It could be the tryptophan, the result of a Thanksgiving weekend that exposed us to more of this amino acid than usual but tonight's shows were relatively sedate, some would say boring. However, you'd be hard-pressed to find someone to share this sentiment among the Bimbo's crowd: all tables were taken well before the opening band The Advantage came onstage, and the floor was already packed when The Album Leaf made their appearance. From where I sat, the small stage appeared to be cluttered with various instruments and equipment to be used/shared by the three bands on the bill. I had never seen any of them live before and my anticipation was based on my appreciation of their recent albums and friends' recommendations. The glut of instruments hinted at musical impressiveness. Erm, read on.
The Advantage strolled onstage sometime after nine and my immediate reaction was their resemblance to CCR. They were not what I expected from a cover band that hails itself as an "8bit Nintendo band--serious dudes that rock with good nintentions." Pullover sweaters and thick-rimmed glasses, yes; long hair and beards, no. Hirsuteness aside, The Advantage launched into a series of songs that I did not recognize. At all. Well, the only one that I remembered was Castlevania and only because one of the band members announced it beforehand. The re-interpretation of songs originally dominated by synthesizers by a live band that featured none was novel at first. But I'm thinking that the novelty only works if you have a frame of reference. I obviously suffered from a Nintendo-deficient childhood, and I could feel the tryptophan kicking in.
My friends and I decided to leave the comfort of our table to check out The Album Leaf from the crowded floor. Primarily a one-man outfit consisting of Jimmy Lavalle, tonight featured additional musicians on drums, bass, guitar, and even xylophone. The set opened with "Window," the first track from the album "In a Safe Place." It was a lovely bit of lap-pop that set the mood for the rest of the set, one of serene beauty. To supplement the calming effect of the music, images such as autumnal scenes and birds' silhouettes were projected on the screen behind them. Jimmy never strayed from behind the keyboards and he offered only one song with vocals, "TwentyTwoFourteen" which features the line "You whisper to make a sound." After witnessing the delicacy in their set, it seems appropriate to say that any sound above a whisper would be jarring.
The night would have ended nicely if we closed with The Album Leaf, but I insisted on staying for Pinback, a band fronted by fellow San Diegans Rob Crow and Armistead Burwell Smith IV. I like their recent release "Summer in Abaddon" and figured it would translate well live. Well, whatever calmness that The Album Leaf lulled into me became indifference as their set wore on. I can't recall what the first couple of songs were, quite possibly drawn from their earlier material that I'm not too familiar with, and it could also be that I was ready for something rousing after the first two bands, but Pinback's brand of sometimes moody guitar-pop wasn't delivering tonight. A monotony set in early on and they just started to sound the same after a while. Eventually we reached a consensus and left not long after the fifth (?) song, the title track of the new album.
So while the night at Bimbo's wasn't a complete bust, with moments of nostalgic amusement for some and calming loveliness for most, there was no arguing the lack of interest by the time Pinback rolled around. Maybe I'll take the easy way out and claim the turkey defense to justify our early exit. Or maybe not.
BEER RATING: 4 Beers
28 November 2004
25 November 2004
Tribute to our Corporate Sponsors
I'm reviewing these two shows as a tribute to our generous and lovely 'corporate' sponsors. God bless them. This sponsorship lets us go to shows by bands we have not heard about and big name shows we wouldn't pay a republican cent to see. So a big shoutout to Thomas Lee LLC fine purveyor of disillusionment and doom and She Who's Name Shall Not Be Spoken.
Dresden Dolls (Great American Music Hall, 17 November 2004)
The Dresden Dolls falls under the category of never heard before the ticket was in my hand. Walking up to GAMH the crowd was a mixture of goths, metal heads, and theatre kids so my low expectations dived and I prepared to do some serious hating. Two songs later I knew a gem had been discovered and my withered heart heated a little. The duo of Amanda Palmer on piano and vocals and Brian Viglione as mime and drummer creates a lushness that's suprising coming from only two. They are self described as 'Brechtian Punk Cabaret' and with full makeup are visually a cross between dolls and 1920's German cinema actors. Brian put on a n energetic and theatrical performance with timely comic effects perfectly supplementing Amanda without ever upstaging her. Mrs. Palmer vocals were nothing short of mesmerizing during her high points; with a vocal range and discipline not often seen at concerts. I have a feeling she has a formal theatre background as the show often times seemed more like a musical.
The base of musicianship combined excellently with intelligent lyrics and dramatic stage presence. For a second I was reminded of Tori Amos but the surreal topics and sexually playful lyrics made clear this band did not take itself too seriously took them in a completely different direction.
Coin Operated Boy
Sitting on the shelf he is just a toy
But I turn him on and he comes to life
Automatic joy
Coin Operated Boy is one of their most beloved songs and you can check it out for free on the MySpace site. The low points came more frequently later in the show as they slipped into a heavier sound and Amanda's vocal's seemed a little tired. They pulled it off in the end with a rousing rendition of Jacques Brel's Port of Amsterdam a song that seems to be gaining in popularity. Overall this show was the best and freshest surprise I've had in a long time.
Beer Rating: 4 Beers
Green Day (Bill Graham, 24 November 2004)
Green Day oh Green Day. I must say that I carry mixed emotions to this "influential" band. Their music is mostly lacking but they do have a number of good songs and quite a few pieces that have been drilled into our heads so unmercifully that they are sure to provide a certain kind of nostalgia. I again went in prepared to hate but this time the band fully obliged my inclinations.
The music was crisp clear and the effects were grand and expertly applied, the budget for this show did not skimp on the details. The high point was toward the middle as twenty foot towers of flame erupted out of the stage. I've seen this on footage from the glory days of heavy metal and it was just as great as I imagined it would be. Inherent in a tower of flame is a promise and a duty to fucking rock and Green Day was seriously derelict in delivering.
First off, Billie Joe would not shut up he found it appropriate to speak to the audience more than sing he felt he needed to perform Green Day's songs. Second, crowd involvement is good but we came to see you perform. At one point they picked three members of the audience to perform one of their songs and they performed really well, maybe too well cause it made one wonder. This debacle took a lengthy amount of time. Usually, Green Day is described as Pop Punk to my understanding a punk song is usually under three minutes and a pop song is under five. For attention span reasons this is a formula that seems to work and they should have stuck with it. Thirdly, a cover of We Are the Champions combined with Billy Joe's constant crowd exhortations made me seriously question if I was at a rock concert or a Special Camp.
It was not pretty until a strong showing on Minority towards the end made me question if I was hating irrationally. This question was left open until I had my Itunes on shuffle later in the evening(there is a weird sort of super-natural intelligence built into this software). Anyway, it played Anarchy in the U.K. Here is a lyrics comparison.
I want to be the minority
I don't need your authority
Down with the moral majority
Cause I want to be the minority
I am an antichrist
I am an anarchist
Don't know what I want
But I know how to get it
There was a little outrage but no fire, no braggadocio, none of the swagger that would have made an entertaining show.
Beer Rating: 10 Beers.
So once again let us thank our sponsors. And we'd like to remind any readers that you too can be a 'corporate' sponsor. All you have to do is get us into shows. In return we'll give you a shoutout and depending on your generosity maybe some 'extras'.
Dresden Dolls (Great American Music Hall, 17 November 2004)
The Dresden Dolls falls under the category of never heard before the ticket was in my hand. Walking up to GAMH the crowd was a mixture of goths, metal heads, and theatre kids so my low expectations dived and I prepared to do some serious hating. Two songs later I knew a gem had been discovered and my withered heart heated a little. The duo of Amanda Palmer on piano and vocals and Brian Viglione as mime and drummer creates a lushness that's suprising coming from only two. They are self described as 'Brechtian Punk Cabaret' and with full makeup are visually a cross between dolls and 1920's German cinema actors. Brian put on a n energetic and theatrical performance with timely comic effects perfectly supplementing Amanda without ever upstaging her. Mrs. Palmer vocals were nothing short of mesmerizing during her high points; with a vocal range and discipline not often seen at concerts. I have a feeling she has a formal theatre background as the show often times seemed more like a musical.
The base of musicianship combined excellently with intelligent lyrics and dramatic stage presence. For a second I was reminded of Tori Amos but the surreal topics and sexually playful lyrics made clear this band did not take itself too seriously took them in a completely different direction.
Coin Operated Boy
Sitting on the shelf he is just a toy
But I turn him on and he comes to life
Automatic joy
Coin Operated Boy is one of their most beloved songs and you can check it out for free on the MySpace site. The low points came more frequently later in the show as they slipped into a heavier sound and Amanda's vocal's seemed a little tired. They pulled it off in the end with a rousing rendition of Jacques Brel's Port of Amsterdam a song that seems to be gaining in popularity. Overall this show was the best and freshest surprise I've had in a long time.
