The whole point of Noise Pop weekend is to not only see the bands that you like, but to also try out new ones. Well, I did just that with Joanna Newsom on Friday night and now I'm going to try the absolute opposite of a sweet woman playing the harp - by watching three hairy, over tattooed men play death metal. Yeah, death metal.
High on Fire is a local Oakland band whose local following is anything but small. This is a band that attracts a legion of metal heads throughout the Bay Area and just cause mayhem at their shows. Mike once told me that during their sold out Bottom of the Hill show a few months ago, several non-ticket holders decided to jump the fence just to get in! Well, once again, we have a sold out crowd amongst us and the crowd itself was intimidating, a bunch of them being loyal followers of High on Fire and know every single move of theirs.
The band came on close to midnight at this rather horrendous venue they call 12 Galaxies, which is named after that crazy Asian guy who carries a sign with the same phrase. He was there, and he gets in for free apparently and begins making speeches. Which he did before the Fucking Champs came on. Rather weird.
Anyways, I was standing in the front, stage right just trying to catch a glimpse of this "life changing" band. When they came on, I didn't know what to expect. At first, I thought I couldn't possibly enjoy this band because I never really got into heavy metal or anyting of the sort. When they belted out the loud guitars and pounding drums, I was already impressed. These guys mean business and they ROCK hard! Matt Pike, the lead singer and guitarist, just impressed the crowd with his amazing guitar work and stage presence. His voice sounded demonic, and I have no idea what he is saying. Regardless, he sang sporadically, but the rock just came on hard. It was so damn good!
Then the crowd started moshing. A sight I haven't seen since The Offspring back in the mid-90s! I mean, this was serious mosh pit, with a bunch of shirtless dudes that look like they just came out of prison. This ain't no Blur or Yeah Yeah Yeahs dance pit by any means!
I don't know any of their songs, but the first song off their encore was just crazy! "Speed Wolf," off their "Lord of the Rings-esque album cover" record Surrounded by Thieves drove the crowd ape shit and they just started either jumping wildly or pushing each other. Even I wanted to be part of that, but opted not too since I do want to live past this show. Regardless, this was an excellent song and it just ROCKED!!
Anyways, a surprising show and a definite must see.
Beer Rating: 2 Beers
27 February 2005
Rogue Wave (Slim's, 26 February 2005)
Noisepop is like playing musical chairs in an elementary school gym on a rainy day. Scenesters run around the city, hopping from venue to venue to experience the latest hype-generated bands, established independent music vets, and local faves. On this rainy night, however, we arrived to find that the scenesters weren't playing the game at Slim's. That's not to say that it wasn't a full house -- this was the most crowded I had ever seen it at Slim's. But what was unusual was the fact that the crowd was late 30s mainstream folk. This year has been pretty eclectic in terms of the crowds we homogenize with -- from the scenesters at The Bravery to the bloodied faces of the East Bay Rats to the fey pixies at Joanna Newsom, I thought I had seen it all. But seriously, was this a company Christmas party or a Dave Matthews concert? No -- it was indeed a Noisepop show, and Rogue Wave was headlining.
We arrived to the upbeat sounds of The Comas. We only caught one and a half songs, but judging from the crowd's reaction, they played a solid set of catchy melodies. During the set change, my anticipation grew as the large crowd maneuvered for position to catch a glimpse of what could be a great band to come out of Oakland. Surely a crowd this large must beget a decent performance.
Rogue Wave took the stage and played a song. I'm not going to pretend that I know which song it was, because really, all their songs sort of blended into each other in a goulash of mediocrity. In their defense, they had an uphill battle to climb for three reasons -- they were playing at the worst venue in San Francisco, I was not familiar with their music (nor will I ever be), and they had to follow a great performance from Joanna Newsom on the previous night. That being said, let me rant about mediocre bands. Is it me, or is everything on pitchfork these days a 7 or an 8? Is music really that great right now, or have our standards declined? I mean c'mon -- 8.3 for the Scissor Sisters? 8.2 for the Secret Machines? Rogue Wave was given a generous 7.8 by pitchfork for Out Of the Shadow, and judging from their performance, they must not have played anything from said album, because every song was more uninspiring than the last. The singer sounded exactly like Ben Gibbard from Death Cab/Postal Service, except he wasn't crying or anything. They played two covers - a Beach Boys song and a Buddy Holly song. I forget which ones, but I think the Buddy Holly one was Everyday. Their songs weren't really that horrible, but there was nothing about them that stood out from the rest of the crap that kids call music these days. The crowd seemed to agree with my sentiments, as they slowly dissipated throughout the set. By the end of the night, half the crowd had left. They probably went to the Holy Cow or something.
