills, and brings out the mournful, yet hopeful tone of the lyrics. I got goose bumps when first heard this version.

I find “Hurricane” a throw away song. While the lyrics posit an interesting question “Would you kill to save a life?” It has never been a song that terribly kept my attention. It is the same way on the acoustic album—an obvious choice as it’s a radio song as well, but ultimately not one I’d pay attention to.

The few covers Thirty Seconds to Mars made have been interesting and always have a twist to them. “Where the Streets Have No Name” is surreal to hear in Jared Leto’s voice, instead of Bono’s . The addition of the background chorus was started by U2 however, Leto's orchestration is still fairly strong. However, this still has the same issues that “Night of The Hunter” had—Too many layers for an acoustic show. Unlike “Night of the Hunter” however, this song’s layering is essential to the sound of the song.

Overall, I would say this is not Thirty Seconds To Mars’ best work, however, it is still a solid album well worth picking up.

This City is my City (Lollapalooza day 2)

2011-08-07T08:58:00.000-07:00

Venue: Same as yesterday, though this particular stage (The BMI stage) had the worst sound system I’ve encountered in a long time. And there was no adjustment made to compensate for the overactive bass.

Acts:

I briefly walked in on Death From Above 1979, while they were very good; I only saw pieces of their set as I was coordinating with people. I also spent an ungodly amount of time running to and from the FYE booth. Someone would make a large profit if they offered some kind of ride back and forth across the park. My spine is still throbbing. I’m still reveling in how gorgeous Lola is.

Patrick Stump: (3/6) I have to say found Stump because of Fall Out Boy. I do love his vocal range and his odd nasally voice. I will also admit that part of the reason I paid attention to Patrick was that everyone else was busy paying attention to Peat Wentz. Stump is far and away the more talented of the two. However, he is going to be haunted for the rest of his life as being “that other guy from fall out boy” so I’m going to shut up about peat and go right to Patrick.

Patrick Stump has a great vocal range, and a distinct voice, however, he falls into the same trap many artist fall into when they go solo. He tries to hard to be “not Fall Out Boy” and I find that that means he doesn’t actually have his own sound. What he plays is an amalgamation of hip hop, pop and funk and has an uncoordinated tone live. Recorder it is much better but still lacks focus. It is almost as though Stump has started over from ground zero musically but with his fame intact.

I’m willing to stick by him musically, as his lyrics are sharp and there is talent there as well as a lot of potential, however, he needs to get past his “I’m NOT FALL OUT BOY” phase and get focused. The R&B sound is interesting for him but it still feels like he’s trying to hard.

The emotion in his voice is undeniable, however. He has a lot of passion. Good luck to him.

The Pretty Reckless (4/6): I'd heard this band recorded and only truly knew one song of theirs. The impression I had from the album was good, but I had low expectations of their live show. While I did miss about half of it getting Patrick Stump's autograph, I am glad I made it back in time to hear some of their set. They were much better live than on the album. Very coordinated, a good balance of crowd interaction and performing. Taylor Momsen's vocal's were solid and matched up with the sound she produced on album. However, she didn't very at all. I would like to see her step out of her comfort box and experiment with what she's capable of vocally. I thought the band was solid and I adore Ben Phillips’ throaty scream voice as well and his guitar work is solid.

Where they really lost points, and some of my respect was their attitude. While I don't know the story behind it, apparently, they are notorious for being late. I wasn't at the beginning of their set, but according to one of the other people in line with me for the singing, they were late. They were also an hour late at least to the signing, I don't know if it got longer of if they ever showed up I had to cut out after standing in line for an hour. While a little slack can be cut when it's your show. In a venue wherein you have 45-minute sets, and 30 minutes for singings, that kind of lateness is unacceptable. I know it was they, too, not the FYE people as a) they'd been timely at the last singing and b) they said as much. If they ever want to be the headliner, they need to step it up.

Lollapalooza2011: Day 1

2011-08-06T10:07:00.000-07:00

Venue: Grant park (4/6)
I only hit one band this particular day, they were the reason I bought the ticket to lola. Normally 200$ for three days is a bit rich for me and I was not aware of the secret pre-sale that makes it a lot cheeper. (downside being that it’s before you know who you’re seeing.) My bar for festival grounds is very high as i’ve been going to summerfest since i was a teenager. The grounds were gorgeous.” The view of the skyline from grant park is utterly spectacular and the festival surrounds chicago’s Buckingham Fountain. There are no permeant faculties for this show so the bathrooms are exclusively port-a-potties, par for the course at festivals, but still not the best. There are eight stages spread out over a large enough space that there isn’t a lot of sound overlap. They also stagger the sets on stages that are close to each other. They do let you bring some food and empty bottles in and even have a refilling station. This festival seems more focused on taking care of its patrons than most. The drinks are cheeper for concert fair and they have a few vendors with local food and local merchandise. The food/ drink locations are spread out over the entire festival grounds so that its easy to access them.
I have to say its lovely. I adore chicago.

Crowd: (1/6) Wow. Yes, I know I was not there for the headliner, so the majority of the crowd was there for Muse. Yes, A Perfect Circle has odd energy and is generally very subdued. But come on people. This band has not toured since 2005. Show some love, or get the hell off the floor so that those of us who are there for APC can see.

The Show: A Perfect Circle (4/6): An odd band with an odd sound. The majority of the band members come from other bands including Tool, Nine Inch Nails, Puicfier and others. They have a heavy, dark sound that is not like many others. The lyrics are articulate and introspective, with an often vicious streak. I am personally quite fond of “Passive” and “Outsider” along with the creepy, if romantic “Pet.”
With this collaborative effort you get a lot of influences, but all of them are in the same vein. The closest I can label them is industrial, but with a more aggressive edge.

This band is also known for their covers. They have a positively haunting cover of imagine. Yes the John Lennon one.

Live they were a little slow to get moving but when they did there was an energy to that was feral, dark and dug into something deep under the skin. There was some distance between front man Maynard James Keenan and the audience and not a lot of interaction between the artists. Each seemed to be doing their own thing emotionally, while somehow collaborating on a musical level. I think that is what contributed to the crowd’s subdued nature. When they finally hit their stride, even the distance couldn’t keep the crowd down. However, it took the majority of their set to get there.

Overall, I wish they would release more music, I doubt they will however.

Get Famous: A PSA to Young Musicians

2011-07-25T11:19:00.000-07:00

I’ve seen far, far to many bands who make these mistakes, so Its time for a PSA:

If you want to get famous, there are some rules that you should follow:
1) Google “Name You Want for Your Band (band)”, odds are unless its a really odd name,you’ll have at least one other. If it's far away from you and they only have a myspace, you’re golden. If you have four hits in the same country you’re from: Reconsider that name.
2) Shock Value/ Funny names are not shocking/funny after the 5th time you hear them. “Clown Death Cocks” might not have many hits on google, but very few managers will take you seriously.
3) Know your genera: Live it, breathe it, own it. It may be a new sound completely, but the odds of that are very, very low. More likely you have a wealth of knowledge and support that you are ignoring out of sheer laziness and pretension. Besides it's always nice to know who you could be opening for
4) Know other genres: You might not be what you think you are, and once again you’d be ignoring a huge community.
5)If you are the first opener, you will have the worst crowd. While you’re enthusiasm is appreciated, it might not work. This isn’t a comment on you. Keep at it.

Album Reivew: Parachute" The Way It Was"

2011-07-25T10:43:00.000-07:00

I found Parachute( not to be confused with the New Zeland band “Parachute Band”) when I missed them at the Goo Goo Dolls show a few weeks back. I picked up their newest album and finally found the time to give it a listen.

Overall I enjoy it, but its not keeping my attention. Parachute strikes me as average alternative rock. Worth the money for the CD, but not worth really keeping tabs on.

This isn’t a bad album, however I think this band really needs to find their own sound. THey are still green and as with many young bands, they have not yet grown a sound that stands out from the countless other alternative rock bands. The lyrics are just as redundant and generic as the rest of their sound-- filled with run fo the mill teenage love songs and breakups, meant for driving in the summer.

Even their ‘deeper’ song “Forever and Always” didn’t really catch me untill the last verse, by then i’ve typically hit skip.

I’d see them again live, but i wouldn’t actively seek them. I would love to see them touring with other bands that I enjoy, however.ow this CD.

Likely influences: Mayday Parade and Owl City.

Solid band, but they need to push the envelope more. If they exploded their own sound, I think they have a lot of potential to be a very good band.

News Update/ Small Rant

2011-07-18T09:28:00.000-07:00

Not what I normally post here, But this heavily impacts my industry. And I’m pissed about it.

I’d like to have a moment of silence for Q101 being taken off the air at 1:07am CDT last Friday. RIP Q101, thanks for all of your support and the countless festivals and rock shows. I will be very interested to see what happens in the Chicago music scene without you. Good luck to the lovely gentleman who turned it into a news station. Cause Chicago needed more news stations.

I’m sorry, dear readers, but Q101 was a part of the chicago music soul. It may not have been the biggest music station out there, but it was home. They will be missed and I can’t help but be a little bitter.

Good news is the “internet radio” will still be there-- no DJs though.

I usually don’t get political on this blog, but please don’t support the man who is trying to destroy the chicago music scene. I know he hasn’t out and said it but thats basically what it seems to be trying to do. Taking two of chicago’s major rock stations out, one of which was a key element in the festival and concert arena right as the music industry is finally turning around its slump is nothing short of a slap in the face.

People lost jobs from this. One of the guys had been working at this station for 13 years. and thats gone now.

Boycott 101.1, 97.1. Let them know exactly what we think of this change. It won’t bring back our DJs or put our station back the way it was, but maybe, just maybe it will have an impact. And maybe, just maybe, people will think twice before tangling with chicago radio.

I’m usually a supporter of the radio, call me old fassioned here, but I like the excitement of unexpectedly hearing something good, or better still something good and new. The fun of looking up this new band and figuring out if they are, in fact, good. The local, sometimes really interesting, music.

I sincerely hope that radio doesn’t go the way of the music video. I seriously miss that.

Tonight's the Night The World Begins Again: Goo Goo Dolls w/ Parachute (unreivewed) and Michelle Branch.

2011-07-18T08:49:00.000-07:00

Venue: Charter One Pavilion at Northerly Island: (4/6) I think I must be getting fussier as I get older I found that while I still love the Charter One Pavilion, the audio set up is very off balance and like so many venues and it makes for some pretty nasty distortion, especially with the vocals. Now this may not be true for every one but personally I find the vocals one of the most important parts of rock music. I’m a huge sucker for lyrics. So when the awful clipping noise your bass makes drowns out my artists I get a little miffed. Even John Rzeznik commented on it. I’ve seen this way too often especially at outdoor venues. I appreciate good bass, but people please, it’s not all of the music. If you overdo the bass you drown out many of the details that make or break a good artist.

I’ve been to the Charter One five times that I remember. As a result, I’m used to ignoring the unhelpful staff and overpriced (even for concerts) drinks. I did notice the security was more vigilant than in the past, which was nice, if annoying because I had to pull out my ticket more often. Granted that’s preferable to lax security.

Small tangent: I have a great respect for the people who do security at concerts. In my option they are one part ninja, one part gladiator with the patience of a saint. These are not petite people- they have to be burly enough to be able to physically escort out drunk, rowdy people. They put up with being shit talked, cussed at and probably hit. They get puke cleaned up. And they do all of that nearly invisibly. I’ve more than once seen security appear when they were otherwise nowhere to be seen, deal with an issue and vanish again.

Crowd: (2/6) I don’t’ know if it was Michele branch’s horrible performance, the heat or what, but the crowd was dead. Even when the Goo Goo Dolls played ”Name“ (their biggest song) the crowd was fairly dreary. They perked up once ”Better days“ played, nearly half way through the show. I noticed an interesting dynamic. At other Goo Goo Dolls shows I’ve been to, the songs they played from Dizzy Up the Girl (1998) and of course ”Name“ (1996). However, this time their stuff from Let Love In (2007) was what sparked the crowd. An interesting phenomenon considering how much bigger Dizzy up The Girl was.

Opener: Michelle Branch (1/6). I vaguely enjoyed hearing "Everywhere" on the radio, and the handful of singles I knew of hers. She was always decent, not good, not bad just decent. Live it was a different matter. She gets a point for effort for certain; she was enthusiastic and interacted with the crowd as much as she could. (See previous comments on the crowd) However, she had only rudimentary talent on the guitar, clumsy even with the simpler cords and her guitar sounded slightly off. Not quite out of tune, just off.

Vocally she has no training and unlike many artists, it shows. While I appreciate a raw, otherwise good voice, this was not one of those. Her voice was tinny and flat most of the time, especially on the ‘showy’ notes. To be quite honest, it was bad enough that I had trouble paying attention and walked off to get a soda about half way into her set.
Her recorded stuff is not much better, to be quite honest. Wrenched vocalist.