Beer Rating: 4 Beers
Green Day (Bill Graham, 24 November 2004)
Green Day oh Green Day. I must say that I carry mixed emotions to this "influential" band. Their music is mostly lacking but they do have a number of good songs and quite a few pieces that have been drilled into our heads so unmercifully that they are sure to provide a certain kind of nostalgia. I again went in prepared to hate but this time the band fully obliged my inclinations.
The music was crisp clear and the effects were grand and expertly applied, the budget for this show did not skimp on the details. The high point was toward the middle as twenty foot towers of flame erupted out of the stage. I've seen this on footage from the glory days of heavy metal and it was just as great as I imagined it would be. Inherent in a tower of flame is a promise and a duty to fucking rock and Green Day was seriously derelict in delivering.
First off, Billie Joe would not shut up he found it appropriate to speak to the audience more than sing he felt he needed to perform Green Day's songs. Second, crowd involvement is good but we came to see you perform. At one point they picked three members of the audience to perform one of their songs and they performed really well, maybe too well cause it made one wonder. This debacle took a lengthy amount of time. Usually, Green Day is described as Pop Punk to my understanding a punk song is usually under three minutes and a pop song is under five. For attention span reasons this is a formula that seems to work and they should have stuck with it. Thirdly, a cover of We Are the Champions combined with Billy Joe's constant crowd exhortations made me seriously question if I was at a rock concert or a Special Camp.
It was not pretty until a strong showing on Minority towards the end made me question if I was hating irrationally. This question was left open until I had my Itunes on shuffle later in the evening(there is a weird sort of super-natural intelligence built into this software). Anyway, it played Anarchy in the U.K. Here is a lyrics comparison.
I want to be the minority
I don't need your authority
Down with the moral majority
Cause I want to be the minority
I am an antichrist
I am an anarchist
Don't know what I want
But I know how to get it
There was a little outrage but no fire, no braggadocio, none of the swagger that would have made an entertaining show.
Beer Rating: 10 Beers.
So once again let us thank our sponsors. And we'd like to remind any readers that you too can be a 'corporate' sponsor. All you have to do is get us into shows. In return we'll give you a shoutout and depending on your generosity maybe some 'extras'.
21 November 2004
Gravy Train!!! (Mile High Club, Oakland, 20 November 2004)
Beer Rating: 3 Beers
This was definitely a feminist punk-rock electronic music weekend.
After seeing a fantastic show with Le Tigre in a venue of over 1,000 people, another band that is hailed by the Beastie Boys was playing for over 100 over at the Oakland Mile High Club. Gravy Train!!! (yes, those exclamation points are part of their name with each exclamation point for each member of the band) is a local Oakland group who, according to All Music Guide, plays a "distinctive fusion of old school rap, queercore, and theatrical new wave." The member names are pretty cheezy, with singer/songwriter Chunx, keyboardist/dancer Funx, and dancers/singers Hunx and Drunx.
Sometimes, a good show need not be about the music. Certainly, I didn't understand one damn word these guys said, especially since the sound system wasn't all that great. This show was good because of the band's theatrics.
The black member of the group (I don't know who's who) was going crazy. This guy was enticing all the gay boys in the audience by stripping down to his not-so tidy whities. Now, it wasn't a pretty sight. However, him stripping down to the bare minimums is actually a blessing in disguise because it was able to deflect the long standing belief that all African-American men are fully endowed. Clearly, this guy was not fully endowed. I would raise my pinky to describe this. Needless to say, it gave men of other ethnicities hope. So, thank you Mr. Gravy Train!!!! dancer!
These guys were fun, with the entire crowd hopping to their songs. I was motivated to join them, but their set ended rather quickly despite being the headliner. Afterwards, I bought a t-shirt that says "Mile High Club." Yeah, a cheezy way to end a cheezy night.
This was definitely a feminist punk-rock electronic music weekend.
After seeing a fantastic show with Le Tigre in a venue of over 1,000 people, another band that is hailed by the Beastie Boys was playing for over 100 over at the Oakland Mile High Club. Gravy Train!!! (yes, those exclamation points are part of their name with each exclamation point for each member of the band) is a local Oakland group who, according to All Music Guide, plays a "distinctive fusion of old school rap, queercore, and theatrical new wave." The member names are pretty cheezy, with singer/songwriter Chunx, keyboardist/dancer Funx, and dancers/singers Hunx and Drunx.
Sometimes, a good show need not be about the music. Certainly, I didn't understand one damn word these guys said, especially since the sound system wasn't all that great. This show was good because of the band's theatrics.
The black member of the group (I don't know who's who) was going crazy. This guy was enticing all the gay boys in the audience by stripping down to his not-so tidy whities. Now, it wasn't a pretty sight. However, him stripping down to the bare minimums is actually a blessing in disguise because it was able to deflect the long standing belief that all African-American men are fully endowed. Clearly, this guy was not fully endowed. I would raise my pinky to describe this. Needless to say, it gave men of other ethnicities hope. So, thank you Mr. Gravy Train!!!! dancer!
These guys were fun, with the entire crowd hopping to their songs. I was motivated to join them, but their set ended rather quickly despite being the headliner. Afterwards, I bought a t-shirt that says "Mile High Club." Yeah, a cheezy way to end a cheezy night.
Le Tigre (Fillmore, 19 November 2004)
Beer Rating: 1/2 Beer
This must be the show of the year. If not, pretty damn close to it.
Le Tigre played a sold out show at the Fillmore on Friday night and it has to be one of the most entertaining shows of the year. From the first song to the last, Le Tigre kept the crowd stimulated with song, dance, and slides. This was especially a good show for me because I just learned earlier that evening that I passed the California bar exam. Add free drinks throughout the night, then it was only inevitable that this was going to be a fantastic show.
Though Le Tigre's subject matter is often heavy - ranging from the consequences of war, sexual abuse and harassment, police cruelty, clueless journalism - the band knows how to put on a party by wowing even the most fair weather of fans. Like their previous shows, their set-up at the Fillmore included an array of videos with a backdrop - from a karaoke like listing of lyrics for "FYR (Fifty Years of Ridicule)" to film creator Elisabeth Subrin's meditation on desire and office supplies. However, what sets Le Tigre apart from most bands I have seen is their stage presence. Their choreographed moves would make 'N Sync or S Club 7 look like poseurs.
The setlist spanned their entire three album discography, with a good majority taken from their latest release, This Island. Yes, the band left the indie recording industry and has sold out to Universal, but you would have never known it through their songs. "Viz," "After Dark," "On the Verge," and "TKO" seemed like songs that were on the previous two albums, Le Tigre and Feminist Sweepstakes, but that's not a bad thing (if it ain't broke, why fix it?).
Kathleen Hanna definitely took my breath away. Her stage presence was just absolutely amazing and I instantly fell in love with this woman. You know she was out there because she was in your face the entire time. Her screamy style of singing definitely caught my attention, and her constant dancing and jumping made want to take her home with me. What was also surprising was how pretty Johanna Fateman is. In her promo pictures, she really doesn't exert any sort of "sexiness" but on stage, she seemed like a full blown diva. JD Samson, the most masculine of all the members, was very entertaining with her pants, workout shirt and headband.
The highlight of the set were the last two songs. "Deceptacon" was played with so much intensity. You know the crowd was wanting to hear that song and once the opening riff let out, the entire place let loose. I was berserk, dancing like crazy. Even my friend Randy, who barely shows any emotion during shows, was smiling and tapping his beer glass in perfect rhythm.
After that song, Murray Hill, Le Tigre's MC and a one-of-a kind character that reminded me of Hardy of Laurel and Hardy, encouraged the crowd to yell louder. After we did our homecoming pep rally rendition of spelling of L-E T-I-G-R-E, the band came out and did the ever so good cover of "I'm So Excited." At that point, I was dancing even more crazily. And everytime Kathleen Hanna would sing parts of that song stacatto, it drove me mad!
The only thing that would have given this show a perfect rating is if they played my second most favorite song off their first album, "My, My Metrocard" and played at least one more song in their encore.
The old saying goes that the best shows are the ones where the band leaves you wanting for more. Randy put it this way, "Le Tigre were so good that I would never want them to leave! I want to take them home with me!"
Well said.
This must be the show of the year. If not, pretty damn close to it.
Le Tigre played a sold out show at the Fillmore on Friday night and it has to be one of the most entertaining shows of the year. From the first song to the last, Le Tigre kept the crowd stimulated with song, dance, and slides. This was especially a good show for me because I just learned earlier that evening that I passed the California bar exam. Add free drinks throughout the night, then it was only inevitable that this was going to be a fantastic show.