I had three beers that night, and didn't enjoy a second of it, so I'm going to give it a 4.
Beer Rating: 4 Beers
We arrived to the upbeat sounds of The Comas. We only caught one and a half songs, but judging from the crowd's reaction, they played a solid set of catchy melodies. During the set change, my anticipation grew as the large crowd maneuvered for position to catch a glimpse of what could be a great band to come out of Oakland. Surely a crowd this large must beget a decent performance.
Rogue Wave took the stage and played a song. I'm not going to pretend that I know which song it was, because really, all their songs sort of blended into each other in a goulash of mediocrity. In their defense, they had an uphill battle to climb for three reasons -- they were playing at the worst venue in San Francisco, I was not familiar with their music (nor will I ever be), and they had to follow a great performance from Joanna Newsom on the previous night. That being said, let me rant about mediocre bands. Is it me, or is everything on pitchfork these days a 7 or an 8? Is music really that great right now, or have our standards declined? I mean c'mon -- 8.3 for the Scissor Sisters? 8.2 for the Secret Machines? Rogue Wave was given a generous 7.8 by pitchfork for Out Of the Shadow, and judging from their performance, they must not have played anything from said album, because every song was more uninspiring than the last. The singer sounded exactly like Ben Gibbard from Death Cab/Postal Service, except he wasn't crying or anything. They played two covers - a Beach Boys song and a Buddy Holly song. I forget which ones, but I think the Buddy Holly one was Everyday. Their songs weren't really that horrible, but there was nothing about them that stood out from the rest of the crap that kids call music these days. The crowd seemed to agree with my sentiments, as they slowly dissipated throughout the set. By the end of the night, half the crowd had left. They probably went to the Holy Cow or something.
I had three beers that night, and didn't enjoy a second of it, so I'm going to give it a 4.
Beer Rating: 4 Beers
Joanna Newsom (Swedish American Music Hall, 25 February 2005)
I have to admit, when I first heard Joanna Newsom, I thought her voice was the most annoying thing in the world. This disdain for her voice was rooted in my first two years of working in New York where all the secretaries had that Fran Dresher accent from Long Island. Coming from California, I thought that such accents were an overexaggeration, but, hence, if anything, it was an understatement. From that point on, I found such accents annoying, although at times endearing. Thus, when I first heard of Joanna Newsom sing about bees and honey, it sounded like Fran Dresher with a harp.
Then, something changed. I think as more and more people started convincing me of how awesome she is, and after several articles, I decided to download her album. I listened to the entire thing and still found her voice somewhat annoying. The thing is, I started to like it. When I watched the Nanny on CBS, I hated it, but when I watched the syndicated versions, I liked it. Well, that's how Milk Eyed Mender was to me - it was annoying like the Nanny in the beginning, but I liked it after a few listens.
So, I went to this show with a bit of optimism that this is going to be a special show, but also with a bit of pessimism because this might be one of those annoying shows where I just want to chuck tomatoes at people.
This is the first time I have ever been to the Swedish American Music Hall (SAMH) and it was quite a sight! The SAMH is a very small venue, although slightly bigger than its sister venue, Cafe Du Nord. As you enter, you feel like you are in a Swiss Miss fantasy land. Of course, the first order of business when entering a venue is to get the liquids, but when I approached the concession stand, all there was was snacks and tea! Good grief, is this an elementary school recital or something?
Well, it certainly felt that way as I entered the venue. Folding chairs all around with a bunch of people standing about. The crowd itself looked like a bunch of elementary school teachers and proud parents, waiting for their prized pupil or offspring to play. The stage was rather small, with just a folding chair there for the singer.
We skipped the opener and opted to go to the rather brute Lucky 13 bar next door. We came back just in time for Joanna and there she was, pretty as a pixie with a doily on her head, playing that humungous harp. She was having trouble adjusting her seat at times, since, she candidly admits, "It's hard to find a good chair for a harp."