Main Act: The Goo Goo Dolls (4/6) this is my third show with the Goo Goo dolls. I adore them. There is something very honest about their lyrics and the fact that the two front men have been a part of the band for 25 years makes for a very strong dynamic between the two of them. Bassist and occasional front man Robby Takac keeps them honest to their punk roots, while John Rzeznik gives them their more famous glossy alternative rock sound. The addition of other members has filled out their overall sound and given them more verity than their past roots.

While I will admit this was not their best performance, Rzeznik’s voice is getting a little tired and the energy wasn’t stellar (though I blame that on the crowd), I thought it was still a through good show. John Rzeznik is always a pleasure to listen to both as a musician and a speaker and his dynamic with Takac is wonderful to watch. Despite Rzeznik being the more popular of the two front men, he often defers to Takac letting him have the spot light as often as Rzeznik himself does. Both men bring their own distinctive sound to the table. Rzeznik has a gravely, melodic voice that embodies their genre so well. Takac has a voice like a goblin and a grin to match, which adds a lovely mischievous tone to some of their work.

The addition of a mandolin on “Iris” and saxophone on ”Broadway” adds welcome spice to an already very good show. Especially given that the saxophone is not on the album, adding just that much more to the live show.

Overall I acknowledge the band is aging, but they are still and I think forever will be one of my favorites.

And, incidentally, I was right about their new album. Wonderful stuff.

Summerfest 7/6/11

2011-07-07T08:27:00.000-07:00

Venue: Summerfest, as previously reviewed. I like this stage a little better. (The rock stage)

Crowd: (3/6)Not bad. A little dead for the 8:00 show but overall a decent festival crowd. The crowd energy was fantastic during Sick Puppies; however, I attribute that to Sick Puppies and not to the Crowd. Surprisingly, lively for the 6:30 show, though and that was definitely the crowd, not the artist. For the 8:00 show the crowd was horrible.

The line up:

5:00pm: Litmus Vinyl (3.5/6)-- I came in during this set and spent most of the time running around and getting settled in to my camping spot. As a result I didn’t give them enough attention to give a detailed review. On top of this the band had some nasty technical issues regarding sound balance.
The front man had excessive amounts of energy and was a lot of fun on stage, very dynamic. The band’s overall sound was not one that I usually listen to so it took me a little work to really hone in on what worked and didn’t work about this band. They had a retro-folk sound that, while catchy didn’t quite grab my attention.

The vocals were sub-par, but palatable and had the instrumentation to match. I particularly noticed that the keyboards sounded off. If it weren’t electronic, I’d say it sounded out of tune, however given how hard it is for an electric keyboard to be out of tune, I’m going to assume that was intentional. It sounded like an attempt to mimic steel drums. I didn’t feel like the keyboardist had a firm enough mastery of her instrument to branch out into a different sound and it took her an undue amount of effort to stay on task.

The saxophonist was very good, and brought a nice addition to the sound. I didn’t think he pushed his talent too hard. I find one of the pitfalls of horn instruments is the tendency to try to hard for the showy sounds that their instruments make. The results are often closer to the previously reviewed Kids These Day, than to anything significantly impressive. This saxophonist knew how to balance the impressive with the more basic elements.

The guitar work was solid but made no impressions either way.

Overall, I would say a good listen, however they did not translate well to the album.

6:30 Soil (3/6)-- I wish I could give this band a lower rating, as I really don’t care for a lot of band in the Macho Rock subgenera as they have an arrogant, disrespectful attitude toward their fans, and frankly put I’ve seen bands produce this sound better with more class. However for that subgenre they were decently talented, though the front man was fairly inarticulate and more arrogant than his popularity granted him. The guitar work was passable, but most of their sound blended together in a discordant way. To their credit the front mans lack of articulation could be partly attributed to the sound balance issues that Summerfest was having. His attempts at the classic rock/ metal grunts and gravely tone came off as an attempt to copy the artists who originally made that sound, not as an attempt to make his own sound.

The bass work was pleasant, however and gave the band a little more depth than they would have otherwise had.

I also found their lyrics inane with an attempt to be profound without actually succeeding.

I’m going to go on to the next band now, as otherwise I’m just going to devolve into ranting about this genre.

8:00 Me talk Pretty (4/6)--

I have to say one thing that isn’t related to the act itself, but I find reflects well on the character of the leading woman.

After we saw Sick Puppies (reviewed below) my girlfriend twisted her knee getting off the bleacher and we had to get the first aid people. While I was out getting help, Uliana asked if my girlfriend was all right, and if she needed help. In a world were musicians are often treated as royalty, she didn’t have to do that. She could have just walked by. She chose to help. That says a lot about how classy this woman is.

Me Talk Pretty was the find of the festival for me this Summerfest. Front woman Uliana’s voice is fantastic-- reminiscent of the woman of symphonic metal and rock. She was also a lot of fun on stage, very energetic and tried to keep the crowd engaged. She was also very good at brushing off the rude comments a few drunk members of the crowd offered (Protip guys: Yelling ”take it off“ just because the singer is female does not earn you any points with nearby women, in fact it could get you mauled) Uliana had a euro-pop star feel to her and was a lot of fun to listen to. However, it is clear she is still a young artist and lacks a lot of the stage presence that her more experienced counterparts have. Specifically her moves on stage look very rehearsed and stilted. I also felt her band was not quite on par with her voice live.

Having listened to them now a little on Youtube, I’ve determined that it’s the drummer that is off. I couldn’t quite place it since overall the band was solid, not fantastic, but solid. They also should improve on their give and take and the technical elements of the guitar work. I can certainly see the talent there but in order to really succeed I think that the band needs to step up their game to match their singer.

10:00: Sick Puppies (5/6). After seeing Sick Puppies it always feels like something has been set right in my heart. They are an absolute pleasure to see every single time. As they are only a three person band, each member gets their moment to shine and even when they’re playing together each piece is clear.

I rave about basis Emma Anzai every time hear her play. She is a force all unto herself. From her fierce slap bass to her soft sultry voice and her powerful dynamic movement Emma is the only bassist I’ve seen live with that kind of hold on the audience. I’ve also seen her come out of her shell quite a bit since the first time I met her last year. Moving from shy to a much more confidant, professional woman, Emma has found her place in the band nicely.

Singer Shimon Moore is a character on stage. Between his amazing voice, his sense of humor and his knack for getting even the more passive members of the audience moving there are very few artists on his caliber. He also has a genuine desire to make his fans happy. He’s also very articulate on stage and has a natural knack for knowing when to talk and when to play. He’s also adapted his tone to really drive the show forward.

I often forget to be appreciative of Mark Goodwin as the drum work blends so smoothly into the rest of the music that I often forget how much talent it takes to be as good a drummer as mark. Like the others in the band, he has a sense of humor and can often be seen tossing a drumstick in the air and trying to catch it again. A master of both the traditional drum kit and the bongos, Mark is a welcome addition the Sick Puppies family.

That, by the way, is exactly what I would call this lovely little band. A family. They work so flawlessly together that it seems like they were born to play together. I can’t wait to see what’s in store for us next. (If monster is any indicator we are in for a really interesting album next)

Summefest 7/2/11 Show and album review of Maroon 5

2011-07-03T09:21:00.000-07:00

Venue: Given that during Summefest I’m at the same venue (granted not usually the same stage) I don’t usually comment on the venue more than once. However, I have to make a comment here
Summerfest made a pretty expensive mistake: They underestimated a band. Granted, so did most of the fans. I didn’t even think they were as popular as they are or I would have arrived earlier myself. The stage could have comfortably held about three quarters what it held.

Due to the above mentioned issue I was not able to properly review Maroon 5 short of saying that I’ve seen Maroon 5 before and I really enjoyed it and from what I could make out on the screens it seemed like the same caliber show. I would say probably a 5/6 show. Adam Levine is articulate and has a surprisingly good voice and is in constant motion on stage. He’s also very much a ham on stage, playing to the audience. It is always a pleasure to see him on stage. I just wish I’d been able to go to the Chicago show.

Album Review (4/6): Maroon 5 Hands All Over--
I really enjoyed Maroon 5’s second album It Won’t Be Soon Before Long it had sharp teeth and many very strong lyrics that worked well with the instrumentation. It was edgy though it was missing many of the ballads that were on the first album. Hands All Over found a happy medium between the ballads and the flirty, bouncy songs. I also felt the album was more innovative than their other albums have been with stylistic forays into country, something more akin to jazz and back to their own style of pop-rock. Singer Adam Levine’s voice has grown sultrier over the years and he’s learned to control it more effectively.

The issue I found with the album is that it didn’t keep my attention all of the time. I found my attention wandering during some of the more saccharine ballads. They didn’t have the draw of Maroon 5’s older, more heartfelt ballads. Those songs feel a little out of character for such a cheeky band.
The band as a whole has matured and really learned to handle their instruments well. I think between the bands more cohesive sound and their maturation together Maroon 5 has become quite a strong band with a constantly innovating style that makes them well worth the attention their getting.

I’m very much looking forward to seeing them again and I truly enjoyed most of this album.

Summefest 7/1/11(roadtrip show!)

2011-07-02T07:52:00.000-07:00

Venue: I always enjoy Summerfest. It happens to be one of the world’s largest music festivals and it’s in of all places Milwaukee, WI. It’s “11 days, 11 stages and over 700 artists” and around floury three years running. You can find almost any verity of music you please their, and even a few that you don’t please. You can also find a very wide verity of talent, ages, and kinds of artists. In addition there are booths full of food from local restaurants, including an Ethnic Garden of foods from around the world. There is also a plethora of vendors who sell everything from clothing, to knick-knacks, to incense. It is very easy to spend all eleven days there. (The most I’ve ever done was nine).

The crowd: (4/6) The overall Summerfest crowd is very laid back and usually not as furious as a normal concert crowd. Many of them have been camping their stage for hours, and even more have been walking around the seventy-five acres of the festival grounds. Sometimes they’re not even there for a specific band. For this particular show, crowd took a little time to get moving but they were very vocal. Above all they were a happy crowd.

Notes on the times: At a music festival, generally the first acts are the local, greener bands and the last acts are usually more well known experienced bands. Often this also indicates quality.

8:00 show: Kids These Days (3/6): I was shocked that this band had the 8:00 slot. Shocked. Last year I saw Sick Puppies at this slot. I usually give band with such young members a lot of slack as they are still growing into their voices as well as their style. Initially, I thought that perhaps Summerfest had been gracious enough to give a local high school band a slot.
I was wrong. They’re from Chicago, how embarrassing.

If each member performed on his or her own, they might have been decent. If it weren’t for the following issues.

The front man that did the singing, not the rapping was pushing his voice to make a very distinctive, specific sound usually found in blues and jazz. His voice however is too young to truly make that sound and you can hear the straining. He does have a good voice, however he will hurt himself if he continues pushing it.

While I am all for mixing genres and throwing pieces of outside genres into the mix, you should have a solid grounding in both genres if you attempt this. This band was still very green (understandable given their ages) and I felt that until they had a more solid foundation in their genre (be it hip-hop or blues) they should perhaps sick to one genre per song.

The coordination: They were trying to emulate the bands that would dance with their horns from the jazz era. A valiant effort however, none of them managed to bow, let alone move in anything resembling synchronicity and coordination. That alone would have improved the band visually quite a lot

Things I did like, however:

The female lead had a very strong sense of her range and could actually make the vocalizations that she was attempting without straining her voice.

The instrumentation: All of the individual players had at least a moderate degree of talent, however they did need some work on a technical level. Which, I think will come in time. They do have some underlying talent.

Overall a very green band with some talent that needs to mature several years and hone their sound before really hitting the music scene. If they do hone it, I do think there is a lot of potential.

The 10:00 show: Third Eye Blind (4/6): It was an odd show, but it was very enjoyable. I did not have very high expectations given that as far as I knew they had peaked in the late 90s. The first about 20 minutes matched that expectation rather well. Fun, but nothing special. They lacked energy and the instrumentation wasn’t spot on. Then they played “slow motion” One of their very controversial songs, which I believe was only officially released as an instrumental due to the drug and violence content of the lyrics. However, the fans know the song inside out and it is one of their most beautiful songs. While they are known for their catchy song, I find Third Eye Blind’s real talent is in what I call stoner ballads. This song was followed up by their second largest hit “Jumper” and it was as though both the band and audience suddenly remembered they were there for a rock show. By the encore, they were rocking and the audience was electric.

Backstret Boys and New Kids on the Block with Jordin Sparks and Ashylne Huff.

2011-06-19T09:59:00.000-07:00

Venue (United Center): 4/6

I actually like this arena better than the Allstate it has a stronger sound system and is better coordinated. The set changes/set breaks were fast and nearly invisible. Though they need to adjust the base just a little, it overpowered vocals in a few places, especially on Jordin Sparks’ set. While I appreciate the full range of sound on the system, I didn’t need to hear the bass make sounds that more closely resemble a car hitting speed ribbing on the road. While it’s better than clipping out, it’s not a good sound.

The double-edged sword is that the United Center is almost twice as big as the Allstate. This makes some of the seating a little nerve-wracking. I did enjoy the fact that they had screens in addition to the stage work.