Though Le Tigre's subject matter is often heavy - ranging from the consequences of war, sexual abuse and harassment, police cruelty, clueless journalism - the band knows how to put on a party by wowing even the most fair weather of fans. Like their previous shows, their set-up at the Fillmore included an array of videos with a backdrop - from a karaoke like listing of lyrics for "FYR (Fifty Years of Ridicule)" to film creator Elisabeth Subrin's meditation on desire and office supplies. However, what sets Le Tigre apart from most bands I have seen is their stage presence. Their choreographed moves would make 'N Sync or S Club 7 look like poseurs.
The setlist spanned their entire three album discography, with a good majority taken from their latest release, This Island. Yes, the band left the indie recording industry and has sold out to Universal, but you would have never known it through their songs. "Viz," "After Dark," "On the Verge," and "TKO" seemed like songs that were on the previous two albums, Le Tigre and Feminist Sweepstakes, but that's not a bad thing (if it ain't broke, why fix it?).
Kathleen Hanna definitely took my breath away. Her stage presence was just absolutely amazing and I instantly fell in love with this woman. You know she was out there because she was in your face the entire time. Her screamy style of singing definitely caught my attention, and her constant dancing and jumping made want to take her home with me. What was also surprising was how pretty Johanna Fateman is. In her promo pictures, she really doesn't exert any sort of "sexiness" but on stage, she seemed like a full blown diva. JD Samson, the most masculine of all the members, was very entertaining with her pants, workout shirt and headband.
The highlight of the set were the last two songs. "Deceptacon" was played with so much intensity. You know the crowd was wanting to hear that song and once the opening riff let out, the entire place let loose. I was berserk, dancing like crazy. Even my friend Randy, who barely shows any emotion during shows, was smiling and tapping his beer glass in perfect rhythm.
After that song, Murray Hill, Le Tigre's MC and a one-of-a kind character that reminded me of Hardy of Laurel and Hardy, encouraged the crowd to yell louder. After we did our homecoming pep rally rendition of spelling of L-E T-I-G-R-E, the band came out and did the ever so good cover of "I'm So Excited." At that point, I was dancing even more crazily. And everytime Kathleen Hanna would sing parts of that song stacatto, it drove me mad!
The only thing that would have given this show a perfect rating is if they played my second most favorite song off their first album, "My, My Metrocard" and played at least one more song in their encore.
The old saying goes that the best shows are the ones where the band leaves you wanting for more. Randy put it this way, "Le Tigre were so good that I would never want them to leave! I want to take them home with me!"
Well said.
17 November 2004
Blonde Redhead (Bimbo's, 16 November 2004)
Beer Rating: 5 Beers
Blonde Redhead. I used to call them Blonde Shitehead. Here's why.
Back in the dark ages of 1996, I saw them for the first time at the Che Cafe in fabulous U.C. San Diego. The university radio station was excited to have them at their venue, and they were pretty demanding people wanting a fruit basket, assorted beers, veggies, and spending cash. And this is before they were pitched by the Gap people to appear in their commercial. Anyways, I thought that the show was absolute crap. I hated their music, and I hated everything they did. I was so pissed at this show that I went inside my car and popped in my Marion tape. They must have been really crap because who the fuck would listen to Marion? A Marion tape nonetheless! In a crap stereo system with one speaker blown? Yeah, that was a fucked up night with a fucked up band.
It's amazing what 8 years can make. After much resistance, I finally bought (mind you, I bought this album!) Misery is a Butterfly on iTunes after hearing it. I also bought Melodie Citrionique and thought that was a great EP. I thought this band has matured a lot since their "Love Machine" days, with songs that actually have structure and good lyrics rather than arcane noise. So, I decided to buy a ticket to this show and give them another shot. I even stopped calling them Blonde Shitehead just because I thought I was over their previous noise.
Well, I was excited to go to this show, as well as my other friends. I walked right in while Helio Sequence was playing. They were actually pretty good. So good that I bought their album Love and Dance today. They were a two piece but their sound seemed like they were a 5 piece band. There's something to be said about distorted sounds in guitars. I wish I can describe them more, but I only heard two songs. But I like what I hear. Even Randy commented that their first song really caught his attention. So, it must be good.
Then Blonde Redhead came on. A majority of their set list consisted of tracks from Misery is a Butterfly with a handful of other songs from past albums. The band looked good, although they seem tired on stage. They are really good musicians, but the stage presence was seriously lacking. Kazu looked great, but she lacked the charisma that she had when I first saw them in San Diego. Yes, I hated the San Diego show, but Kazu at least kept me mildly entertained. Her boyfriend, Amedeo, also was a great musician, a much stronger voice than I gave him credit for, but also lacked the enthusiasm and the "umph" to be on stage.
That's why this show wasn't that great. All the songs they played are awesome on their records. "Equus" and "Magic Mountain" are great, but it just didn't grab me while watching them at the show. I can't really pinpoint why this show was lacking. There was definitely something missing in their performance. Randy and I were trying to figure it out, but we couldn't. We were so bored throughout most of the show that we decided to go back and chat, in the hope of regaining our energy to go watch them again.
It might also be all the 7 ft. tall men in front of us. Or not being familiar with their discography. Or it could be my lack of energy. However, all of these are mere tick marks in a long list of factors as to why this show was so disappointing.
They ended their encore with "Magic Mountain." They didn't even play "Love Machine" so that I can at least give the song another chance. The song was fitting, because this show was a roller coaster. They started off strong, climbing up and me wincing with anticipation. Once they hit their peak, they suddenly just became flat. And it remained that way. The show was a long, flat experience, ending with a sudden freefalling "THUD!"
So, I'm going to call them Blonde Shitehead again.
Blonde Redhead. I used to call them Blonde Shitehead. Here's why.
Back in the dark ages of 1996, I saw them for the first time at the Che Cafe in fabulous U.C. San Diego. The university radio station was excited to have them at their venue, and they were pretty demanding people wanting a fruit basket, assorted beers, veggies, and spending cash. And this is before they were pitched by the Gap people to appear in their commercial. Anyways, I thought that the show was absolute crap. I hated their music, and I hated everything they did. I was so pissed at this show that I went inside my car and popped in my Marion tape. They must have been really crap because who the fuck would listen to Marion? A Marion tape nonetheless! In a crap stereo system with one speaker blown? Yeah, that was a fucked up night with a fucked up band.
It's amazing what 8 years can make. After much resistance, I finally bought (mind you, I bought this album!) Misery is a Butterfly on iTunes after hearing it. I also bought Melodie Citrionique and thought that was a great EP. I thought this band has matured a lot since their "Love Machine" days, with songs that actually have structure and good lyrics rather than arcane noise. So, I decided to buy a ticket to this show and give them another shot. I even stopped calling them Blonde Shitehead just because I thought I was over their previous noise.
Well, I was excited to go to this show, as well as my other friends. I walked right in while Helio Sequence was playing. They were actually pretty good. So good that I bought their album Love and Dance today. They were a two piece but their sound seemed like they were a 5 piece band. There's something to be said about distorted sounds in guitars. I wish I can describe them more, but I only heard two songs. But I like what I hear. Even Randy commented that their first song really caught his attention. So, it must be good.
Then Blonde Redhead came on. A majority of their set list consisted of tracks from Misery is a Butterfly with a handful of other songs from past albums. The band looked good, although they seem tired on stage. They are really good musicians, but the stage presence was seriously lacking. Kazu looked great, but she lacked the charisma that she had when I first saw them in San Diego. Yes, I hated the San Diego show, but Kazu at least kept me mildly entertained. Her boyfriend, Amedeo, also was a great musician, a much stronger voice than I gave him credit for, but also lacked the enthusiasm and the "umph" to be on stage.
That's why this show wasn't that great. All the songs they played are awesome on their records. "Equus" and "Magic Mountain" are great, but it just didn't grab me while watching them at the show. I can't really pinpoint why this show was lacking. There was definitely something missing in their performance. Randy and I were trying to figure it out, but we couldn't. We were so bored throughout most of the show that we decided to go back and chat, in the hope of regaining our energy to go watch them again.
It might also be all the 7 ft. tall men in front of us. Or not being familiar with their discography. Or it could be my lack of energy. However, all of these are mere tick marks in a long list of factors as to why this show was so disappointing.
They ended their encore with "Magic Mountain." They didn't even play "Love Machine" so that I can at least give the song another chance. The song was fitting, because this show was a roller coaster. They started off strong, climbing up and me wincing with anticipation. Once they hit their peak, they suddenly just became flat. And it remained that way. The show was a long, flat experience, ending with a sudden freefalling "THUD!"
So, I'm going to call them Blonde Shitehead again.