She opened up with a song that I don't know the title of and she encouraged the crowd to clap along - which we all did. At this point, I can barely hear her voice. The next song, which was a 15 minute epic, was just great! The voice came out of her, and it was so surreal. It was so amazing, yet I was bewildered. I asked, "Self, how the hell does a voice like that come out of her?" Then Self said, "I don't know. Shut up and listen to her singing, bitch!" Yeah, Self and I have issues we need to address.
I left Self alone and started listening to her some more. The crowd loved every single song she played and were just so in awe with her voice and her cute presence. She thanked the crowd often, acknowledged her dad and sister from Valley City being there amongst the crowd, and even dedicated a few songs.
Definite stand outs were "En Gallop," "Sproud and the Bean," and "Peach, Plum, Pear." Absolutely stunning performance! Her voice is still somewhat annoying, but it's just amazing to see a performer like her sing and play the harp.
A definite breath of fresh air from all the rock.
Beer Rating: 2 Beers
Then, something changed. I think as more and more people started convincing me of how awesome she is, and after several articles, I decided to download her album. I listened to the entire thing and still found her voice somewhat annoying. The thing is, I started to like it. When I watched the Nanny on CBS, I hated it, but when I watched the syndicated versions, I liked it. Well, that's how Milk Eyed Mender was to me - it was annoying like the Nanny in the beginning, but I liked it after a few listens.
So, I went to this show with a bit of optimism that this is going to be a special show, but also with a bit of pessimism because this might be one of those annoying shows where I just want to chuck tomatoes at people.
This is the first time I have ever been to the Swedish American Music Hall (SAMH) and it was quite a sight! The SAMH is a very small venue, although slightly bigger than its sister venue, Cafe Du Nord. As you enter, you feel like you are in a Swiss Miss fantasy land. Of course, the first order of business when entering a venue is to get the liquids, but when I approached the concession stand, all there was was snacks and tea! Good grief, is this an elementary school recital or something?
Well, it certainly felt that way as I entered the venue. Folding chairs all around with a bunch of people standing about. The crowd itself looked like a bunch of elementary school teachers and proud parents, waiting for their prized pupil or offspring to play. The stage was rather small, with just a folding chair there for the singer.
We skipped the opener and opted to go to the rather brute Lucky 13 bar next door. We came back just in time for Joanna and there she was, pretty as a pixie with a doily on her head, playing that humungous harp. She was having trouble adjusting her seat at times, since, she candidly admits, "It's hard to find a good chair for a harp."
She opened up with a song that I don't know the title of and she encouraged the crowd to clap along - which we all did. At this point, I can barely hear her voice. The next song, which was a 15 minute epic, was just great! The voice came out of her, and it was so surreal. It was so amazing, yet I was bewildered. I asked, "Self, how the hell does a voice like that come out of her?" Then Self said, "I don't know. Shut up and listen to her singing, bitch!" Yeah, Self and I have issues we need to address.
I left Self alone and started listening to her some more. The crowd loved every single song she played and were just so in awe with her voice and her cute presence. She thanked the crowd often, acknowledged her dad and sister from Valley City being there amongst the crowd, and even dedicated a few songs.
Definite stand outs were "En Gallop," "Sproud and the Bean," and "Peach, Plum, Pear." Absolutely stunning performance! Her voice is still somewhat annoying, but it's just amazing to see a performer like her sing and play the harp.
A definite breath of fresh air from all the rock.
Beer Rating: 2 Beers
26 February 2005
Hot Hot Heat (GAMH, 24 February 2005)
Remember back in the days where the band that you liked were not so popular with the in-crowd? That's my experience with Hot Hot Heat. I remember when they were just mere lads who opened up for The Walkmen at the Bottom of the Hill two years ago. And my, look at them now! Selling out the Great American and playing bigger venues than the Walkmen (who incidentally sold out Bimbo's which is a smaller venue than the GAMH). However, the Walkmen played The O.C. while Hot Hot Heat haven't.