The Crowd (5/6): A very active, very expressive crowd, even during the second opener. (The first one was bad enough that it wasn’t going to get any crowd noise). It was also one of the loudest crowds I’ve ever been in. Seriously. Even taking into account the size, whenever the crowd was cued to sing or scream it was a wall of pure sound. It was crazy.

First Opener (Ashlyne Huff) (1/6): Wow. Just wow. Going to a pop show I expected a certain degree of prefabrication; it is the nature of pop to an extent.

There was no talent there whatsoever. None. The DJ was the only talent on the stage. To his credit he was trying very hard.

Just listening to the vocals was tolerable, bad, prefabricated pop, but ok to remix in a club.

Then there was the dancing. It was completely and utterly amateur and uncoordinated. They didn’t even coordinate the bow right. It looked like the dancers had been brought in unrehearsed for this tour, maybe even just for Chicago.

To her credit, she did seem earnestly into it and was trying hard, but honestly, I spent more time looking at my cell phone than at the stage. It was terrible.

Simply terrible.

Jordin Sparks (4/6): I was surprised how good she was live. She was engaging and very gracious. It was still a band to go to the bathroom during. She sounded like she’d had training, which was refreshing after our first opener. Very sweet, and talented. However, nothing really stuck out about her, good or bad. Just solid. Good voice, good legs, but she still needs to find her draw in a sea of similar woman-empowered female artists. Once she finds her ‘thing“ she’ll be fine, but I don’t think she’ll really take off.

Main act: Backstreet Boys/New Kids On the Block (5/6): A surprisingly fantastic show. I confess I was there mostly for nostalgia value. Most shows that combine two main acts are really more one band’s show than the other. They go on in a specific order, and that’s how it is. Not so with these bands. They alternated songs, and combined songs throughout the show constantly engaging the audience and each other.

There were many things than impressed me about both bands. First, was their ability to share the spotlight. This was especially true for the Backstreet Boys. Despite having two who are usually the most dominant voices, every member got their moment in the limelight, and it was smoothly done with the rest of the band still engaged.

New Kids on the Block had more of a set of people who were each separately in the limelight. Joey was particularly fun to see have his moment in the light, because when he was younger he was the top high end of the group, hitting notes that I assumed he could no longer hit as he’s no longer an adolescent. I was wrong. It had been about 21 years since I’d paid attention to The New Kids on the Block, so I didn’t recognize him until he did hit those notes. My jaw hit the floor.

Between the graciousness, toward each other both within the bands and between the two bands and the crowd interaction the show was already great. Add to that the fact that they enjoyed the music, and preformed beyond the choreography and orchestration. There was some improvising and a lot of fan engagement.

They did the mash up at the end. Both bands had their moments to shine (With ”Everybody (Backstreet’s back)“ for Backstreet Boys and "Hangin’ Tough” for New Kids on the Block.) Then they took two songs that already had so much energy and crowd engagement and they made a playfully competitive mash up out of them. It was amazing and so much fun. .

I would see either band again on their own, though Backstreet Boys more than New Kids on the Block.

Sick Puppies w/ Seven Day Sonnet at the Cubby Bear

2011-05-18T11:47:00.000-07:00

The Venue: The Cubby Bear (3/6) I’d heard bad things about this venue so I came in expecting a disaster. It honestly wasn’t as bad as I anticipated though they defiantly could stand better mics. It was specifically the mics, not the amps as there was a lot of crackle and muffling to the speech. It was not much more than a bar with a stage. Nothing wrong with that, but It often leads to the venue doing neither well. It was also an odd size. It was smaller than even the 1000 person venues I’ve been to but not tiny enough to be a truly small venue. I didn’t really get to the bar or bathroom so no comments on those. The merch booth was set up in a very easy to get to place and there was surprisingly decent ventilation. It was disorganized from a time perspective, however. If the door is at seven I expect the show at eight at the latest, and the main act to go on at nine. The main act didn’t start until ten and there was a LOT of lag between sets.

The crowd (3/6): The crowd was too passive for what they were there for. This is your band’s first headlining tour. A band that was the first opener of four a year ago. I’ve seen what this band is capable of and, yes; Shimion Moor did manage to work his magic on them, but really? You do remember whom you’re here to see, don’t you? Show it.

First Opener: Seven Day Sonnet (3/6): It would be a lower score had it not been for the fact that I heard some of their recorded stuff. I feel like this band has many of the issues I see in many younger bands. They’re uncoordinated on stage and seem to be out there to have fun, which is fine, but they didn’t have the technical aspects down. Especially not the bassist. I was very close to the stage so I could see very clearly what was going on. At one point I looked up at the bassist was strumming, not picking, not slapping or popping, strumming. He was especially all over the place on stage. No precision to speak of and no real sense of give and take. The two guitarists were passable on a technical level, but at least didn’t draw attention to them over the lead consistently.

The lead was solid for his genre (Screamo is not known for its quality vocals) but if he’s going to make it his band needs to step up their game

Main Act: Sick Puppies (5/6) Always, a pleasure seeing this band. They are phenomenal with the crowd and very engaging. Shimon Moore is articulate, and knows how to balance talking with the music so that it feels personal, but doesn’t drag. They also have a stunning dynamic of give and take on stage that is magnificent. Emma Anzai (bass) and Shimon Moore (lead) have extent musical conversations on stage. Between his clear, velvety voice and her whisper soft lilt the vocals alone would be enough to make for an amazing show. Add to that Moor’s wonderfully precise guitar work and Emma’s masterful bass and you have one of the best shows ever.

I cannot say enough about Emma Anzai’s bass work, Every time I see her live I rave more. She is unlike any other bassist I’ve seen on stage. I would even go so far as to say, she is the best bassist I’ve ever seen. Full stop.

The other thing that continues to fascinate me is that this band is just three people, no synth, no sampling. Just instruments and vocals. And every one of them has near- unrivaled talent.

Rammstein and Combichirst at the Allstate Arena in Rosemont

2011-05-11T09:44:00.000-07:00

Venue: Allstate Arena, Rosemont, IL (4/6) I prefer the Allstate to the United Center. That being said, I’m not a fan of arenas, they’re too big and it puts a lot of distance between you and the artist. The energy is never very strong once it reaches the third tier.

The crowd (3/6): Something just wasn’t working in my section of the arena. The difficulty with such a big place is that it could have been a completely different experience elsewhere. But where I was there seemed to be this disconnect. I think part of it is a function of the language barrier. I sincerely doubt that many of the audience spoke any German (I don’t) and I think that makes connecting to the abundance a lot more difficult. It warmed back up significantly once Rammstin Played “Du Hast,” their biggest hit in the US. But the audience didn’t have the kind of energy I’d expect from such a vibrant show. I also think this was partly because they seemed to be paying more attention to recording the show than to enjoying it.

Opening act: Combichirst (4/6) I’m not really a big fan of Agrotech-- I find it tends to be shallow and repetitive as a genera. The sound is very cool, but I find the lyrics dull after a while. That being said, I found Combichirst to be an interesting act, very showy-- one of the drummers was playing with a pair of mourning stars. There weren’t very many instruments involved, but that’s partly the genera. The way the set was set up was also interesting as they had two percussionists and a synth. player set up to stay in sync roughly.

While I though the energy was very strong I don’t think the band itself has as much talent, it strikes me as the sort of music that teenagers listen to before they understand what industrial can really sound like. The front man was surprisingly articulate for a genre that favors grunts and screams over audible lyrics.

Having listened to them recorded and live now I find they are good lives but reordered they are quite off putting, they sound like Marylyn Manson’s kid brothers.

Main Act, Rammstein (3.5/6): Interesting show. Until last night I’d only heard about the kinds of things that go on at Rammstein show, including onstage simulated sodomy. I truthful was expecting ”worse“ than what I saw, but given that it was an all ages’ show I think they must have toned things down. The pyrotencics were unlike anything I’d ever seen. Most pyro heavy shows to see some explosions from the ceiling and floor, maybe the odd rocket, but nothing like this. People were set on fire both literally and figuratively by the theatrical, over the top style of the band. According to Wikipedia it’s partly to keep the fans engaged despite the language barrier.

While I felt there were some problems earlier in the show with the energy and connection to the audience I felt this tactic effective, because Rammstin is also a talented band within their genera. Industrial is not a genre known for its talent, so it is a very pleasant surprise to see a band that is articulate. Their precision wasn’t perfect on the guitar work, however I think that is partly the effect they were going for. The synthesizer work was very nice and the vocals were crystalline in their clarity.

The thing I missed was that the band was so caught up in the theatrical element, which is reason enough to see them perform, that there wasn’t a lot of effort put into working the crowd or connecting, there was too much reliance on the pyro. That being said an interesting thing happened.

The crowd was off, involved but something wasn’t quite catching until they played “Du Hast.” Suddenly there was a connection and the crowd woke like a sleeping giant. Most people knew something of the lyrics. I’m sure none of us knew exactly what we were saying but we knew the words. That seemed to be what both the band and the crowd needed to get themselves really moving.

That dissonance aside, the encore alone was worth the ticket price. I don’t think I’ll ever forget seeing “Engle” live. “Engle” is (if the translated lyrics are right) a song about not wanting to be an angel. Front man Till Lindemann appears in easily 10 foot long steel angle wings which shoot flames from their ends. It is phenomenal to see live. And that was just “Engle”. The show overall was gorgeous but could have used a little better energy.

Coheed and Cambria at House of Blues

2011-05-01T10:01:00.000-07:00

Venue: House of Blues, Chicago (5/6): I’d been at The Aragon too much and forgotten that HOB had started me on concerts in Chicago back when I first moved here in ‘06. It was the first venue I went to by myself too. I have a deep affection for the place and after the Aragon I’d forgotten how nice it was to be able to see without going on tiptoe or jumping. It is a cozy little venue that I will always come back to and if you ask for a glass of water its free, h is rare.

The Crowd (5/6): The crowd was frenzy like I have rarely seen, even during the first half of the show, which was acoustic. I’ve been around Crowds don’t frenzy during acoustic numbers like this at any other show.

The Show Itself (6/6): The bar has risen for best concert I’ve ever been to. Period. This one blew all the others away. Initially, I was surprised there was no opener. Then the band came out with acoustic instruments, given that I knew the show was themed around their first album Second Stage Turbine Blade, I thought it might just be an acoustic show, which would have been a little disappointing but still breathtaking. They played for about forty five minutes and had a set break, then the electronics came out and they proceeded to rock out.

They were their own opener. Pure guts and brilliance.

I was very skeptical of Coheed and Cambria pulling off acoustic, I felt like something was going to be lost. I was thoroughly and utterly impressed with how precise and articulate Coheed and Cambria were with their instrumentation, especially, Claudio Sanchez’s guitar work. In most cases, if the front man plays the guitar they do rhythm guitar and have someone else handle the more complex lead. Not only did Sanchez manage to put on an amazing, clear voiced vocal performance, but also his guitar work was phenomenal and technically perfect. He was one of the few artists who I could clearly understand even during loud, rock numbers.

I’ve never seen a performance like it before.

And that was just Sanchez.

The rest of the band was incredible. Particularly, Travis Stever, the guitarist* had not only the talent to keep up with Sanchez’s guitar work but also match is insane range.

The acoustic set was haunting, reverent, and utterly beautiful.

By the set break I’d already figured out this was going to be unlike any other concert I’d ever seen. The second half was everything the first half was with an incredible burst of energy and power. Sanchez’s brilliant voice and off the hook dancing further augmented the explosive nature of the show. It had the energy, volume, and dynamic of a real rock show. No holds barred. This band is a force on stage like nothing else I’ve ever seen.

*Among other parts. It impressed me farther that every member of the band (except the drummer) plays no less than four instruments.

My Chemical Romance with Neon Trees and the Architects.

2011-04-16T12:10:00.000-07:00

Venue: See previous night’s review of the Aragon. It’s a good venue but desperately needs a few well-placed fans. The sound was better last night.

First Opener: The Architects (NR): Previously I’d seen both Neon Trees and The Architects and they weren’t that good. So I was at the merch booth for most of the set. However, when I went back inside I was pleasantly surprised by the quality of what I heard. They’re still basically 80’s revival (and say as much on their site) but the quality of sound improved dramatically

Second Opener: Neon Trees (4/6): Wow. I was blown away by how much this band has improved. I had to go back in the blog to make sure it was the same band. They went from being one of the worst live shows I’ve seen to being a solid show. Frontman Tyler Glenn both engaged the crowd and fellow band mate while singing surprisingly clearly. Neon Trees had solid sound and recognizable lyrics (I knew Animal from the radio). They are catchy enough to be contagious, but not a manufactured sound. Very good radio potential. Their sound was pop punk and fit the show very well. Too often I see bands that are decent but just don’t fit the sound of the evening. These people had the right feel and sound and were decently talented.