11 November 2004
The Faint (Bimbo's, 10 November 2004)
Beer Rating: 1 Beer
Was it just me or were the Faint amazing last night at Bimbo's? OK. Probably it was just me, since all of my friends thought that the show ranged from "unconvincing" to "it made me dance." There are a number of reasons why I thought the Faint show was one of the best of the year. First, and probably the most correct explanation, is that I’m a sucker for synths, visuals, and skinny guys from the red state of Omaha, Nebraska. The other, and somewhat likely reason, is because I was in desperate need for distractions to get my mind off of my inevitable fate on November 19th. I don’t want to talk about November 19th so I’ll just focus on the former reason.
First off, let's talk about the visuals. The Faint put forth two screens, side-by-side with one another, and the effects in those screens, along with the lighting, added so much "umph" to the music. The displays range from rather abstract animation likened to the photographic works of Maholy-Nagy, Man Ray to just plain funny effects similar to Conan O’Brien’s monologue where a still photo of a famous individual is interposed with someone’s moving mouth. For example, the images for "Erection" was Regardless of what was on the screen, it gave the audience an added sense to the show. The Faint’s stage presence was also amazing. Not one member was still for the entire show since they were constantly dancing or encouraging the crowd to participate.
The music itself was beyond belief. I stood in the back of the dance floor and I couldn’t believe how great they sounded. Bimbo’s is notorious for having sub-par acoustics, but tonight’s show was an exception. Every single noise oozing out of their synthesizers, every beat of the drum, and every dissonant noise made by their guitars were accentuated. All of this taken together made for great dance music. New songs such as "Desperate Guys," "I Disappear," "Paranoiattack," and "How Can I Forget" were so much better live than in the album. My personal favorite, "Worked Up So Sexual," almost made me want to rush up to the front and dance with the other audience members. They also did a cover of the Talking Head’s, "Psycho Killer," which was a good cover, but sounded too much like the original. I was expecting some sort of Faint-ish touch to the song, which they sort of did towards the end, but that was about it.
Finally, the crowd was really active and dancing throughout the whole show. With a few exceptions, everyone in the crowd was dancing like crazy. Like myself.
Overall, it was such an amazing show! Definitely one of the best of 2004.
Was it just me or were the Faint amazing last night at Bimbo's? OK. Probably it was just me, since all of my friends thought that the show ranged from "unconvincing" to "it made me dance." There are a number of reasons why I thought the Faint show was one of the best of the year. First, and probably the most correct explanation, is that I’m a sucker for synths, visuals, and skinny guys from the red state of Omaha, Nebraska. The other, and somewhat likely reason, is because I was in desperate need for distractions to get my mind off of my inevitable fate on November 19th. I don’t want to talk about November 19th so I’ll just focus on the former reason.
First off, let's talk about the visuals. The Faint put forth two screens, side-by-side with one another, and the effects in those screens, along with the lighting, added so much "umph" to the music. The displays range from rather abstract animation likened to the photographic works of Maholy-Nagy, Man Ray to just plain funny effects similar to Conan O’Brien’s monologue where a still photo of a famous individual is interposed with someone’s moving mouth. For example, the images for "Erection" was Regardless of what was on the screen, it gave the audience an added sense to the show. The Faint’s stage presence was also amazing. Not one member was still for the entire show since they were constantly dancing or encouraging the crowd to participate.
The music itself was beyond belief. I stood in the back of the dance floor and I couldn’t believe how great they sounded. Bimbo’s is notorious for having sub-par acoustics, but tonight’s show was an exception. Every single noise oozing out of their synthesizers, every beat of the drum, and every dissonant noise made by their guitars were accentuated. All of this taken together made for great dance music. New songs such as "Desperate Guys," "I Disappear," "Paranoiattack," and "How Can I Forget" were so much better live than in the album. My personal favorite, "Worked Up So Sexual," almost made me want to rush up to the front and dance with the other audience members. They also did a cover of the Talking Head’s, "Psycho Killer," which was a good cover, but sounded too much like the original. I was expecting some sort of Faint-ish touch to the song, which they sort of did towards the end, but that was about it.
Finally, the crowd was really active and dancing throughout the whole show. With a few exceptions, everyone in the crowd was dancing like crazy. Like myself.
Overall, it was such an amazing show! Definitely one of the best of 2004.
08 November 2004
The Delgados (El Rey Theatre, Los Angeles, 7 November 2004)
Beer Rating: 3 Beers
So, the final installment in The Delgados series of shows. For a band that I am not entirely devoted to, it's amazing that I've seen them this many times in three days.
I haven't been to the El Rey Theatre since Brett Anderson of Suede toured with support from The Longpigs. Yes, it was that long ago. I totally forgot how wonderful of a venue the El Rey was. The glass chandeliers accompanied by the nice art deco design in the backdrop of the stage made the venue a pleasure to look at and a joy to see a show in.
Similar to the San Francisco show, the crowd was small but they were boisterous enough. So much so that Stewart said he enjoyed playing to a vast crowd. When I looked back, it didn't seem that vast.
It was a disappointment to hear that them play the same exact set as their San Francisco show. Even Alun wore the same outfit as their San Francisco show and the in-store. The only diference is that they played a semi-acoustic rendition of one of their Great Eastern songs from the in-store. Otherwise, same exact order and songs. The L.A. crowd was a bit more tame and quieter than the San Francisco audience. There were no ecclectic hecklers and there was only one mention of the election (after Hate, which is the same thing Stewart did in San Francisco!). The band seemed tired from their back-to-back-to-back shows up and down California (from S.F. to S.D. to Hollywood then to L.A.), but they seemed to enjoy themselves up on the stage and the crowd loved every minute of their presence.
After the show, Elaine was still in her "Cloud 9" phase and decided to chat it up with Stewart as he was outside the venue. Like the in-store, he was very nice.
The Delgados (Amoeba Records, Hollywood, 6 November 2004)
Beer Rating: 0 Beers
After seeing an excellent electric show with the Delgados on Thursday night, they now arrive for an afternoon acoustic in-store set at Amoeba records in Hollywood. They arrived a little late, but not a moment too soon. A star studded audience was at hand, even Haley Joe Osment (yes, that guy from the Sixth Sense) and his little friends were there.
So, the Delgados arrived a little after 2:15pm and they took around 20 minutes to set up. It was Alun and Emma doing an acoustic set along with two other members, one a cellist and another with a violin. Talkative Stewart was amongst the crowd and the other roadies, cheering on Alun and Emma.
It was a very excellent in-store. Despite only 5 or 6 songs, they played a fantastic set and the string section was a perfect compliment to the acoustic guitar. From what I remember, they played 2-3 songs from Universal Audio, 1 from Hate, and another from Great Eastern. Sorry I can't remember the exact songs.
Afterwards, they signed autographs. My partner in crime, Elaine, brought all her album booklets and each member was nice enough to sign each and every one of them. I wasn't there to witness this event (since I was putting quarters in the meter), but Elaine tells me that they were all very nice and Stewart said that she has more Delgados albums than he does!
Great acoustic show. Thank Haley Joe for making it a perfect rating.
After seeing an excellent electric show with the Delgados on Thursday night, they now arrive for an afternoon acoustic in-store set at Amoeba records in Hollywood. They arrived a little late, but not a moment too soon. A star studded audience was at hand, even Haley Joe Osment (yes, that guy from the Sixth Sense) and his little friends were there.
So, the Delgados arrived a little after 2:15pm and they took around 20 minutes to set up. It was Alun and Emma doing an acoustic set along with two other members, one a cellist and another with a violin. Talkative Stewart was amongst the crowd and the other roadies, cheering on Alun and Emma.
It was a very excellent in-store. Despite only 5 or 6 songs, they played a fantastic set and the string section was a perfect compliment to the acoustic guitar. From what I remember, they played 2-3 songs from Universal Audio, 1 from Hate, and another from Great Eastern. Sorry I can't remember the exact songs.
Afterwards, they signed autographs. My partner in crime, Elaine, brought all her album booklets and each member was nice enough to sign each and every one of them. I wasn't there to witness this event (since I was putting quarters in the meter), but Elaine tells me that they were all very nice and Stewart said that she has more Delgados albums than he does!
Great acoustic show. Thank Haley Joe for making it a perfect rating.
05 November 2004
The Delgados (Bimbo's, 4 November 2004)
Beer Rating: 2 Beers
The Delgados are one of those bands that have not gained the hype that they so readily deserve. While most Scottish bands have been basking in the limelight and have gained a solid base of fans (see Belle and Sebastian, Franz Ferdinand, and Mogwai), it seems like the Delgados are content with their low key presence in the Scottish music scene. Instead of churning out the hype machine, they continue to make fantastic songs and release solid albums year after year. Their recent release, Universal Audio, continues that trend that started 7 years ago with Domestiques (see Universal Audio review below).