I came in late to the show - partly because I was running late and partially because I knew that the opener will take a while. As I joined my friend at the front, on came Hot Hot Heat. The band looked refreshed and energized after what seems like a long absence. Steve Bays grew out his Jewfro and he looks fab! Kinda crazy like Carrot Top but still stylish enough to take on all the scenesters. Oddly enough, they started off with my favourite song, "No, Not Now" which quickly energized the crowd and a rather tired me. Amazing what a few strokes of the keyboard can do for the song. The band was full of energy, and Steve was bouncing around and playing with the audience.
Obviously, because of the new album, Hot Hot Heat played some tunes in their a little over an hour long set. "Goodnight, Goodnight," their current single, was played pretty early on in the set. The energy in that song was a lot more than I expected, and the crowd seem to love it. They also played a slew of other new songs, which I don't know the titles to, but were just excellent live. If the live versions of these songs are any indication of how the recorded ones will sound, I cannot wait to pick up their album.
Of course, they played the hits that made them the grown up boys of indie rock that they are. "Bandages," their biggest hit off of Make Up The Breakdown, was just amazing this time around. It was loud, boisterous, and the crowd ate it up.
Minus the douche bag that started pushing the crowd around, it was a flawless show.
Beer Rating: 2 Beers
I came in late to the show - partly because I was running late and partially because I knew that the opener will take a while. As I joined my friend at the front, on came Hot Hot Heat. The band looked refreshed and energized after what seems like a long absence. Steve Bays grew out his Jewfro and he looks fab! Kinda crazy like Carrot Top but still stylish enough to take on all the scenesters. Oddly enough, they started off with my favourite song, "No, Not Now" which quickly energized the crowd and a rather tired me. Amazing what a few strokes of the keyboard can do for the song. The band was full of energy, and Steve was bouncing around and playing with the audience.
Obviously, because of the new album, Hot Hot Heat played some tunes in their a little over an hour long set. "Goodnight, Goodnight," their current single, was played pretty early on in the set. The energy in that song was a lot more than I expected, and the crowd seem to love it. They also played a slew of other new songs, which I don't know the titles to, but were just excellent live. If the live versions of these songs are any indication of how the recorded ones will sound, I cannot wait to pick up their album.
Of course, they played the hits that made them the grown up boys of indie rock that they are. "Bandages," their biggest hit off of Make Up The Breakdown, was just amazing this time around. It was loud, boisterous, and the crowd ate it up.
Minus the douche bag that started pushing the crowd around, it was a flawless show.
Beer Rating: 2 Beers
22 February 2005
Secret Machines / Moving Units / Autolux (The Independent, 18 February 2005)
I have to admit, my expectations were pretty low for this show. Although the bill was quite appealing, with all three bands being one of those "up and comers" in the scene, and with pretty decent record releases within the last year, I just didn't know what to expect. From the looks of the sold out crowd, appealing seems to be an understatement.
Let's start off with Autolux, shall we? I have never seen this band, although I think their album Future Perfect is quite good. I was only able to catch their last song, because of my friend and I eating some BBQ across the street. Autolux was very, very similar to Midnight Movies. Girl drummer, very attractive, two blokes on the side, and the girl was singing. However, unlike Midnight Movies, this girl from Autolux can really dish out the drumming. Probably one of the best female drummers I have seen in a while. I don't know which song they played, but they rocked out for a good long time and I dug it immensely. I hoped to have seem more, but I'm sure these guys will be back supporting very soon (yeah, like 3 times!).
Next comes Moving Units. Dubbed as one of the hardest working bands in the business by Filter, you can tell that these guys are professionals. Despite having problems with their equipment, with the singer being shocked once with his mic, they put on a decent set. The catchy disco/electronic tunes were all there with "Fearless," "Killer-Lover," "Birds of Prey," "Submission," "Anyone," "Between Us and Them," "Emancipation," "Melodrama," and "X and Y" being the more memorable ones. However, something left me empty with Moving Units. They were just flat. They weren't excellent, they weren't bad, but they were just flat. Dare I say it, they are like The Bravery: fantastic on MP3 but not so good live. They put on a valiant effort to engage the crowd, which did work at times, but other times it was just a futile attempt.