Main Act: My Chemical Romance (5/6): I’d heard that My Chemical Romance didn’t put on the best show live, so, I had my hopes set very low. I loved it. I think the people who didn’t like them live were expecting the wrong thing. My Chemical Romance is punk pop, not rock or mainstream pop. They are not a technical band, however, technical finesse is not something that pop punk is really known for. Punk, and particularly pop punk are meant to have scratchy vocals, rough guitar work and a lot of energy with good lyrics.
Is front man Gerard Way’s voice good? Not especially. But energy and lyrics Way has in spades. His dynamic with is his fans are wonderful and he is incredibly gracious. He is also very humble for someone who’s been performing to large audiences for the better part of 10 years.

My Chemical Romance has surprising depth and breadth of song style. Most pop-punk bands are one trick pony, with only the odd slower number. My Chemical Romance has a balance of slower numbers and traditional thrashy punk songs. They have an underlying energy that makes their sound sing and touch people. Particularly live I noticed “Cancer” was heart wrenching and hearing  “I’m Not Okay (I Promise)” (the song that put My Chemical Romance on the map) live was a real treat.

I would go back to see them in a heartbeat. And I encourage others to do so as well, but don’t go expecting clear articulation or precision. Go expecting raw energy and you won’t be disappointed.

Three Days Grace with My Darkest Days.

2011-04-08T11:06:00.000-07:00

Venue (Riviera Theater--3/6):
Many venues in Chicago are converted theaters or former ballrooms like the Aragon. The Riviera is a smaller such building; while the capacity isn’t listed on their site I’d estimate it’s close to 2000 people at most. The floor itself looked like it had three tiers, which is rare and very useful for people who are shorter. A faded glory, the ceiling was once ornate and now the paint is pealing and chipping. The fake marble is perhaps the most well maintained part of the paint job. It’s clear that the building was not meant to house a concert as the merch. booth and ticking were burred in a corner. I encountered a curious anomaly when I went for water; the price of water is different once you’re on the floor than when you’re at the outside bar. (1$ inside versus 4$ outside) I didn’t see the bathrooms, but I’d expect nothing pleasant.

The sound system was out of balance, like with many smaller venues, the system was bass heavy, and the vocals were not very clear. Unlike many other smaller venues, there wasn’t much compensation for it. One thing I did enjoy about this venue was the fact that they had a spot explicitly railed off for people in wheel chairs. Not every venue does this and I find it very nice.

The Opener (My Darkest Days--3/6):
I had low expectations for these guys and they were met. This band sounded like someone who would open for the opener for Nickelback. They were fun to listen to but, crude and redundant, overall not worth buying an album from. I could predict most of their lyrics (usually something about “light it up” or something about girls). My Darkest days also weren’t the most precise when it comes to the technical work on the instruments. However, there was potential for them to become a radio band, perhaps something on par with Filter. It was easy to sing along and dance to but I found they were trying a bit to hard. The guitarist had decent amounts of talent and could work the crowd better than the frontman. Overall they were decent, but not great.

The Main Act (Three Days Grace--5/6):
This is the second time I’ve seen Three Days Grace live and they have yet to disappoint. Front-man Adam Gontier may not have a perfect voice, but he brings a level of energy few bands these days put forth. A second performance gave me the opportunity to appreciate the rest of the band, especially after My Darkest Days. Hearing that level of clarity and precision was a treat. Gontier loves his fans and they love him back. He is also fearless, in both his original work and his covers. I hadn’t heard three days grace cover anything before so when Gontier came out with Eminem’s “Lose yourself”-- a song of a clearly different genre from his own-- it was gutsy and he managed to pull it off brilliantly. Especially paired with “Home” the song’s ferocity was amplified wonderfully. He then went on to cover Tom Petty’s “Free Fallin’” which was pleasantly strange. I’ve commented on Goiter’s incredible stage presence before but even when he wasn’t the focus, I felt my eyes drawn to him. The best part of this energy is that he hasn’t grown arrogant about it. He’s still just Adam, there to do a rock show.

Some of the rest of the band could show off last night too. Drummer, Keyboardist, and backup vocalist Neil Sanderson, put on a several minute long drum machine solo, followed by a several minute long standard drum solo. Both solos were absolutely through the roof. Given how powerful Gontier is I hadn’t truly appreciated their drummer until this show. It was amazing. I’m truly impressed.

I am also impressed with the fact that Gontier still does a lot of the guitar work. Most bands where the lead man is also a guitarist you only really hear the lead man doing guitar work on the albums because of how hard it is to do both at once and still really perform. Gontier did, and did so very well. I appreciate his dedication to both aspects of his craft.

Overall, I continue to find three days grace a dynamic force on stage and in their album work. Gontier hinted that they are working on yet another album and I cannot wait to see what these people do next.

Album Review: Within Temptation The unforgiving

2011-04-01T13:21:00.000-07:00

Within Temptation has set the bar very high with their previous albums (notably The Heart of Everything (2007)). This Dutch band considers themselves symphonic rock with various other influences. To most fans they are closer to the edge of symphonic metal with heavy fantasy metal influences, though they are a lot smoother than most metal. Front woman Shannon Del Adel has an operatic voice with a powerful range hitting notes that would make sopranos jealous and extends deep into the alto range.. Her voice is a force. I had the privilege of being introduced to the band via a live performance and I’ve not heard voices like that in American rock.

The Unforgiving took a little warming up as it has a more modern edge and sounds like the score to an action packed film. No surprise when you consider that it was inspired by a comic book. The band also incorporates a strong bass line that wasn’t present in pervious albums.
It starts off more like a traditional metal album and I confess I was a little disappointed, missing the symphonic sound and they’re above average emotional content.

A few tracks in came the song “Iron” which sounded like it should have had some rugged death grunts and scream work layered in with Del Adel’s voice. It didn’t but the guitar work was absolutely wonderful. A traditional metal song from a symphonic band that proved interesting and quite catching.

I noticed the male vocals were more prevalent on “Murder” which added a nice bottom to Del Adel’s voice resulting in a deeper, richer sound.

The layering that was common practice in their previous albums was subtler on The Unforgiving but still very much present and still brought the symphonic sound Within Temptation fans have come to expect and love. The addition of spoken word to these layers created an eerie magical feel.

Solid album over all. 4/5

Album Review: Self titled by The Allegiance

2011-03-20T08:32:00.000-07:00

This was another album that I got off the street at a comic book convention this time. I wasn’t even wearing my Sehnnhisers this time.

The Allegiance has a standard rock sound with some metal influence. The instrumentation is solid, but has a prefabricated, simplistic sound. The overall sound improves on a second listen, but it does not catch and would not stand out among the rest of my collection as anything more than good background music.

Similarly, the vocals are only average, neither attracting nor deterring the ear. Front man, Ben “shanks”(sic. They gave themselves nicknames) has a tendency to be inarticulate and cannot seem to make up his mind if he wants to be a metal front man or a rock front man. Either way the he would do well to articulate more and hone his vocal skills.

The lyrics are on the generic side, however they are pretty consistent with a band this green.

The bass work is solid, noting special, but nothing horrid either.

I could hear this band at a festival as somewhere around the 4pm slot, or perhaps as an early opener for a large rock show.

(2.5/5)

30 Seconds To Mars with Anberlin and CB7(unreivewed)

2011-03-15T08:32:00.000-07:00

Venue: The Aragon Ballroom (4/6): The Aragon is one of my usual haunts. It’s a gorgeous venue with an ornately painted ceiling and ornately decorated balconies reminiscent of Spanish architecture, every time I visit the Aragon I notice another little detail in the painting or in the way the balconies are decorated. It is also one of the largest small venues in the area. Most hold about one thousand people, but the Aragon’s capacity is four thousand. It feels crowed even when it’s not that crowed thanks to how disorganized the place is. It is obvious the Aragon was not meant to be a concert venue. First, there is absolutely no ventilation on the floor. I’m not exaggerating. It feels like being outside on a humid day surrounded by people who are packed close together. It is hard to breathe on the floor itself, more so than even being on the floor in an arena. The “bars,” if they can be called that, more closely resemble kiosks at outdoor venues than true bars.
The sound system was particularly out of balance this time, but frankly it’s never been stellar. Everything comes out at the same volume, which often results in the vocals being drowned out.
The Crowd (3.5/6): I should throw in a caveat here; I’m comparing this crowd not to a normal crowd but to a normal Escalon (30 Seconds to Mars’ fan base) Crowd. They are normally quite a wild crowd. Not the case last night. However, part of that I don’t blame the crowd itself for (see below)

The first opener: CB7: I only truly heard one song of so I’m not really going to give a full review. What I did hear was decent but a little discordant. They also lacked energy. If I had to review off of what I saw I’d give them a 2.5/6

Second opener: Anberlin (3/6 live, 4/6 recorded): Oh dear. I was pleased when I heard that Anberlin were touring with 30 Seconds To Mars, as I quite like what I’ve heard of theirs on album. I have a feeling some of the issues I had with them stemmed from the sound system being off balance (example the fact that the instrumentation was not well balanced). Their front man was inarticulate and the band sounded completely uncoordinated and a little cacophonous. Except for the drummers. Plural. That earned them a point all by itself, because they were fantastic and had better timing than the entire rest of the band combined.
They did put forth considerable effort I will give them that. They tried; unfortunately their own issues combined with the sound system’s problems made them fall flat.

The Main Act: 30 Seconds To Mars:(4/6): What Happened? This is the band that made me extend my rating scale to six. They set the bar very high with their last two performances, so I was expecting a lot more than they put out. Don’t get me wrong the show was still amazing. 30 Seconds To Mars is always amazing, but front man Jared Leto relied entirely too much on the crowd for support. I love crowd sings they can be very cathartic and give a wonderful intimacy when done right. I’ve never before seen a band where I found there was too much crowd interaction. However, when the crowd is singing more of the songs consistently than the singer is there is a problem. Granted if any group of fans can carry that, it’s the Echelon, but we paid to hear the band, not our drunk fellow fans. It seems to me that Leto needs a break from touring to get his energy and his voice back in shape. He has a lovely, clear voice. The strain was audible. Leto still gave everything he had, but he didn’t have the usual explosive energy he brings to a show.

On the other hand, there was a lot of fan interaction and it was clear that Leto was putting fort the effort at least. What impressed me most was an odd bit of circumstance. This was drummer Shannon Leto’s first show back after being hospitalized for an extended period of time. I couldn’t tell. Normally when one of the members is ill or injured things are a little off. The drumming was flawless as usual. Bravo.

I should also add that it was still a good solid rock show, Jared Leto was a diva as always. I will come back if they do.

Album Review: Punk Wrapper: Outta sync

2011-02-01T15:05:00.000-08:00

I will present to you: Stuff that finds me on myspace and youtube and one even on the street.

A while back a random guy approached me on the street because i had on Sennheiser headphones because I don’t do crappy headphones. Recognizing he at least somewhat knew his audio equipment we chatted a little.
He approached me again at the post office not to long ago and finally had a presence on the web. Considering it was free, and all i was waisting was my time, I checked it out.

Formally: this is Punk Wrapper, with Outta Sync.

This was the worst music(using the term lightly) i’ve ever heard in my entire life. As luck would have it I have the CD baby link stored i my computer’s history.
Don’t say I didn’t warn you.

Dear gods, that was bad, and rest assured when I say the stuff that was on his now dead site was worse. THe lack of rhythm in Outta Sync and the utterly cacophonous, seemingly random sounds, scratches and so fourth make for one truly atrocious album. I couldn’t even listen to a full song without getting a headache.

This would almost be tolerable if it weren’t for his utterly horrid voice.

(0/5 seriously that bad)

That was hard on my ears, But it got me thinking. I get dozens of links from artists trying to break into the music industry (when you say you have a review blog, you attract them) some are alright, some good, but the vast, vast majority are outright terrible.

So I decided to hone my critical streak and show them here.

Unrelated, I also promised a friend I’d review his stuff. Soon to com:
Aaron Ruiz

and more of the terrible stuff with
Blare LeVoir

Album Review: My Chemical Romance—Danger Days: The True Lives of Fabulous Kill Joys.

2010-12-19T10:06:00.000-08:00

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)

Music Update and Concert review : Sick Puppies and Bad City

2010-12-12T13:19:00.000-08:00

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:

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.

so

2010-10-24T08:46:00.000-07:00

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.

non-review type entries

2010-09-20T10:05:00.000-07:00

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.

9/1/10: Appcalptca w/ Dir En Grey and Evaline

2010-09-02T10:53:00.000-07:00

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.

Through the Pain: The Matthew Leone Benefit (the Frantic (unreviewed) Makeshift Prodogy,Local H, Kill Hannah and lovehammers(unreviewed))

2010-08-23T08:34:00.000-07:00

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.

Medina 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, Medina 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):
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.

Carnival of Maddess: Shinedown at Charter One Pavilion

2010-08-12T09:59:00.000-07:00

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.

Goo Goo Dolls with Then Spill Canvas(unreviewed) and Switchfoot(unreviwed) at the Charter One Pavillion

2010-07-21T09:30:00.000-07:00

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.

Summerfest2010: Saliva, Adelitas Way, Sick Puppies, Halestorm

2010-06-29T18:04:00.000-07:00

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.