Last night, the Delgados continued their low key attitude by playing a low key show at Bimbo’s. Unlike their more popular counterparts, the show was not sold out and an overwhelming majority of the crowd were true Delgados fans. This was made apparent by everyone around me (except for two guys) singing or humming to each song they played. There were some playful hecklers, which Stewart, Emma, Paul, and Alun were very entertained with. There were also several mentions of the election, with Stewart dedicating "Hate" to our current commander-in-thief and a fan, responding to Emma saying "we’ve been watching a lot of horror movies lately," saying "the election?" Of course, Emma acknowledged, "there’s really no way I can top that response, can I?" Emma also showed her love to the crowd by proclaiming San Francisco’s Bimbo’s to be her "most favorite venue" to play in (so much so that she wanted to do the entire set over again). Alun proclaimed his love for wine, while Emma matched it by saying that she loves Sierra Nevada Pale Ale.
The band were spot on with their songs. Tight musicianship is always a nice thing to see and hear, especially in a venue as intimate as Bimbo’s. Despite their fey appearance, the Delgados rocked hard. Songs like the new single "Everybody Come Down" and "Coming in From the Cold," although poppy, made the venue shiver and tremble. Of course, they played even louder with some other songs, but since I’m a horrible person when it comes to remembering track names, I’m not going to mention them here. I can hum them to you if you like.
Overall, it was an excellent show. Also, the crowd was really pleasant, a sheer joy to be with. There were no hippy chicks (see Interpol), no farters (see Concretes), and the Marina contingency were kept at a minimum. It would have received an almost perfect rating if they played more songs. Well, I’ll be seeing them two more times, so we shall see.
The Delgados are one of those bands that have not gained the hype that they so readily deserve. While most Scottish bands have been basking in the limelight and have gained a solid base of fans (see Belle and Sebastian, Franz Ferdinand, and Mogwai), it seems like the Delgados are content with their low key presence in the Scottish music scene. Instead of churning out the hype machine, they continue to make fantastic songs and release solid albums year after year. Their recent release, Universal Audio, continues that trend that started 7 years ago with Domestiques (see Universal Audio review below).
Last night, the Delgados continued their low key attitude by playing a low key show at Bimbo’s. Unlike their more popular counterparts, the show was not sold out and an overwhelming majority of the crowd were true Delgados fans. This was made apparent by everyone around me (except for two guys) singing or humming to each song they played. There were some playful hecklers, which Stewart, Emma, Paul, and Alun were very entertained with. There were also several mentions of the election, with Stewart dedicating "Hate" to our current commander-in-thief and a fan, responding to Emma saying "we’ve been watching a lot of horror movies lately," saying "the election?" Of course, Emma acknowledged, "there’s really no way I can top that response, can I?" Emma also showed her love to the crowd by proclaiming San Francisco’s Bimbo’s to be her "most favorite venue" to play in (so much so that she wanted to do the entire set over again). Alun proclaimed his love for wine, while Emma matched it by saying that she loves Sierra Nevada Pale Ale.
The band were spot on with their songs. Tight musicianship is always a nice thing to see and hear, especially in a venue as intimate as Bimbo’s. Despite their fey appearance, the Delgados rocked hard. Songs like the new single "Everybody Come Down" and "Coming in From the Cold," although poppy, made the venue shiver and tremble. Of course, they played even louder with some other songs, but since I’m a horrible person when it comes to remembering track names, I’m not going to mention them here. I can hum them to you if you like.
Overall, it was an excellent show. Also, the crowd was really pleasant, a sheer joy to be with. There were no hippy chicks (see Interpol), no farters (see Concretes), and the Marina contingency were kept at a minimum. It would have received an almost perfect rating if they played more songs. Well, I’ll be seeing them two more times, so we shall see.
04 November 2004
The Postal Service Settles with . . . the Postal Service?
Interesting article from Pitchforkmedia.com:
It was just about this time last year that we heard that The Postal Service (aka the collaborative musical efforts of Ben Gibbard and Jimmy Tamborello) had received a cease-and-desist letter regarding their bandname from the United States Postal Service (aka the giant government-controlled entity that delivers your mail). Now, with a year of negotiations-- and no doubt, a little grumbling-- behind them, the war is over. According to advertising industry observer AdAge.com, Sub Pop executives, conjuring the amazing powers of persuasion they invoked during Nirvana's signing to DGC in the early 90s, have managed to turn the potential lawsuit into a mutually beneficial cross-promotion campaign. Like magic!
Says Sub Pop co-founder Jonathan Poneman: "We found a place in the middle where all our interests can be served... There's a real spirit of cooperation." With the Postmaster General? Of course! The USPS is no stranger to cross-promotion, with animated characters like Shrek, Daffy Duck, and the Cat in the Hat making regular appearances on stamps and USPS advertising materials. Those brands, however, are owned by super-studios that virtually hemmorhage cash and lawyers, not an (admittedly sizable) independent record label whose band was biting the USPS's precious trademarked brand. But that may be precisely the point: "It's a great way for us to extend our brand into new areas," remarks USPS's manager of communication services Gary Thuro. "They reach a young audience that's very important to our future, and music is such a powerful medium."
To that end, part of the deal involves the possibility of Postal Service tunes being used in USPS ad campaigns and promotions. In turn, Sub Pop is considering, under the auspices of their newly minted licensing deal, using local postal outlets as distribution points for Give Up. Additionally, Tamborello and Gibbard will be tapped to play a gig at an annual USPS conference. No, we are totally not kidding. Stop laughing. If you're somehow fortunate enough to legitimately attend this conference, or crafty enough to impersonate one of the 800 senior executives who will be present, please do us a favor and bootleg that sucker. Surreal events like this one don't happen every day, and they must be documented for posterity.
It was just about this time last year that we heard that The Postal Service (aka the collaborative musical efforts of Ben Gibbard and Jimmy Tamborello) had received a cease-and-desist letter regarding their bandname from the United States Postal Service (aka the giant government-controlled entity that delivers your mail). Now, with a year of negotiations-- and no doubt, a little grumbling-- behind them, the war is over. According to advertising industry observer AdAge.com, Sub Pop executives, conjuring the amazing powers of persuasion they invoked during Nirvana's signing to DGC in the early 90s, have managed to turn the potential lawsuit into a mutually beneficial cross-promotion campaign. Like magic!
Says Sub Pop co-founder Jonathan Poneman: "We found a place in the middle where all our interests can be served... There's a real spirit of cooperation." With the Postmaster General? Of course! The USPS is no stranger to cross-promotion, with animated characters like Shrek, Daffy Duck, and the Cat in the Hat making regular appearances on stamps and USPS advertising materials. Those brands, however, are owned by super-studios that virtually hemmorhage cash and lawyers, not an (admittedly sizable) independent record label whose band was biting the USPS's precious trademarked brand. But that may be precisely the point: "It's a great way for us to extend our brand into new areas," remarks USPS's manager of communication services Gary Thuro. "They reach a young audience that's very important to our future, and music is such a powerful medium."
To that end, part of the deal involves the possibility of Postal Service tunes being used in USPS ad campaigns and promotions. In turn, Sub Pop is considering, under the auspices of their newly minted licensing deal, using local postal outlets as distribution points for Give Up. Additionally, Tamborello and Gibbard will be tapped to play a gig at an annual USPS conference. No, we are totally not kidding. Stop laughing. If you're somehow fortunate enough to legitimately attend this conference, or crafty enough to impersonate one of the 800 senior executives who will be present, please do us a favor and bootleg that sucker. Surreal events like this one don't happen every day, and they must be documented for posterity.
29 October 2004
Metric (Great American Music Hall, 28 October 2004)
Beer Rating: 2 Beers
Last halloween 2003 was the first time I saw Metric at Bottom of the Hill at the urging of my friend Elaine. So, my friends and I met up at a nearly empty venue and they played their hearts out, entertaining the crowd like crazy. That was also the first time I absolutely fell head over heels for Emily Haines. Not exactly in a maniacal, sexual sense, but solely in a "she's crazy and awesome!" sense. I mean, who wouldn't go head over heels for someone who does leg kicks and is not afraid to head bang as if this was a Danzig show? My friends and I also snuck into their dressing room, hung out with them, drank all their beers, and took a group photo with them.
After that date, I saw them three more times. Once at Slim's where Emily and I once again met and I proclaimed to her that I would "love to have her koodies." Another at Great American this year. Then her solo gig at Cafe Du Nord which was weird but cool at the same time. And now this show.
For the first time I have ever seen Metric, Emily was wearing something other than her altered "Staff" t-shirt, skirt, and mid-high boots ensemble. This time, she was wearing this altered vest with a star on the heart, with a much shorter skirt, and the same mid-high boots. After I saw her, I knew this was going to be a different show.
The band came on at around 11pm. People say that the opening bands were atrocious, so I was glad to show up so late in the evening. They started off with "Old World Underground," which is the typical song they start with. James, Jules, and Josh were in top form as always. The only hitch was James was having problems with his bass in the beginning of the song, prior to Emily taking the stage, so they had to prolong the intro a bit to accomodate the technical glitch.