Finally, Secret Machines. At this point of the show, I couldn't care less about them since I was tired and annoyed with the crowd and the lack of good bands this year. The lighting was excellent, and they did churn out the tunes from their debut release. However, like the bands that preceded them, they were just flat in my opinion. The energy was there, but it wasn't enough to move me to be into it. It was not until "Nowhere Again" did I start to pay attention but that was the encore song by that time. They failed to grab me, and it shows with the other folks watching them since a good portion of the people have exited the building. Not that it's empty inside, but it was noticeably less people in there halfway through their set.
Overall, a show that is flat with a few highlights.
Beer Rating: 3.5 Beers
Let's start off with Autolux, shall we? I have never seen this band, although I think their album Future Perfect is quite good. I was only able to catch their last song, because of my friend and I eating some BBQ across the street. Autolux was very, very similar to Midnight Movies. Girl drummer, very attractive, two blokes on the side, and the girl was singing. However, unlike Midnight Movies, this girl from Autolux can really dish out the drumming. Probably one of the best female drummers I have seen in a while. I don't know which song they played, but they rocked out for a good long time and I dug it immensely. I hoped to have seem more, but I'm sure these guys will be back supporting very soon (yeah, like 3 times!).
Next comes Moving Units. Dubbed as one of the hardest working bands in the business by Filter, you can tell that these guys are professionals. Despite having problems with their equipment, with the singer being shocked once with his mic, they put on a decent set. The catchy disco/electronic tunes were all there with "Fearless," "Killer-Lover," "Birds of Prey," "Submission," "Anyone," "Between Us and Them," "Emancipation," "Melodrama," and "X and Y" being the more memorable ones. However, something left me empty with Moving Units. They were just flat. They weren't excellent, they weren't bad, but they were just flat. Dare I say it, they are like The Bravery: fantastic on MP3 but not so good live. They put on a valiant effort to engage the crowd, which did work at times, but other times it was just a futile attempt.
Finally, Secret Machines. At this point of the show, I couldn't care less about them since I was tired and annoyed with the crowd and the lack of good bands this year. The lighting was excellent, and they did churn out the tunes from their debut release. However, like the bands that preceded them, they were just flat in my opinion. The energy was there, but it wasn't enough to move me to be into it. It was not until "Nowhere Again" did I start to pay attention but that was the encore song by that time. They failed to grab me, and it shows with the other folks watching them since a good portion of the people have exited the building. Not that it's empty inside, but it was noticeably less people in there halfway through their set.
Overall, a show that is flat with a few highlights.
Beer Rating: 3.5 Beers
16 February 2005
Calendar Improvements
Starting this week, and everyday thereafter, any show highlighted in green in the calendar means that it is a recent addition. So far, the following shows were just added:
15 March: Ian Brown @ GAMH
16 April: Q and Not U @ Slim's
15 March: Ian Brown @ GAMH
16 April: Q and Not U @ Slim's
Bright Eyes (Berkeley Community Theatre, 15 February 2005)
Me and my friends went to a party. It was a birthday party. It was Conor Oberst's birthday party, happy birthday Conor! And everyone at the party loved him very, very, very, very, very, very, very much. And then Conor started humming this little tune, and it was "At the Bottom of Everything," from the best album of 2005 thus far, I'm Wide Awake, It's Morning.
Yes, it was Conor's 25th birthday today and it was celebrated by an uplifting and memorable performance at this high school auditorium in downtown Berkeley. The whole show felt like a birthday party . . . albeit a rather large one. After the second song of the set, someone from the crowd yelled and encouraged everyone to sing Conor happy birthday. Of course, we all did and Conor was enamored by the love.
Bright Eyes played pretty much all of Wide Awake, with a sprinkle of Lifted's "Method Acting" and Fever and Mirror's "The Calendar Hung Itself." Wide Awake has been heralded as Conor's finest work. The music press has been waiting for Conor to realize his true potential when he was a songwriter at 19, then 22, and now when he was 24. Wide Awake is a true indie rock/folk classic, some even comparing it as a true Dylan-esque album. Although that may be too high a praise, at least at this point in Conor's career, it was pretty damn close to it.