Q101 Jamboree: Story of the Year, Janus, Coheed and cambria, Puddle of Mud, Papa Roach, Seether, Three Days Grace

2010-06-07T11:23:00.000-07:00

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.

Album Reivew: The Delivery Boys: Starry Skies and Fireflies (sic)

2010-05-22T08:42:00.000-07:00

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.

Nickelback and Breaking Benjamin,with Shinedown and Sick Puppies.(Road trip show:Rosemont, IL)

2010-05-20T10:18:00.000-07:00

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.

tangent: Bad fans and booze.

2010-05-19T11:57:00.000-07:00

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

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.

Section 2: Bad Fans

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.

*I’m not talking about dancing/ being to close to the pit. I’m talking about drunkedly carrying your beer in a way that i get hit in the head by your elbow.

Rating change

2010-05-19T11:22:00.000-07:00

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)

Bamboozel 2010: Kill Hannah, 3OH!3 at the Charter One Pavillion

2010-05-16T08:06:00.000-07:00

Bamboozle itself : (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.

Makeshift Prodigy at Schuba's Tavern

2010-04-25T07:47:00.000-07:00

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.

Format change

2010-04-25T07:19:00.000-07:00

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.

Sneak peek review: Makeshift Prodogy

2010-04-23T09:41:00.000-07:00

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.

30 Seconds to Mars with Mutemath and Neon Trees

2010-04-19T09:22:00.000-07:00

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.

Sonata Arcitca with Mutiny Within and Powerglove

2010-04-12T11:47:00.000-07:00

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.

Adendum to the Concert PSA

2010-04-12T10:50:00.000-07:00

Someone I met at my most recent concert (review forthcoming) added the following (very valid) points that i found worth metioning

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

A note on the “Pit”

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.

Tangent: Concert 101

2010-03-20T08:51:00.000-07:00

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.

Subsection: Things NOT to bring

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.

This may seem like a daunting list. Concerts can be wild, intense, dangerous places. You will sweat, your ears will ring, and your legs might not forgive you the next day. There might even be bruises. Let me tell you right now, it’s worth it. If you’ve never been to a real concert, they are the biggest, loudest rush you can find without completely risking your life. There is nothing quite like the thrum of the base in your chest or the power of an enter crowd knowing the every word to a song.

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2010-03-19T13:44:00.000-07:00

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Concert revew: Flogging Molly with, The Architectsand Frank turner at the Aragon Ballrom

2010-03-14T14:49:00.000-07:00

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.

A Rant/PSA

2010-03-14T12:32:00.000-07:00

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.

Album Review: Halestorm(self-titled)

2010-03-04T08:47:00.000-08:00

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.

errata

2010-03-04T07:57:00.000-08:00

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

2010-03-04T07:28:00.000-08:00

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.

album review: Cavashawn(white) /w bonus tracks.

2010-03-03T11:00:00.000-08:00

Cavashawn(White) 2009--4/5
Fun is the first word that comes to mind with Cavashawn’s second album. One part 1960s pop, two parts jaded, Cavashawn's second album bounces its way through seven tracks of thoroughly enjoyable rock. I think I will skip the highlights section as it’s a short album, however if anyone picks up these guys(which you can do for free at Cavashawn's homepage) I'd give "All the Lonely Girls" and "Friendly Fire" a listen.

Front man, Scott Salmon has a good range, with a distinctive, slightly nasally voice. The lyrics are deliciously bitter, yet hopeful. Salmon defies the pain of a breakup with a clever, if pained grin. Salmon also uses a lot of interesting word play and has a very expressive voice. In the beginning of "Friendly Fire," for example, you can hear the mock-innocence in his voice without it being overt. Sexy, clever and energetic, even recorded Salmon knows how to work the listener.

On first play through, Cavershawn sounds fairly simplistic, however on a closer listen there are some interesting little complexities in the music. Cavashawn is a well coordinated band that keeps a very nice balance between the volume of the music and the vocals

I'm very interested in what Cavashawn does next and where they end up shelved, as they don't quite settle into one particular genre.

Concert review: Mark Rose, Cavashawn, Sing It Loud, The Accademy is...

2010-02-07T14:05:00.000-08:00

The Venue: See my previous review of The Metro. Excellent venue, but it lost some points for the merch booth being on the wrong side of the ticket check.

The Crowd: 4/5. What a fun crowd, even during the openers, they were moving, bouncing--even singing a long at some points. Good vibe, never an undeserved bored moment.

First Opener--Mark Rose (3/5) Former front man, guitarist lyricist for Spitalfield, Mark Rose, was really not suited to rest of the show. Very PG, no real push to it. It largely consisted of a man with an acoustic guitar, supplemented very slightly by another person on an electric guitar. It was the kind of thing that older people would call "good clean fun.” Despite this dilemma, he brought a lot to the stage. Because of where I was standing it actually took me about half the set to realize that there was another person on stage. The lyrics were a bit too sanitized, and would have been more at home in the nineteen fifties. The technical talent was there, as well as decent vocals, but if he's going to make it solo he has to bring a little more drive to the table.

Second Opener--Cavashawn (4/5)Nearly lost points on the hard to type and pronounce name. In sharp contrast to the previous act, front man Scott Salmon (sic) came out with a lot of drive, energy, and presence. Salmon was constantly moving, working the crowd, getting them to dance, clap and even sing along. On top his ability to work the crowd, his vocals were sharp, and had wide range from falsetto to something nearing baritone. The music itself was retro with a bitter twist in the lyrics. The love songs were at once cynical and hopeful. Their music was worth buying, though I didn't at the show, as the merch booth was jammed.

Final Opener-- Sing It Loud (2.5/5) Started out working the crowd fairly well. Not a very clean sound live. The music itself didn't have enough complexity and not crisp enough The front man does not have the best voice. The lyrics are simplistic and often repetitive. Nevertheless, they tried to keep the crowd moving and they complied more or less, though they lost a lot of their momentum due to the number of new songs played. The band put forth a lot of energy, however they didn't seem to understand what the crowd wanted or how to pace a rock show.

Main Act- The Academy is... (5/5) Goddamn. I never run out of good things to say about these guys. The Academy is.. are constantly innovative, always pushing the envelope to see what they can do. No two albums sound the same, yet with William Beckett's unmistakable vocal style they are always recognizable as TAI's work.

However, this show wasn't about the new and experimental; this was a celebration of the 5th anniversary of their first full album, Almost Here(2005). It was an homage to the fans that put TAI on the map. Despite this familiarity, there were no ruts or lulls. From the first word the fans were singing along, leaping, and dancing. However, Beckett, true to his previous shows, kept working the crowd with a spirited fervor. The fans returned his energy almost tenfold, and rather than simply take like other artists often do, he continued to give. The smile almost never left his eyes or his lips. Not only that, but he seemed to have an intrinsic knowledge about how long to spend at which part of the stage-- he was constantly in motion--quite literally in the crowd at some points. William Beckett is a powerhouse of rock and roll energy.

I hereby retract any apprehension at their new found popularity. Come back soon boys, Chicago will always welcome you.

Album review: Adelitas Way: Self-Titled(2009)

2010-01-27T12:20:00.000-08:00

This band was a pleasant surprise at the last show, so I bought the album. Many albums that I acquire at shows collect dust before I focus on them as they are often green and haven't perfected their style. When I saw Adelitas Way, I assumed this was a second, maybe third album. To my surprise, I found it is their debut album, but it has the polish of a more seasoned band. Its very definitely radio material. Adelitas Way is the kind of music that makes the listener feel like taking hold of their life. Peppered with sex, angst and boldness, Adelitas Way's self-titled debut album is a fun, radio safe listen.

Front man Richard DeJesus' voice is gravely and articulate. It carries a smile even when he's outraged. The lyrics are bold, but conservative, much like the music itself. I do think that, as a young band, they need to refine their use of the voice fade, among a few other details. Adelitas way isn't quite headline material yet, but they are certainly on the way there.

I would encourage Adelitas Way to push the envelope harder and hone their style. Right now they are a good, radio safe, band, but I think some of their songs would benefit from a little less sterility. Though, I do appreciate the double entendre in "Scream."

Overall: 3/5

There were no songs that I particularly disliked on the album so just the highlights:

Dirty Little Thing: I am a sucker for unrepentant songs. While this one isn't quite as shameless as others I've heard, its a sexy, entertaining number that ceretianly brought a smile to my lips. Shameless, but safe.

Last Stand: This is the "movie soundtrack" number. Very cinematic, down to the title, with some excellent guitar work and solid lyrics.

So What if You Go: This song comes closer to pushing the borders. It has a genunine anger that doesn't show up elsewhere on the album. Catchy.

Brother: A stylistic departure; this song has a country feel to it and an honesty we don't see much on this album. I would defiantly encourage more of this honesty.

A good band that has potential if they learn to push themselves a little further.

Theroy of a Deadman w/ Halestorm, Adelita's way, and Taking Dawn at the House of Blues Chicago.

2010-01-20T09:56:00.000-08:00

Venue: See my previous review of House of Blues, Chicago.

The Crowd: (3/5) Like much of the night, took a little warming up but was fun, and gave a good energy.

First Opener--Taking Dawn (3/5) Front man, Chris Babbitt's rocker attitude, and the fact that they had major technical difficulties gave them a very slightly higher score in my book. Taking Dawn has A fun sound reminiscent of 80s hair metal, lots of audience engagement, despite being the first of four bands on the docket. Very energetic, great for an opener. Sadly we only heard three songs.

Second Opener--Adelitas Way (3/5): Adelitas Way was a very pleasant surprise to both me and the rest of the crowd. Despite being the second band of four, they supercharged the audience. Performing with the same energy and professionalism as a headlining band. Many opening bands try to get the audience to respond without success, but with the momentum gained by Taking Dawn, Adelitas Way kept a strong energy going. Front man Ricky DeJesus was not only easy on the eyes, but preformed very strongly and had a surprising voice. The music was bold, energetic, and fun. There was also a nice verity in the songs, ranging from the angry "My Derailment," to the pining "Last Stand" by way of the unrepentant "Dirty Little Thing." Good work on their part, however, i don't know that they've hit their stride yet. I'm very much looking forward to seeing them headline in the future.

Third Opener-- Halestorm (4/5) As with my previous review of Halestorm, I have nothing but good things to say about this little band. Lzzy Hale has a bold, fierce presence and a voice like nothing I've ever heard before. I don't think that her recorded work does it justice. Her live rendition of It's Not You is, frankly, one of the sexiest things I've seen in a very long time. Despite the fact that the majority of their songs are breakup numbers, this band is not a one trick pony, we go from this bold rejection song, to the bittersweet, Familiar Taste of Poison. I won't neglect the rest of the band, who has improved immensely since last show . Well balanced and clear sounding guitar work, is complemented by intense drum work. Drummer Arejay Hale played a mind blowing solo about 3/4 through the set.
Even with this bitter anger on stage, in person Lzzy is the most gracious woman I've ever met. Genuine, and kind, she took a moment to speak directly with every fan at the signing. The rest of her band, were also very freidnly, one of them even recognized me which was a nice touch. Halestorm contunes to improve, and has once again given the show their all.

Main Act-- Theory of A Deadman (3/5). A band that makes you want to grab a beer and chill with friends, TOAD as they are called by fans, has a solid sound. Having only heard a handful of their songs, all from their 2005 album Gasoline I was interested to see what they'd done since 2005. They haven't changed at all. Good music, rather relaxing for a rock show. Front man, Tyler Connely has a pleasantly gravely voice, that brings forward a consistent series predominantly breakup songs(or alternatly, the "I got broken up with" songs) with a consistent sound, lots of fun and a decent energy.

However, there was a lot of predictability in their sound. Many of the songs sounded the very similar weather they came from the first album (self titled, 2001) or their newest (Scars and Souvenirs, 2009) While Scars and Souvenirs is a little more cleaned up, it honestly isn't anything new. While a dececnt band, they do not seem to push to improve.

Upcoming reviews:
The Academy is...
(album) Adelita's way (self titled)
(album) Halestorm (self-titled)

Album Review: 30 Seconds to Mars This is War

2009-12-27T18:10:00.001-08:00

"A warning
to the people
to the good,
and the evil
this is war."
-- "This is War," 30 Seconds to Mars, This is War(2009)

Overall: This album is full of anthems, attesting to beliefs in the face of cynicism and rising from the ashes of one's own past. In addition to the fearsome pieces that stand alone nicely, this album is cohesive thematically, which is rare in the modern era. It tells a story, two stories if you look at the metaphoric angle. This is War, seems to be the spiritual sequel to Beautiful Lie (2001). Where Beautiful Lie was about the destruction of a relationship, and by proximity, a life, and the despair that comes with that, This is War delves into alternately reminiscence, and fighting back against the ravages of despair to emerge triumphant.
This album also takes a darker, more sexual turn than the previous two albums. "Night of the Hunter," and "Stranger in a Strange Land" particularly exude an animalistic darkness not found in other albums of theirs.

However, there are a few tracks that detract from an otherwise nearly flawless album, these tracks range from dissonant, to simply whining.