Metric pretty much played their entire debut album, with some new songs mixed in there, of which three I heard before and another that I haven't. The newest song featured Emily singing a very slow song, ala her "Static Anonimity" style songs, but then proceeded to rock out hard towards the end. During this song, James had another technical glitch and urged Jules to stop drumming. Nonetheless, they continued, and the song went alright.
As is customary in their shows, they do an extended version of Dead Disco. This time, this version reached a mind bogling 25 minutes, with Emily voicing her opinion on the election, the fact that there have been more than 100,000 deaths in Iraq since the U.S. invaded it (she had the number Sharpied on her arm), that James and Jules are now Oakland residents while Josh and her continue to be dual U.S. and Canadian citizens, and she crowd surfed for a little bit, jumping from the second highest speaker - stage right (where I was). I wanted to catch her, but I thought better and just admired her jumping from there.
A fantastic show! Emily Haines is definitely one of the best lead singers in a live show. You never know what to expect, other than a fantastic show. Metric is definitely one of those bands I love to see - regardless of how many times I have seen them prior and regardless of the setlist being the same the previous times I have seen them. No regrets.
Last halloween 2003 was the first time I saw Metric at Bottom of the Hill at the urging of my friend Elaine. So, my friends and I met up at a nearly empty venue and they played their hearts out, entertaining the crowd like crazy. That was also the first time I absolutely fell head over heels for Emily Haines. Not exactly in a maniacal, sexual sense, but solely in a "she's crazy and awesome!" sense. I mean, who wouldn't go head over heels for someone who does leg kicks and is not afraid to head bang as if this was a Danzig show? My friends and I also snuck into their dressing room, hung out with them, drank all their beers, and took a group photo with them.
After that date, I saw them three more times. Once at Slim's where Emily and I once again met and I proclaimed to her that I would "love to have her koodies." Another at Great American this year. Then her solo gig at Cafe Du Nord which was weird but cool at the same time. And now this show.
For the first time I have ever seen Metric, Emily was wearing something other than her altered "Staff" t-shirt, skirt, and mid-high boots ensemble. This time, she was wearing this altered vest with a star on the heart, with a much shorter skirt, and the same mid-high boots. After I saw her, I knew this was going to be a different show.
The band came on at around 11pm. People say that the opening bands were atrocious, so I was glad to show up so late in the evening. They started off with "Old World Underground," which is the typical song they start with. James, Jules, and Josh were in top form as always. The only hitch was James was having problems with his bass in the beginning of the song, prior to Emily taking the stage, so they had to prolong the intro a bit to accomodate the technical glitch.
Metric pretty much played their entire debut album, with some new songs mixed in there, of which three I heard before and another that I haven't. The newest song featured Emily singing a very slow song, ala her "Static Anonimity" style songs, but then proceeded to rock out hard towards the end. During this song, James had another technical glitch and urged Jules to stop drumming. Nonetheless, they continued, and the song went alright.
As is customary in their shows, they do an extended version of Dead Disco. This time, this version reached a mind bogling 25 minutes, with Emily voicing her opinion on the election, the fact that there have been more than 100,000 deaths in Iraq since the U.S. invaded it (she had the number Sharpied on her arm), that James and Jules are now Oakland residents while Josh and her continue to be dual U.S. and Canadian citizens, and she crowd surfed for a little bit, jumping from the second highest speaker - stage right (where I was). I wanted to catch her, but I thought better and just admired her jumping from there.
A fantastic show! Emily Haines is definitely one of the best lead singers in a live show. You never know what to expect, other than a fantastic show. Metric is definitely one of those bands I love to see - regardless of how many times I have seen them prior and regardless of the setlist being the same the previous times I have seen them. No regrets.
26 October 2004
Interpol (Warfield, 26 October 2004)
Beer Rating: 1-2 beers
Is it Halloween already? Why? Because all the freaks were out tonight at the Interpol show last night. Besides the Interpol boys looking sharp (Carlos D. was wearing a superb get up as well as the other members), there were certain crowd members who were down right annoying. Let me give some LOSER recognition to the girl who thought that Interpol was a trance band. This lame ass was dancing and was dressed as if she were at Burning Man. What a tool! Not only that, she was constantly having her pig tails hit me in the face and her dancing was constantly hitting me in the chest. So, I did what every person does in this situation: stick your elbow out so that when she hits you, she hits her spine and spit every now and then at her bag and umbrella if she's stupid enough to put it next to you. Yeah! I hope you had a sticky time lame ass!
Anyways, I digress. Interpol I have seen 3 times: once at the Fillmore, another at Curiosa, and tonight. This was, by far, the best Interpol show I have seen. Definitely the best show for the weekend. They were tight in every song, the lead singer had a great voice, and the crowd was awesome (despite the hippy chick). Interpol played a majority of songs from their new album, "Antics." "Slow Hands" received the best reception out of the lot (hmmm...I wonder why?). They also played a handful of songs from their debut album such as "PDA."
Thus, it was a fantastic show and I hope to see them again.
Is it Halloween already? Why? Because all the freaks were out tonight at the Interpol show last night. Besides the Interpol boys looking sharp (Carlos D. was wearing a superb get up as well as the other members), there were certain crowd members who were down right annoying. Let me give some LOSER recognition to the girl who thought that Interpol was a trance band. This lame ass was dancing and was dressed as if she were at Burning Man. What a tool! Not only that, she was constantly having her pig tails hit me in the face and her dancing was constantly hitting me in the chest. So, I did what every person does in this situation: stick your elbow out so that when she hits you, she hits her spine and spit every now and then at her bag and umbrella if she's stupid enough to put it next to you. Yeah! I hope you had a sticky time lame ass!
Anyways, I digress. Interpol I have seen 3 times: once at the Fillmore, another at Curiosa, and tonight. This was, by far, the best Interpol show I have seen. Definitely the best show for the weekend. They were tight in every song, the lead singer had a great voice, and the crowd was awesome (despite the hippy chick). Interpol played a majority of songs from their new album, "Antics." "Slow Hands" received the best reception out of the lot (hmmm...I wonder why?). They also played a handful of songs from their debut album such as "PDA."
Thus, it was a fantastic show and I hope to see them again.
Clinic (Great American Music Hall, 24 October 2004)
Beer Rating: 3-4 Beers
There's something ultra gimicky about Clinic. Is it the scrub costumes that the band wears while on stage? Is it the fact that in Winchester Cathedral they barely use the snare drum? Is it the use of the xylophone in almost every other song? Or maybe it's the backing vocals that only consist of "Mmmmmm..."?
Well, whatever it is, Clinic put on a decent show at the GAMH on Sunday night to end their 2 day residency in San Francisco. As great as the GAMH is, the venue is not very technologically ready for multimedia screen effects. Clinic had great background visual effects, but the GAMH can only provide them, as a backdrop, a used white sheet that looks like it was taken out of a hotel in the Tenderloin. So, they have this HUGE projection that was trying to fit into this 5 foot long and wide blanket.
The songs they played were excellent with hits like "Walk with Thee" and some other tracks from their discography. Granted, I don't know many songs from them but I liked what I heard. My friend thought that the lead singer was hella scary with that whole scrub opening for the mouth. I thought they were scary because their use of the bass drum on every song seems to have marked the end of the world. Another reason why they were scary is because I could barely hear their lyrics.
The crowd was into it, but the showing was sparse for this Sunday night. It was an opening band vibe with the crowd.
Overall, a decent gig. Clinic, as seasoned veterans as they are, need to fine tune it some more with their songwriting and tunes.
There's something ultra gimicky about Clinic. Is it the scrub costumes that the band wears while on stage? Is it the fact that in Winchester Cathedral they barely use the snare drum? Is it the use of the xylophone in almost every other song? Or maybe it's the backing vocals that only consist of "Mmmmmm..."?
Well, whatever it is, Clinic put on a decent show at the GAMH on Sunday night to end their 2 day residency in San Francisco. As great as the GAMH is, the venue is not very technologically ready for multimedia screen effects. Clinic had great background visual effects, but the GAMH can only provide them, as a backdrop, a used white sheet that looks like it was taken out of a hotel in the Tenderloin. So, they have this HUGE projection that was trying to fit into this 5 foot long and wide blanket.
The songs they played were excellent with hits like "Walk with Thee" and some other tracks from their discography. Granted, I don't know many songs from them but I liked what I heard. My friend thought that the lead singer was hella scary with that whole scrub opening for the mouth. I thought they were scary because their use of the bass drum on every song seems to have marked the end of the world. Another reason why they were scary is because I could barely hear their lyrics.
The crowd was into it, but the showing was sparse for this Sunday night. It was an opening band vibe with the crowd.