Track Highlights:

Kings and Queens: This was the single from This is War and rightly so. It stands on its own as a nostalgic, bittersweet number. Unlike many songs that look back on past relationships, this one reminisces completely without regret In fact, the lyrics speak of forging oneself from "blood and pain, in defense of our dreams." Layered over these lyrics, is front man Jered Leto's powerful voice and wonderfully coordinated music.

This is War(linked above): on my first listen through of this album, I considered this the summery track of the album. While I'm not sold on the audience tracks, the beginning of this song builds quite nicely into the chorus both in volume and tone. Leto has excellent vocal control and modulates its volume from husky whisper to bold (though still on key) shout. The lyrics tell the listener that on no uncertain terms they will never give up. Tenacity bleeds from both the music and the lyrics of this number.

Alibi- One of two very powerful, simple numbers on the album. While the majority of 30 Seconds to Mars' song have complex layering, this song and 100 suns both are very simple. I find that simpler songs tend to show what an artist's voice can truely do. Striping down to just a simple guitar line and some drums, this song becomes an inspiring lullaby. The lyrics are equally simple, evoking a sense of reconciliation with ones past and the ability to finally get back up again. Yet there is also a touch of concession, as though the battle will be missed. I would have welcomed this as an end track.

Stranger in A Strange Land(also linked above): Worth pointing out because I don't think I’ve heard a curse word beyond "damn" on any other album of theirs. While this alone is not reason to notice a song, I find when an artist uses infrequent, but very deliberately placed curse words the effect can be astounding. As mentioned in previous reviews, Leto is a very precise, articulate artist, his use of a singular curse evokes a precise message.

There were also a few songs that did not work for me quite as well, partly because the rest of the album was that much better, and partly because the songs, for whatever reason didn't meet the standards set by their other albums.

Hurricane-- While conceptually nice, I found that this track lagged in places and felt longer than it should have been. Very reminiscent of “The Story,” but it comes off a little whiny. Bleak, but nothing new for 30 Seconds To Mars.

L 490--the beginning is actually painful on the ears. While I'm all for innovative instrumental tracks, this one is out of place both thematically and rhythmically on the album. To say nothing of the fact that it is a dissonant piece which falls far, far short of the rest of the album.

Overall rating: 3.5/5

Kill Hannah: New Heart for Xmass 7 (with VIP pass.)

2009-12-22T16:59:00.000-08:00

What an amazing weekend. I had the privilege of meeting, and briefly socializing with two wonderful artists. I was indoctrinated into a wonderful community of close knit fans, brought together by a gracious, caring artist who gives back a great deal to his fans.

Day one (12/18/09):
Venue: Reggie's Rock Club (2.5/5) I'm trying not to judge the venue by the sketchy area it was lodged in. Being on state street a hop, skip and a jump from nicer areas, I assumed quite incorrectly that it would be a decent area.
I didn't really get a chance to look at the bar itself, as I was too busy doing what I came to do, namely schmoozing with Kill Hannah. Reggie's struck me as a place that could not make up its mind weather it was a music venue or not. The layout was similar to other standing room only venues, however, it was too small to accommodate the audience for larger shows. That alone was not a problem, as there are other similar venues, designed for smaller bands. However, if you're going to be a little dig like that, at least have a good enough sound system that the vocals could be decerned from the base four rows in.

Full Album performance of Kill Hannah's "American Jet Set" (3/5) While not my favorite album, it was nice to have a hat tip to the fans that had been there for the full decade that the band has been preforming. There were songs I'd genuinely forgotten were on the album, which was a pleasant surprise. Having seen them live before, my bar was set very high, and while the show was phenomenal, it did not live up to the standard Kill Hannah set. The energy was weaker I would have expected in a show that is explicitly devoted to the more dedicated fans. While far from a disappointment, it wasn't as powerful as I would have hoped.

Day two (12/19/2009)
Venue: The Metro (4/5): I would call this my new, second favorite venue, rival only two The House Of Blues. Despite having been a Chicago girl now for three and a half years, \ I hadn't visited The Metro before because I am a petite person and had heard The Metro's reputation for wild, densely packed crowds. However, my attachment to Kill Hannah's music won out over my trepidation. I was not disappointed.

The Metro is a lovely venue with four bars tucked just a little away from the floor, making them easier to get to than at most venues. It has three floors, one is mostly just the merchandise booth and a place to house the line. The second floor is where the stage and dance floor are, very simple design a basic black, flat floor. The third floor was more of a lounge with seats and tables, however it over looked the second floor so that the show is visible. This was also where the coat check was, which was nicer than most venues. It is clean, except for the bathrooms, which I will get to in a moment. The sound booth is set back closer to the bar, adding that much more room to the already spacious floor. The seasonal decor was fun, large wire and nylon snowflakes, lit candy canes and little plastic trees where the permanent decor was professional and neat and there were posters everywhere advertising the next show or release party, but not so many that it was messy.

Then there were the bathrooms, like at Vic, the bathrooms were questionable at best, I was a little afraid to use them actually for fear of how dirty they were and the amount of graffiti

The Crowd: (4/5) While understandably bored during the first acts, the crowd was lit with an energy hitherto unseen in Kill Hannah fans, they were airborne, screaming, dancing like the world was ending. The energy was intense, but it wasn't such a tight crowd that it was suffocating.

First opener: 1997 (1/5) I try to be lenient on first openers, because its a rough slot to fill and they are often less experienced, younger bands, doubly so if they are a multi-gender band. However, they were positively discordant and had all of the stage presence of a dust bunny. They did try hard to get the audience to participate, however the audience was having none of it.

Second opener: Hey Champ (3/5) A fun, if forgettable, opening band. Their guitar work was pleasant but nothing unduly impressive.

Main Act: Kill Hannah. (4.7/5) New Heart for Xmas is Kill Hannah's annual big show, and it was simply put amazing. Mat Devine gives 110% to the audience and his interaction with them was the a delightful give and take. I've never seen a front man so gracious as Devine. On top of the band's engagement with the audience, their music was as as always wonderfully dynamic and well orchestrated without sounding manufactured. I was also impressed by how the band managed to preform songs that normally had far more parts than they have band members (one song on the album includes a choir as well Amanda Palmer, but they still played it quite nicely).

Despite Devine's spending the bulk of his time leaning over, in some cases all but steping into the crowd, they still manage several set and costume changes, a light show, and laser guitars. These guys push from being simply a band to being full on performers without sacrificing their craft.

Even with the light show, there is an incredible intimacy between the fans and the band. The honestway Devine talks about his music, and by extension his life, shows a vulnerability not often expressed in artists who are, for lack of other word, high gloss. on the whole the band gives off a very human energy.

It is a privilege to be involved with such a kind, down to earth artist who is also still not afraid to dream. Feet planted firmly on the stage, and eyes ever on the horizon Kill Hannah is an invoative band that puts on a thoroughly engaging show.

Concert review: After Midnight Project, The Used, 30 Seconds To Mars

2009-12-18T08:39:00.000-08:00

I would like to say after a far to long hiatus it was fantastic to finally get back on the floor. I melted into a puddle of happiness on principle.

The Venue: House of Blues chicago (see this post for my review)

The Crowd: (3.5/5) An above average, fun crowd. Lots of chatting between shows, and during the first opener. They positively sprung to life during the main act. Thirty Seconds To Mars has a wonderful cult following, which makes the experience even better. No one was there just for one song. They were happy for each number which is how it should be.

First Opener-- After Midnight Project (3/5) AMP as their fans call them was a fun, solid opener. A little cacophonous upon a closer listen with bitter, almost vindictive lyrics. Great for an opener, but I wouldn't go to a show for them. They have a very common sound that wants to be original but falls short. However, front man Jason Evigan, made a lot of effort to get the crowd involved and the crowd was responsive as could be expected for the first wave opener. The album was was worth concert price, but I wouldn't have paid more for it. Very rough still, I look forward to seeing what this band does when they clean up and grow into their own, less generic sound.

Second Opener/ First Main Act-- The Used (2/5). I will make a caviat, the person in front of me was being a real pill and blocking my view, along with the people next to me so that may be shading my lack of enjoyment.
Their sound was unpolished, which I don't usually mind, but I found that in conjunction with an unprofessional attitude and vulgarity beyond even my tolerant standards, their performace was mediocre. While nominally better recorded, the frontman's vocals are reminiscent of a gremlin. That alone wouldn't have stopped me, however, that mixed with a run of the mill sound and a poor performance left me irritable. Had they been the main act I would have been very angry I'd spent money on these tickets.

However, they weren't.

Main Act: 30 Seconds to Mars (5/5). While the set only ran about an hour, due to that front man Jered Leto's being ill from a recent tonsillectomy, they made every moment count. When I heard Leto was ill my expectations naturally dropped, after all no one sounds perfect when ill.

If this is what he sounds like when he's off, I can't imagine what its like when he's in full health. Leto was full of fire, in constant motion and interacting with the audience constantly (actually, in the audience at one point). He looked fantastic, wich is a nice plus. I find often artist aren't as put together for shows, you see who they really are more. Having seen Leto as an actor, it was wonderful to see him come out of his shell and enjoy the evening as himself, rather than a role. He was the right mix of diva and graciousness. He even went as far as to dedicate one of his acustic numbers to a fan that had recently passed on.

30 Seconds to Mars is nothing if they are not professional. Their sound is even clean live, wich you don't hear often. Leto's intense energy, and very strong voice carry words that are occasionally a little cryptic, but speak of conviction and tenacity. Leto is also very articulate, you can hear every word clearly. While most of his songs are in a simlar speed, he does slip in the occasional ballad, which is often far simpler lyrically than his other work. In This Is War (title track for their newest album), he combines both the intensity of his faster work and the simplicity of his ballads.

While, Leto is a powerhouse unto himself, the rest of the band does a wonderful job matching stride with him and plays nicely, knowing both how to sound sharp and improvise when necessary.

I was impressed when I heard them recorded, I was blown away when I saw them live. Simply wonderful, a damn near perfect show.

Next up: Kill Hannah' New Heart for Christmas VII show.

Life happenened

2009-12-17T13:47:00.000-08:00

I'll get to those album reviews. I think i'll skip some though as it concernt season part two.!

Why have I been on hiatus?

Dear reader, I can show you in picture form

His name is Jake, and he's now eaten (along with two stuffed animals and a highligher) a little over a month of my life. I love him.

Actual honest to gosh reviews forthcomng.

so there's been a lull

2009-11-02T20:09:00.000-08:00

And to be honest I haven't had the energy or time to really update. Eventually I will review some albums, fear not the blog isn't abandoned.
on my to review list:
*new three days grace
*Mayday parade
*30 seonds to mars
*Adam Lambert
*The accemy is

Album Review: Kill Hannah Wake Up the Sleepers.

2009-10-11T13:25:00.000-07:00

Song order is often critical to an album’s presentation, even with the advent of shuffle buttons. The balance and the opening are especially critical.
Kill Hannah does a lovely job here kicking off their newest album Wake Up The Sleepers with a song that hit me as an artist like a fist.
Highlights:
Radio: every band needs a song like this. The song that says we did this despite what other people thought and we owe it to you, our fans. In the spirit of front man Mat Devine’s bold personality, this song is one part thank you letter to the city and medium that made Kill Hannah, one part flipping the bird to the people that said they’d never make it. This song brings a shiver to my spine as an artist. I only hope to ever be able to say what this song says about my own work.

New York City Speed: I wasn’t in a good environment the fist time I heard “New York City Speed,” but it still managed to catch me. Utterly fearless and defiant, it speaks of living fast in the moment. Like “Welcome to Chicago,” (released originally on a one-track single: Welcome to Chicago, Motherfucker!) “New York City Speed” screams the name of its namesake city.

Living in Misery: Slow songs are not something Kill Hannah is known for, but this little beauty illustrates Devine’s wistful, touching lyrics beautifully. This song is for the misfits the way “Unwanted” (From For Never and Ever). With a lovely, almost gospel-like harmony at the end that made the hair on my arms stand up.

Why I have My Grandma’s Sad Eyes: Mat Devine’s lyrics once again speak of coming back from pain. Even his despairing songs whisper hope. This song quotes another song which I haven’t been able to track down with the words “Universe wrap your arms around me, make me strong so I can take on anyone.” This little line I think encompasses the song. One part admitting vulnerability one part seeking hope this little gem inspires

Escape artistry: This is a spirited song that I think anyone who’s ever been trapped in one place for too long can identify with this dancy, brazen song.

Promise Me: This one actually made me stop what I was doing the first time I heard it. It was so different from most of what Kill Hannah does. Stripped of the electronic rhythms and complex tones of their usual songs. This song has one very simple background note. The lyrics are a caress, a whispered entreaty not to be forgotten. Its a simple, beautiful song.

Overall review:
I was left wordless by the last new track on this album, so it took me a moment to get to writing this review. In this album, Kill Hanna keeps pushing and honing the style that is unquestionably their own. For those of you that haven’t heard Kill Hannah they are one part alt rock, two parts electronica. Mat Devine has an effeminate voice that I thought belonged to a woman when I first heard it. Its lovely in conjunction with lyrics that Mat himself has said come from the heart and a beat you can dance to. This album experiments a little more with both the vocals and the over all sound. It also has a nice balance of slow and fast songs.
(4.5/5. This album is nearly perfect)

The Tenderbox, Kill Hannah and She Wants Revenge at The Vic Theater (10/1/09)

2009-10-06T16:04:00.000-07:00

The Venue (see previous review of The Vic)I was smart this time and did not use the bathroom.

The Crowd: (2/5). Ugh. A too small crowd that kept staring at the stage wondering when their song/ band would come on. A little better for the opener but frankly, bored.

The First Opener ( The Tenderbox )(2.5/5)-- This little band tried very hard, and put fourth a lot of effort to get the crowd (which was having none of it) moving. They put forth a good effort. However, they were only all right in terms of talent and had no stage presence to speak of. I think they'll probably get better, but at this point in time they fell flat. I can't really comment on their lyrical content, as I cannot find their lyrics online and don’t feel they’re worth purchasing the album at this time.

The Second Opener (Kill Hannah)(4/5) Despite Kill Hannah being the band I came for I had relatively low hopes going in as electronically driven music often doesn’t translate well to stage. From the moment front man Mathew Devine ran out onto the stage he gave 110%. Devine was full of energetic dancing, all but leaping into the crowd. I think he even got some of the stubborn She Wants Revenge fans moving. I could tell that this show meant absolutely the world to these guys (that its their home city and nearly coincides with their album release was really something). These are Chicago boys, and it shows.

I gravitate toward strong lyrics and Kill Hannah is no exception. They have some very intense songs, and you can feel the passion in them. The lyrics have the same intensity their performance does. Whether it be the almost flirtatious daredevil song "Lips like Morphine,” or the pained but still energetic "Unwanted," Kill Hannah brings a very strong, heartfelt lyrics and a fast no-fear energy that stays strong even after they’ve left the stage.

One of the first things that struck me about Mathew Devine was his effeminate voice, which could have sounded shy with tamer lyrics. The voice fits the man-- a slight, archetypal pretty boy. Devine’s quavering tone is complemented nicely by fierce lyrics and powerful energy. This surreal dynamic creates something truly unique

The Main Act (She Wants Revenge) (3/5): Admittedly, it’s hard to impress me when I only know one or two of your songs and I’m already tired from dancing my legs off to the opener, but I like to give it my all even for artists I’m not that familiar with. I have some of She Wants Revenge’s albums so I was familiar with their sound and a couple of their songs.

I danced merrily but I caught myself yawning, which is unusual for me, as I tend to get a buzz off the energy at a good show. So, I thought about it a little as I danced, and sure enough I yawned again. I focused my attention trying to discern what was causing this.

And then it hit me.

Despite the energy of the crowd, which had picked up substantially by that point and Front man very articulate singing style and smooth voice. Front man, Justin Warfield had very dull energy and he absorbed the energy the crowd generated but gave nothing back. It took me just another moment to determine that he was also quite arrogant.

His attitude was effectively demonstrated when a fan tossed an obviously hand painted graffiti style hat onto the stage. Warfield picked it up. Now I’ve seen artist show what I call the "gift face" when they receive something they're not sure what to make of, but they tend to be gracious and flattered. Not so here. Warfield looked at it, made fun of it briefly, and tossed it back into the crowd.

One of the things I have very little patience for is people being ungrateful toward those who put them where they are. These are your fans.

Even Warfield’s dancing and the way he moved on stage was always at a distance from the audience. Part of that I know is the "indier than thou," posh style he was presenting. However, that’s no excuse to be rude. Even the poshest people in existence know how to be grateful.

On the other side of the coin, Justin Warfield’s lyrics are a lot of fun and very articulate, if dominated by one subject: seduction. His songs are full of flirty, almost too deliberate lyrics, which are regrettably not sung from the heart. He doesn’t even manage to be cheeky in his dispassion.

There is centrally talent in the music, especially the vocals and the keyboard. Keyboardist Adam Bravin had the most passion of the entire group and it showed in his wonderful performance. I would that the front man had that kind of passion.

Concert review: You Me At Six, Secret Handshake, Mayday Parade, and The Academy is..(8/28)

2009-10-06T15:54:00.000-07:00

Note: Sorry for being absent, my personal life exploded.

I almost didn't make it to this show, I ran late and nearly forgot what day it was on. I went alone, a personal first for me and it confirmed everything I thought about myself.

The Venue- (House of Blues, Chicago)(5/5): I've been itching to review this place since I started this blog. It’s my second home and the first venue I ever went to in Chicago. The House of Blues is connected to its own restaurant, which has decent enough food and they keep the policy that if you eat there, you get to skip the line with a receipt. On the outside it looks nice enough. But when you walk through the doors, you're met with ornate carvings, wooden walls, and hand painted signs. Its three levels, not counting the balcony. The first being the main bar area’ the second being wooden stools and small tables, the last being, of course, the dance floor itself. Hardwood floors and décor with colorfully painted walls with hosts of odd little statues, the balcony and the frame of the stage are beautifully decorated and across the top of he stage are various religious symbols and a phrase that temporarily escapes me regarding unity through music. There is always something new to look at, for example the ceiling by the sound booth is decorated with hand painted bottle caps and repurposed ashtrays.

Four bars (three main ones and one little kiosk) line the dance floor with sections for people who are under age and want food or water and people who have wristbands to prove they are old enough to drink. The bar staff has always been extremely friendly and are very good at making out what you’re shouting to them over the music. THe security, while tight at all ages shows, is very polite.

There is an equally beautiful little back hallway for merchandise and two gorgeous bathrooms. The Ladies at least has an attendant, mock marble counters, and wood slatted doors. I could even get a hairbrush and deodorant if i needed them.
Not have time to skip the line and get a sit down meal? No problem! They have a variety of bar foods (pizza, sliders, fires and so on) that are as good as the restaurant itself.

Which brings us to the show itself:

First Frontliner (Youmeatsix)(3.5/5): I confess because of how late I was running I didn't really settle in till about half way through their set so some of it was a little more preoccupied with texting and eating, which made me all the more impressed that it was as enjoyable as it was. An obviously UK based, punk-pop band with a distinctly punkier flavor than much punk-pop. In true punk spirit they were a bit inarticulate, though they didn’t scream as often as pure punk. Their energy was surprisingly good for a first in four show. They even got a mosh pit going and got the crowd to join in singing a few of the numbers. Not a band who's album I bought that day but a good opener, lots of fun energy and a cute front man, which didn't hurt things.

Second Frontliner (Secret Handshake) (1.5/5)-- I think I'm being generous with that. 5 because I'm nice to fontliners. They sounded atrocious. I was hoping they were better recorded, but I checked and they're not. If I were to give one piece of advice to them: Turn of the vocoder, it sounds broken. The front man certainly gave a good effort but I spent most of the show wondering if the mike was supposed to sound like that, and trying not to restlessly tap my feet waiting for The Academy is... I try hard not to pity clap often, but I did for them.

The First Main Act/ Last Frontliner (Mayday Parade) (4/5) Hello, pleasant surprise. I hadn't heard anything of theirs when I first came to the show (I came for The Academy is...) With what I saw of the openers and the crowd, I wasn't expecting much out of Mayday Parade, only hoping they'd live up to You Me at Six and not be atrocious like Secret Handshake. I was delighted by the energy Mayday Parade brought and the talent they had. While not mind blowing, they did quite well. I got a few of their albums and I'm starting to enjoy them quite a bit. They brought a strong energy, a verity of songs both slow and fast, mostly in the "teenage" vein-- love/ breakup songs and a couple of songs about clandestine romance. I have to say they might have gotten a little extra love from me for the song "Miserable at Best" I'm recovering from a break up and this song struck me as rather sweet. Mayday Parade brings above average lyrics, and a fun sound, with a little of that bitter twist that a lot of us can identify with.

The Second Headliner(The Academy is...)(4.7/5): I have a hard time giving out fives unless they' really earned it. I've seen The Academy is... now for I believe the third or fourth time and they put on a great show every time. Its a very different animal from other shows i've reviewed in that it’s essentially fun. I've come to expect front man and lyricist William Beckett’s spirited dancing and defiant lyrics as par for the course with his shows.

Beckett seems to truly enjoy himself without a lot of the gravity that many artist bring to the stage. At the same time it is obvious that he puts a great deal of passion, energy and time into his work. He's out there to enjoy himself and give his fans a truly good time. I have to say having met Beckett, you could not ask for a more friendly, gracious person. He's quiet startled by all the adoration fame's brought him but he still takes the time he can to talk to his fans. Despite his bolder stage persona he's soft spoken and shy. This genuineness comes out on stage tenfold, there is no doubt that Beckett sings from experience and while there are hints that he’s finally growing used to fame, Beckett still has a great deal of heart.

Beckett's lyrics have become a little less bold as The Academy Is…has grown in fame, however there is no doubt he still believes every word of "Black Mamba"(from their debut album Almost Here)in which Beckett declares “Oh, Mr. Magazine/I never wrote one single thing for you/Or your so-called music scene/Don’t mean a thing to me.” He remains loyal to his defiant roots. While, Fast times at Barrington High is certainly in a less toothy vein, catering a bit to the teenage audience, Beckett keeps his lyrics cheeky and elegant with the occasional slower song for variety.

Musically the entire band has talent, however, Beckett shines just a shade brighter than the others. The band plays off each other quite nicely, however and certainly should not be discounted as a lesser part of the group. The balance is quite strong over all.

Vocally, Becket is a surprise in a genre that often gets away with sub-par vocals. He has a very soft voice despite being loud enough to be heard across the room. He sounds young and I feel that much what makes him who he is musically is in that voice. Distinctive, enough to be recognized completely out of context, his voice speaks (or should I say sings?) of a young man searching for himself under the limelight while still being very much young at heart. You can hear the smile in his voice in many of his songs and seeing that smile in person confirms how much this young man has to offer. I have a feeling we have not yet seen what he's truly capable of.

Overall, I am exceedingly glad to have gone to this show. Well done all around, in a favorite venue of mine a favorite band, as well as a few new discoveries.

Bravo.

2009-09-10T08:39:00.000-07:00

Discography errata:
I in a previous entry, I said that prior to Burn Burn(2009), Gravity(2001) was Our Lady Peace's newest album. I've since learned that it was, in fact, Healthy In Paranoid Times(2005).

Album Reviews: Our Lady Peace(Burn Burn) and Shinedown(Sound Of Maddness[delux edition])

2009-09-08T17:13:00.000-07:00

Album review: Our Lady Peace—Burn Burn (3.5/5)

Our Lady Peace’s album, Gravity turned me on to them. Once I’d heard “Innocent” and “Somewhere Out There,” I got a hold of Naveed, Clumsy Happiness is not a Fish You Can Catch, and, of course, Gravity. Having just seen them live and fallen in love I waited eagerly for Burn Burn.

Burn Burn is a solid album, Our Lady Peace continues to put out inspirational songs, though they’ve lost a little of the edge they had in Happiness is Not A Fish You Can Catch. Madia’s vocals, while still impressive, tend to linger in their safe range and he doesn’t push the envelope lyrically as much as he did on previous albums.

While there are a few songs that lean toward the mainstream, front man Raine Madia’s lyrics are still delightfully quirky. Reminiscent of their older work, "Monkey Brains” remains one of Our Lady Peace’s stranger numbers. This album feels like the end of a long struggle, a thank you note kicks off the album in “All You Did Was Save My Life” In a simlar finality, we hear “Signs of Life,” though there is a little flash of the teenaged yearning seen in other albums with “Paper Moon.”

Overall, it feels like they’ve grown through their adolescence without loosing their drive the way that many do. Great album, though would have been even better if not held to the high standards other Our lady Peace albums set.

Shinedown: Sound of Madness(4/5)

This was the album that brought Shinedown to my attention; it was the only album I had of theirs for the longest time. Naturally, I am a little biased toward this wicked little album.

Brent Smith has a sharp tongue and eloquent lyrics. In looking at the bio for this little Florida band, I discovered ,quiet by accident that part of the inspiration for this album was a visit to Iraq. As a result, lot of the charge and anger prevalent I this piece was given a whole new light. This album almost got a 5/5 as many of the songs on this album hit a chord in my personal life very hard.

Ignoring the personal, because you, dear reader, are not me. This album was lyrically sharp and obviously came from a deeply personal place for front man Brent Smith. However, it is obvious both from their bio, and from listing to their work that the band is cohesive in its artistry. The band works together with Smith’s vocals creating a sound that is distinctly Shinedown’s own. Unlike many artists whose newer albums are not as strong as their previous albums, Shinedown keeps pushing themselves to be better, and keep the edginess alive. They are very much still passionate, which may not seem to be much of a feat after only four albums, but I’ve seen other bands cave to mainstream pressures faster.