Overall, a decent gig. Clinic, as seasoned veterans as they are, need to fine tune it some more with their songwriting and tunes.
21 October 2004
The Concretes (Great American Music Hall, 20 October 2004)
Beer Rating: 2.5-3 Beers
First off, I just want to vent on one topic before going on a review of this show: farters. There is a tendency for people who drink lots of alcohol to formuate gas in their digestive system. And once this part of the system has just too much of the stuff, that is when your gluteus maximus plays an essential role in relieving you of this. Well, next time you are at a show, and I am behind you, and you need to pass gas, just politely tell me to "save your spot" and go to a corner. Pass your gas, and then proceed. Don't do the silent fart thing and then stink it up.
This is precisely what happened to me last night. As I was enjoying the Concretes' alternate rendition of "Seems Fine," someone lays the silent stinker. Ruined the vibe. Bitch!
Anyways, back to the show. As I entered the GAMH, I was greeted with a bunch of people all in the periphery of the dance floor, thus making the entire dance floor vacant. This was for the opener. It was, as if, the mush pot in duck duck goose is not the cool place to be in. I have never seen this phenomenon before at the GAMH, and it was quite a sight. Fortunately, the crowd decided to become friendly and fill in the middle once the Concretes started.
A majority of the songs they played was from their self-titled sophomore release. I didnt't realize that the Concretes consisted of 9 members (I thought they were only 4) and all of them had a critical part in each and every song. Even the percussion guy with the tambourine(allegedly the producer of their album). The lead singer's voice on the album sounded the same live, with that nice, soft Mazzy Starr-ish voice.
Amongst the many songs they played, my favourites were: Say Something New, You Can't Hurry Love, Lovin Kind, This One's For You, and Seems Fine. As I said above, Seems Fine was done twice. Once with the album version and another with a slower, more country/folksy rendition. Both versions were awesome, and I anxiously await the release of the alternate version. They even played their Christmas song, whose title I do not recall, which they just finished two weeks ago.
In their encore (I think), they played a Rolling Stone's cover . . . yet again whose title I do not remember. Awesome cover though.
Final note: the lead singer was very shy and seemed like she was anxious to leave the stage. She was very cute in that sense. Otherwise, the entire band was enjoying themselves a lot (we even sang "Happy Birthday" to Martin, and were quite peppy.
Overall: an excellent show if it wasn't for the farter.
First off, I just want to vent on one topic before going on a review of this show: farters. There is a tendency for people who drink lots of alcohol to formuate gas in their digestive system. And once this part of the system has just too much of the stuff, that is when your gluteus maximus plays an essential role in relieving you of this. Well, next time you are at a show, and I am behind you, and you need to pass gas, just politely tell me to "save your spot" and go to a corner. Pass your gas, and then proceed. Don't do the silent fart thing and then stink it up.
This is precisely what happened to me last night. As I was enjoying the Concretes' alternate rendition of "Seems Fine," someone lays the silent stinker. Ruined the vibe. Bitch!
Anyways, back to the show. As I entered the GAMH, I was greeted with a bunch of people all in the periphery of the dance floor, thus making the entire dance floor vacant. This was for the opener. It was, as if, the mush pot in duck duck goose is not the cool place to be in. I have never seen this phenomenon before at the GAMH, and it was quite a sight. Fortunately, the crowd decided to become friendly and fill in the middle once the Concretes started.
A majority of the songs they played was from their self-titled sophomore release. I didnt't realize that the Concretes consisted of 9 members (I thought they were only 4) and all of them had a critical part in each and every song. Even the percussion guy with the tambourine(allegedly the producer of their album). The lead singer's voice on the album sounded the same live, with that nice, soft Mazzy Starr-ish voice.
Amongst the many songs they played, my favourites were: Say Something New, You Can't Hurry Love, Lovin Kind, This One's For You, and Seems Fine. As I said above, Seems Fine was done twice. Once with the album version and another with a slower, more country/folksy rendition. Both versions were awesome, and I anxiously await the release of the alternate version. They even played their Christmas song, whose title I do not recall, which they just finished two weeks ago.
In their encore (I think), they played a Rolling Stone's cover . . . yet again whose title I do not remember. Awesome cover though.
Final note: the lead singer was very shy and seemed like she was anxious to leave the stage. She was very cute in that sense. Otherwise, the entire band was enjoying themselves a lot (we even sang "Happy Birthday" to Martin, and were quite peppy.
Overall: an excellent show if it wasn't for the farter.
18 October 2004
Nancy Sinatra (The Knitting Factory - Hollywood, 15 October 2004)
Beer Rating: 3-4 beers
It's always a great thing when you get a free ticket to a show. Especially, if it's a show that you are even interested in. Well, thanks to Elaine's friend Dave, her and I got into the Knitting Factory for gratis to see Nancy Sinatra. Prior to going to her show, I knew three things about Nancy Sinatra: (1) she's a woman; (2) her dad is Old Blue Eyes, Mr. Chairman of the Board Frank Sinatra; and (3) she sang that "boots" song. Well, now add another fact to that list: Nancy Sinatra is hip to the scene.
I had my reservations at going to this show. First, the over 40 yr. old crowd is not too appealing since it reminds me that one day, I'll be like one of these guys. However, the crowd was a good mix of young (as young as 6 yrs. old) and old (infinity). Second, I know nothing about Nancy Sinatra's and her songs. Like I said in (3) above, that's the only song I knew of. Finally, will this whole 60s/70s era nostalgia music keep me up? Well, it actually did.
Nancy Sinatra isn't the hip "IT" girl that she was back in the 60s or when she posed for Playboy. No short one piece outfits or high heeled boots in this show, but instead Nancy sported jeans, plain looking shoes, and a sweater that looked like my old J. Crew mock crew neck. However, for being as old as she is, she still is a beautiful woman with a great voice.
Her great voice and on-stage presence was evident throughout the show. She opened up with "Bang, Bang" off the Kill Bill soundtrack. Then she played a slew of songs from her new album which included "Two Shots of Happy, One Shot of Sad" written to her by Bono and The Edge of U2, a song composed by Thurston Moore, another song composed by Jarvis Cocker, and she did a cover of Morrissey's "Let Me Kiss You."
Of course, what's a Nancy Sinatra show without "Boots..."? Well, she played it and it was a terrific live version of it. Everyone in the crowd was dancing at this point (which is surprising since I didn't know Angelinos dance at live shows). After the show, she had a meet and greet where she signs autographs and chats with fans. I have her autograph and gave her a good handshake. She's a very nice woman.
Overall, a good show that could have been better if I knew more about her.
Then, as I walked outside the venue, I saw We Man from Jackass. Priceless.
It's always a great thing when you get a free ticket to a show. Especially, if it's a show that you are even interested in. Well, thanks to Elaine's friend Dave, her and I got into the Knitting Factory for gratis to see Nancy Sinatra. Prior to going to her show, I knew three things about Nancy Sinatra: (1) she's a woman; (2) her dad is Old Blue Eyes, Mr. Chairman of the Board Frank Sinatra; and (3) she sang that "boots" song. Well, now add another fact to that list: Nancy Sinatra is hip to the scene.
I had my reservations at going to this show. First, the over 40 yr. old crowd is not too appealing since it reminds me that one day, I'll be like one of these guys. However, the crowd was a good mix of young (as young as 6 yrs. old) and old (infinity). Second, I know nothing about Nancy Sinatra's and her songs. Like I said in (3) above, that's the only song I knew of. Finally, will this whole 60s/70s era nostalgia music keep me up? Well, it actually did.
Nancy Sinatra isn't the hip "IT" girl that she was back in the 60s or when she posed for Playboy. No short one piece outfits or high heeled boots in this show, but instead Nancy sported jeans, plain looking shoes, and a sweater that looked like my old J. Crew mock crew neck. However, for being as old as she is, she still is a beautiful woman with a great voice.
Her great voice and on-stage presence was evident throughout the show. She opened up with "Bang, Bang" off the Kill Bill soundtrack. Then she played a slew of songs from her new album which included "Two Shots of Happy, One Shot of Sad" written to her by Bono and The Edge of U2, a song composed by Thurston Moore, another song composed by Jarvis Cocker, and she did a cover of Morrissey's "Let Me Kiss You."
Of course, what's a Nancy Sinatra show without "Boots..."? Well, she played it and it was a terrific live version of it. Everyone in the crowd was dancing at this point (which is surprising since I didn't know Angelinos dance at live shows). After the show, she had a meet and greet where she signs autographs and chats with fans. I have her autograph and gave her a good handshake. She's a very nice woman.
Overall, a good show that could have been better if I knew more about her.
Then, as I walked outside the venue, I saw We Man from Jackass. Priceless.
10 October 2004
Citizens Here and Abroad (Hemlock Tavern, 8 October 2004)
Beer Rating: 2 beers
My friend Joe calls me up on a lazy Friday evening and tells me, "Hey, you want to see Citizens Here and Abroad?" You don't understand the surge of energy that went into my system. See, Joe burned me a copy of this Bay Area based indie group and thought that it was great stuff. So good that I had to buy a true copy of their debut LP, "Ghosts of Tables and Chairs." The LP is a dreamy collection of moody and artful songs. Best comparison that comes ot mind is Lush back in their shoegaze, pre-"Ladykillers" days.
So, after paying a modest $6 fee, and just coming back from Edinburgh Castle to see another band, i smooshed into the small room at the back of the Hemlock to see them. The sound in the Hemlock isn't exactly Carnegie Hall, but the sound system could have been better and the bands' songs deserved it. Adrienne Robilliard's voice and the instruments that accompanied it would have been fantastic but for the sound. Songs like, "They Stay," "In Flight Movie," and "Appearances" which sound great in the album, were robbed of its "umph" with the thumping drums, rapid fire guitar, and Adrienne's voice because of the sound system.
Regardless, I made the most of it and found the entire show entertaining. I am most amazed with their drummer, Chris Wetherell, whose unorthodox drumming (well, it could be orthodox) form was forceful and unique.
My friend Joe calls me up on a lazy Friday evening and tells me, "Hey, you want to see Citizens Here and Abroad?" You don't understand the surge of energy that went into my system. See, Joe burned me a copy of this Bay Area based indie group and thought that it was great stuff. So good that I had to buy a true copy of their debut LP, "Ghosts of Tables and Chairs." The LP is a dreamy collection of moody and artful songs. Best comparison that comes ot mind is Lush back in their shoegaze, pre-"Ladykillers" days.
So, after paying a modest $6 fee, and just coming back from Edinburgh Castle to see another band, i smooshed into the small room at the back of the Hemlock to see them. The sound in the Hemlock isn't exactly Carnegie Hall, but the sound system could have been better and the bands' songs deserved it. Adrienne Robilliard's voice and the instruments that accompanied it would have been fantastic but for the sound. Songs like, "They Stay," "In Flight Movie," and "Appearances" which sound great in the album, were robbed of its "umph" with the thumping drums, rapid fire guitar, and Adrienne's voice because of the sound system.
Regardless, I made the most of it and found the entire show entertaining. I am most amazed with their drummer, Chris Wetherell, whose unorthodox drumming (well, it could be orthodox) form was forceful and unique.
08 October 2004
Supergrass (Fillmore, 5 October 2004)
Rating: 6 pack
So, Supergrass is celebrating their 10th anniversary by touring selected cities to promote their new best of compilation. Let me tell you something about best of compilations. In my opinion, and in the very general sense, having a best of compilation means either (1) your band is over (see Suede, Pulp); (2) your band is changing direction and will never sound the way it was again (see Blur); or (3) your band has had its day in the sun and their careers are setting.
Place Supergrass in the third category. Don't get me wrong. They have created some fantastic albums, with "I Should Coco" being my favourite, but there was just something plain about Supergrass tonight and in all their albums after that. They don't have that same amount of enthusiasm and freshness in their songs. They've become more mature. Sometimes maturity takes the fun out of life, but Supergrass went from being ridiculously fun ("Alright," "Caught by the Fuzz") to just plain, well, serious (see all songs after "I Should Coco").
Tonight, Supergrass did just that: bore the hell out of me. It was an okay show, but the songs did not have that same "umph" that I would have expected out of Gaz and co. The crowd was also so-so into it, with a few die hards in the front. Otherwise, the show was average by my standards. I think my friend said it best, "I was too busy eating nachos to tell you about the show."
It's a damn shame. Or maybe I'm the one getting older? Hmmm....
So, Supergrass is celebrating their 10th anniversary by touring selected cities to promote their new best of compilation. Let me tell you something about best of compilations. In my opinion, and in the very general sense, having a best of compilation means either (1) your band is over (see Suede, Pulp); (2) your band is changing direction and will never sound the way it was again (see Blur); or (3) your band has had its day in the sun and their careers are setting.
Place Supergrass in the third category. Don't get me wrong. They have created some fantastic albums, with "I Should Coco" being my favourite, but there was just something plain about Supergrass tonight and in all their albums after that. They don't have that same amount of enthusiasm and freshness in their songs. They've become more mature. Sometimes maturity takes the fun out of life, but Supergrass went from being ridiculously fun ("Alright," "Caught by the Fuzz") to just plain, well, serious (see all songs after "I Should Coco").
Tonight, Supergrass did just that: bore the hell out of me. It was an okay show, but the songs did not have that same "umph" that I would have expected out of Gaz and co. The crowd was also so-so into it, with a few die hards in the front. Otherwise, the show was average by my standards. I think my friend said it best, "I was too busy eating nachos to tell you about the show."
It's a damn shame. Or maybe I'm the one getting older? Hmmm....
Show Calendar: New Additions
New Additions Include:
- 10/13: Bob Dylan @ The Grand at Regency Center
- 11/14: Wilco @ The Fillmore
- 12/11: The Hives @ Warfield
- 12/13: The Von Bondies @ Cafe Du Nord
- 10/14: Do Make Say Think show edited from 10/24 to 10/14
- 11/16: Blonde Redhead support Liars dropped, Helio Sequence added
- 11/17: Blonde Redhead support Liars dropped, Helio Sequence added
- 11/21: Dirty Vegas is now supporting Tears for Fears
- 11/28: Album Leaf is now supporting Pinback
03 October 2004
The Libertines (Fillmore, 1 October 2004)
Beer Rating: 2 Beers
There are certain rock stars that look good with their shirts off (a young Iggy Pop, the dude from Har Mar Superstar) and then there are the unlikely lads of the Libertines. If you got flab hanging out of your side, please keep the shirt on. It makes you look more rock n roll. And cooler. The whole shirts off thing is only appropriate for hot festival events or if you're the keyboardist for the Dandy Warhols.
Anyways, the Libertines were awesome on stage. This is the first time I have seen them, and they must have played 20+ songs in their slightly over 90 minute set. It sure helps though that each song is under 3 1/2 minutes, but who's counting. They played the usual hits from their debut album including, but not limited to, "Boys in the Band."
The crowd was mad fer it. I was mad fer it. My friend Sergio got a free ticket from some guy giving it away. I had 2 Stellas in my system. It was all good in the 'hood.
As you can see, I'm tired as hell. Helping people move, shopping at IKEA, and putting together IKEA furniture takes its toll. A better review for Supergrass, I promise!
There are certain rock stars that look good with their shirts off (a young Iggy Pop, the dude from Har Mar Superstar) and then there are the unlikely lads of the Libertines. If you got flab hanging out of your side, please keep the shirt on. It makes you look more rock n roll. And cooler. The whole shirts off thing is only appropriate for hot festival events or if you're the keyboardist for the Dandy Warhols.
Anyways, the Libertines were awesome on stage. This is the first time I have seen them, and they must have played 20+ songs in their slightly over 90 minute set. It sure helps though that each song is under 3 1/2 minutes, but who's counting. They played the usual hits from their debut album including, but not limited to, "Boys in the Band."
The crowd was mad fer it. I was mad fer it. My friend Sergio got a free ticket from some guy giving it away. I had 2 Stellas in my system. It was all good in the 'hood.
As you can see, I'm tired as hell. Helping people move, shopping at IKEA, and putting together IKEA furniture takes its toll. A better review for Supergrass, I promise!
01 October 2004
Music Review: The Delgados, "Universal Audio"
Rating: 8/10
I have to admit, I didn't really like The Delgados at first. It all stemmed when my friend and I were driving to Los Angeles and during the entire trip, she would play tracks from a couple of albums ad nauseum. It drove me nuts! There's only so much of the line "this is not my house" that I can take.
But that was several years ago, and I'd like to think that my taste in music has evolved and I have a keener ear. Fortunately, The Delgados are one of those bands that I hated at first, but now consider one of the "special bands" that require me to have their complete discography.
"Universal Audio" is not a major departure from their previous releases. It seems to be a continuation of "Hate" in some respects because it's louder and poppier. One need only hear their first single "Everybody Come Down" to see this extra pop present. Also, it seems that Paul Savage is finally having more gusto in his voice. "Get Action!" seems like a different rendition of "Hate" and he actually emits an almost scream during the chorus. Which I find surprising.
My favourite track of them all is "Girls of Valour," another Paul vox song with a really catchy guitar riff and a variety of background noises. It may sound like a typical pop song, but it is much more complex than that. I can't really describe it, but it's just a great song.
The lowdown: a must have CD that will not upset die hard Delgados fans because it isn't a radical change from their previous albums. I look forward to seeing them live in November.
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