I have gushed in previous entrees about Shinedown’s lyrics, they remain evocative and hard edged. Smith’s eloquence is a wonderful to hear. In a genre dominated by screaming and grunting, Smith’s diction is a welcome pleasure. Whether it be a haunting melody like “The Crow and the Butterfly” or pleasantly malicious “Sin With a Grin,” Smith brings evocative lyrics and genuine emotion, to an already powerful band.

In addition to the powerful lyrics, this album was also nicely balanced between melodic, in some cases gut-wrenching, slow songs and songs whose crashing drum pulse compel the listener to jump or at the very least headbang. I find some albums sound redundant as an artist focuses on a certain sound style. While there is no mistaking Shinedown’s sound, the tracks are distinctive from each other, even in the numbers that are the same tempo. “Sin with a Grin,”for example, is a completely different animal from “Devour.” Similarly “Second Chance” is a completely different, more hopeful creature, from the tortured “Call Me.”

All told this is a very strong album, from both a lyrical and musical standpoint and I’m very much looking forward to seeing what they do next.

Staind with Shinedown, Chavelle and Halestorm

2009-08-29T17:02:00.000-07:00

The Venue (Congress Theater, Chicago IL; (3/5)— A little out of the way of where most concerts are, my friend and I wound up taking a cab for fear of getting lost. Though it’s only a few blocks from a blue line stop.
Upon entering, it feels like you’ve stepped into a theater, rather than a concert venue. While the first “seating tier” has been gutted to accommodate a dance floor/pit area, the rest of the building still looks and feels very much like a theater complete with marble floors and a huge domed ceiling reminiscent of the pantheon in Rome. The balcony levels even still have red carpet. The stage also has some odd left over aspects of its theater days including the lighting system, which could be lowered after the show for easy adjustment/ clean up.

One thing that, I felt was interesting and kind of nice is that both the seated areas (balconies and what would be the “second tier”)and the dance floor were covered by “general admission” price (40$) so that if you want a place to sit or stash your merch, you can do so without shelling out extra money.
The floor itself is a little less nice than other places. It consists concrete floors and a shoddily carpeted sound booth made of untreated wood and duct taped in places.
The bars while lower contents than some of the concert hall bars I’ve seen they were clean and the tender friendly. I never buy more than water and often that comes in an awkward plastic cup, which you still have to pay four bucks for, or a small bottle. I was pleasantly surprised when I got two nice twenty-ounce bottles for fewer than five dollars.

The sound system, oh, the sound system. The first thing I noticed was it was nice and loud, which is quite frankly a must for a metal show (or any rock show for that matter) and the volume had little if any effect on the sound quality. There was still a little trouble with the voice to music ratio but not as much so as at the Vic.
I did not get to the bathrooms at this place, no report there. This was largely due to the fact that I did not want to leave the floor (see reviews below)
The crowd: (2/5 for most of the show 3/5 for Staind itself). This show illustrated the problem of being an opener, or going to a show explicitly for one of the openers—bored crowds. There’s a certain kind of attitude that happens in many concertgoers, which I find rather rude. They still and emanate boredom while very clearly thinking “Oh god, when is my band/ song coming on.” It’s an understandable, even forgivable, occurrence when the band is not that great, or it’s a band that truthfully has only one or two good songs. Despite understanding, I find it obnoxious that people don’t at least put a little effort forward for someone who is putting their life’s work out there and exposing raw nerves, for your entertainment.
However, the crowd seemed to slowly wake up as the night progressed, despite the first opener being far better than the second. When it came time for Staind, as is typical of the main act coming out, the crowd lit up substantially.
Which brings us to the acts themselves.

The First Front Act (Halestorm): (4/5). They had a hard slot to play the first of four bands the opener for the people opening for the opener; it’s no easy task to wake up the audience. As if that wasn’t enough, they are a female lead band in a genre that is still largely male dominated. It takes a very strong, often brazen, woman to get to break the genderwall and really rock out like she did. From the first second Lzzy (sic) Hale opened her mouth I was struck by her powerful chest voice which I am convinced , had it not been for the loud guitars, would have been able to reach the backmost section of the balconies without a microphone. Her appearance gave no indication that she possessed this capability; Hale had a slight frame, and a childlike face. The phrase that came to mind was from an old Meat Loaf number: She had “a heart of chrome and a voice like a horny angel.” Metal needs more women like Hale. While the band behind her was still a little green, I have confidence that they will grow into a very good band. I look forward to seeing them headline.
The Second Front Act (Chavelle): (3/5) Another hard slot to play for these guys. An avrage metal band. Chavelle was what I’d call a good opener, but not worthy of buying the CD (even if it was only 10 dollars) but a fun listen. A little more of the traditional “cookie-monster” voice and thrash guitar. However I felt they needed fewer seizure lights and more talent.

The third front act (Shinedown): (4/5) I had the same potential problem with Shinedown as I did with Our Lady Peace. I had been previously blown away by their performance when I saw them in July and had very high expectations. Shinedown was my impetus for attending so , in fact. Despite the crowd’s general ennui, front man Brent Smith brought a commanding performance and even got the majority of the crowd moving.
Smith’s graciousness and almost regal presence isn’t all he brings to the stage. He engages the audience constantly with direct crowd interaction and commanding vocals. Smith puts a lot of power behind his work and you can tell that this isn’t just for show. Genuine emotion comes through in his music despite his professional behavior. Smith also clearly loves his fans like his own family and, while he oozes confidence from every pore, he also is very sincere when thanking his fans. Unlike many metal vocalists, he is also incredibly articulate both in his performing and when speaking between numbers.
In addition to how the treatment of the fans, I feel you can tell a lot about a performer by how they treat their band mates. Smith’s dynamic with his band mates was very strong both in sound and in physical interaction. He often sang face to face with his guitarist or bassist. The strong relationships on that stage were nearly palpable in the audience. Equal parts bond and talent these interactions were as powerful as the show itself.

Smith’s lyrics are hard edged, and emotionally charged while still eloquent and sincere. Instead of using his music as a vent for depression as many artsist do, Smith's uses his songs to inspire confidence. Instead of licking wounds, he encourages listeners to take the grievances visited upon them and use that pain to push forward and become stronger. This is particularly notable in “Sin With a Grin” and “Devour.” However, Shinedown is not a one trick pony, Smith’s slower(including "45" and "Second Chance") songs evoke genuine pain and a vulnerability not common in metal.

The Main Act (Staind) (3.5/5): I confess, going in I did not have high expectations for Staind. I hadn’t heard more than one or two songs of theirs since their 2001 album “Break the Cycle” They have always been in my head a touch whiney and “teenager music” for lack of other descriptor. However, I positively adore their slower songs, and Halestorm was signing afterward so I stayed. With a low bar, set I was pleasantly surprised when Staind brought a decidedly more metal edge to the stage than anticipated. They grew up from a whining, but marginally talented band to a genuinely good metal band. I was very tired at this point having been jumping and head banging for approximately 3 hours prior, so many of the songs I wasn’t as familiar with blended together so parts of the show felt a little hazy. Then towards the end of the show, something snapped into place and the crowd sparked with a new life hitherto unseen. (It didn’t hurt that it was catalyzed by one of my favorite guilty pleasure songs entitled “For You,” whose lyrics, I think, prove that front man Aaron Lewis has some severe mommy/daddy issues to work out.) The crowd was on fire.
Then for two of the last three numbers Lewis moved from the front stage to a “stage” in the sound booth, which was right behind where my friend and I stood. From here he talked about, and sang the two songs that put stained on the map (“Outside” and “It's Been a While”) With just him and his guitar I was able to see what I had mistaken for simple whininess was, in fact, genuine emotion. Every single person in that room was singing along during those two numbers. It was almost like it was a different show—it was very powerful. Lewis’ face also showed a genuine surprise and gratitude at the amount of love coming from the fans. That kind of reaction goes far for me, proving that you haven’t, in your climb to fame, forgotten who put you there.

Good show on Staind’s half, however, I have to agree with the analysis of a fellow fan, Shinedown belonged in the front line space at this show, with Staind as an opener. Not the other way around.

Annother servey that will proably go ignored.

2009-08-29T16:43:00.000-07:00

But, again, I'd like your input:
when reviewing would you like me to add things like ticket price and accessibility via public transport?
(Prizes for responding)

Audience poll:

2009-08-28T14:06:00.000-07:00

I don't expect much of a response being as this is a fairly young blog. However, I don't want to alienate the few followers I do have so:

Being as even an avid audiophile like myself cannot go to concerts every week, in between shows what would you like to see?
a) older music reviews, albums that I'm fond of etc.
b)ramblings of mine on music in general, and the politics that surround it.
c) all of the above
d) snowflake answer, comment below.

Our Lady Peace with Meece at the Vic Theater (Chicago, IL)

2009-08-25T18:26:00.000-07:00

The Venue(Vic Theater-- Chicago, IL):(3/5 stars) The venue was very much designed to be a concert hall. (as opposed to many venues which are no more than bars with a stage stuck in the back) It seemed to want to be like The House of Blues on a low budget, fused with a traditional bar. Neon signs indicated the location of the bathrooms(I'll get to those) there were three bars: one to either the side and back of the floor as well as a waitress that roamed the floor. There were several booth-style benches, which was a nice change from the standing room only tradition of many venues in this price range. The ceiling and balcony were decorated with mock-gilded carvings and small candelabras that stayed lit during the show, which was a very pretty touch, save for those with burnt out bulbs. The otherwise predominantly black decor made it feel bar-like.

The audio equipment, while far from the worst I’ve heard, was not as good as other venues. Especially, with regard to the sound balance between the vocals and the instruments.

Word to the wise about this place: the bathrooms are, sketchy to say the least. Being female bodied, I didn't see the men's room. The "coat check" outside the bathroom held no attendant and some rickety racks, and stools. The women's restroom had mirrors designed for people who are either under five feet tall or would rather stare at their own breasts than their faces. Broken cherubs dangled between said mirrors over a long broken paper towel holder that is now simply a steel box with several rolls of paper towel stashed in them. There were four graffiti coated stalls, some of which didn't even close. I managed to find the one with the most functional lock; it had no knob, I had to stick my finger in the mechanism to "lock" it, and even then the bolt didn't line up.

The crowd(3/5): while not something you can control as an artist or a venue, I find that the energy dynamic of the crowd can often make or break a show.

This crowd was odd. Initially, they were a decent crowd but something felt a little off about them. They seemed to be putting up with the music in places. Once the band played "Innocent," however, a lot of people left and the crowd improved tenfold.

The Front Act(Meece):(2.5/5) They were decidedly "meh." Neither good nor bad, if dull. It felt like they were trying to be Heartstop, (Warning: Audio embedded) and falling short. Some of their songs were catchy, however. One thing that lost them points in my book is that the front man Patrick Meese only introduced the guitarist, his brother.

The Main Act (Our Lady Peace) (4.5/5):A favorite of mine. This was the second time I saw Our Lady Peace in concert, the first being this past Summerfest. They put on a breathtaking performance there, so the bar was set high for this show, which often leads to some disappointment. So, i expected a little let down.

I was pleasantly disappointed.

From opening number to encore, Our Lady Peace pulled off a fantastic show, that a lesser band could not have done on the equipment at The Vic. Front man Raine Madia's unique voice carried strongly through the shoddy microphone, demonstrating good range, vocal control and the ability to use these talents to make an engaging sound that fit the tone of the songs played. If his talent weren’t enough by itself, Madia's presence demands the eye's attention, and his gracious, charismatic demeanor makes him a striking performer.

Madia wasn't the only one on that stage whose abilities, frankly, blew my mind. Guitarist, Mike Turner (no relationship to Tina and Ike)'s brilliant handy work complemented Madia's vocals with jagged riffs and smooth undertones.

Let me just add a note about Madia's lyrics, they strike a cord with the inner teenager without coming across as shallow and childish. Instead, they remind you what it felt like to be seventeen (this sentiment is especially evoked in "Innocent"). Even if your inner teenager has grown up, Madia's lyrics have a lot to offer anyone who's had to push through pain. Rebirth seems to be a subtle theme in a lot of his work.

This lyrical enchantment was balanced with a mix of songs from all of their albums so that fans of any era of their music could enjoy the show.

Overall, it was an amazing show, and I can only wonder what this fantastic band will do next.

Audioaddiction and You

2009-08-25T12:36:00.000-07:00

Greetings Denizen of the Internet:
I'm Arin, and I'm an audioaddict (hi arin!). at any time I usually have at least my iPod on me. I've decided to put my addiction to good use.

a little about myself:
I'm a post-collegiate author based out of Evanston, IL who specializes in sf/f my pet genera is "Urban Fantasy." When not reading, writing and going to concerts, I volunteer with PAWS and I'm teaching myself to do various crafts. I'm also a Geek of Many Trades-- i role play and indulge in video games quite a bit.

What, you may ask, does this have to do with a concert and music review blog?

Part of it is to explain my habit of rambling a bit. I'm used to novels, lots more room there, it also gives you more than just a random text machine. I'm a person.

Anyway, next few reviews will be:
Our Lady Peace (at the Vic theater).
Shinedown
The Accedmy is..
Kill Hannah