"We Are Nowhere and It's Now" was played with such emotion that you can really feel that you have been drinking wine until you are blind. "Old Soul's" keyboards were just blissful, with Conor belting out the high notes at the end that made the back of my spine tingle with pure excitement. "Another Travelin' Song" sounded like a true western hee-haw ho-down. All I needed was my cowboy hat and boots and I would have been all set. Then my anger at the current political regime was put into words with "When the President Talks to God." Although this song received mixed applause in Texas, it was received with open arms and loud applause in this Blue State. Speaking of blue, "True Blue" was played with sillyness and coy. One cannot help but laugh at the simplicity of the lyrics when Conor sings this song. Hell, even I wrote a song called "The Red Song" on my drive home, already completing three lines of lyrics.
However, the true highlight song of the evening was "Land Locked Blues." The whole range of emotions this song had was captured live. A bit of sadness when Conor describes a scene where a girl begs her partner to come back to bed, to a bit of comedy when Conor describes being shot by kids with a tree branch gun, and anger at our government's handling of Iraq and Afghanistan. All that was missing was Emmylou Harris' presence and backing vocals and this would have truly been an instant live classic.
After a string of O.K. shows, seeing Bright Eyes was a welcome relief.
Beer Rating: 1 Beer
Yes, it was Conor's 25th birthday today and it was celebrated by an uplifting and memorable performance at this high school auditorium in downtown Berkeley. The whole show felt like a birthday party . . . albeit a rather large one. After the second song of the set, someone from the crowd yelled and encouraged everyone to sing Conor happy birthday. Of course, we all did and Conor was enamored by the love.
Bright Eyes played pretty much all of Wide Awake, with a sprinkle of Lifted's "Method Acting" and Fever and Mirror's "The Calendar Hung Itself." Wide Awake has been heralded as Conor's finest work. The music press has been waiting for Conor to realize his true potential when he was a songwriter at 19, then 22, and now when he was 24. Wide Awake is a true indie rock/folk classic, some even comparing it as a true Dylan-esque album. Although that may be too high a praise, at least at this point in Conor's career, it was pretty damn close to it.
"We Are Nowhere and It's Now" was played with such emotion that you can really feel that you have been drinking wine until you are blind. "Old Soul's" keyboards were just blissful, with Conor belting out the high notes at the end that made the back of my spine tingle with pure excitement. "Another Travelin' Song" sounded like a true western hee-haw ho-down. All I needed was my cowboy hat and boots and I would have been all set. Then my anger at the current political regime was put into words with "When the President Talks to God." Although this song received mixed applause in Texas, it was received with open arms and loud applause in this Blue State. Speaking of blue, "True Blue" was played with sillyness and coy. One cannot help but laugh at the simplicity of the lyrics when Conor sings this song. Hell, even I wrote a song called "The Red Song" on my drive home, already completing three lines of lyrics.
However, the true highlight song of the evening was "Land Locked Blues." The whole range of emotions this song had was captured live. A bit of sadness when Conor describes a scene where a girl begs her partner to come back to bed, to a bit of comedy when Conor describes being shot by kids with a tree branch gun, and anger at our government's handling of Iraq and Afghanistan. All that was missing was Emmylou Harris' presence and backing vocals and this would have truly been an instant live classic.
After a string of O.K. shows, seeing Bright Eyes was a welcome relief.
Beer Rating: 1 Beer
Interpol / Blonde Redhead (The Warfield, 14 February 2005)
Besides the fact that they were playing on Valentine's Day, this is Blonde Redhead and Interpol's second stab in front of a Bay Area audience. Blonde Redhead played Bimbo's late last year and Interpol played this very same venue late last year as well. Now, Blonde Redhead and Interpol's first of a two night residency at the Warfield hope to improve on their past performances.
As previously mentioned in my 16 November review of the Blonde Redhead gig at Bimbo's, I gave them a 5 beer rating and proceeded to call them Blonde Shitehead yet again. However, I really think that they are a good band despite that show and was willing to give them a second look. I have to say, they were much, much better this time around compared to their Bimbo's gig just 3 months earlier. The sound was crisp and loud, and you can actually hear Kazu belt out her voice. The band pretty much played their most recent release, Misery is a Butterfly, and nothing else. The highlight song of the night was "Equus." During their Bimbo's show, "Equus" was really flat and lacked that dance element that was prevalent in the album. Now, thanks to the wonders of acoustics and expensive speakers, "Equus" finally got the live rendition it so truly deserved. Add to that Kazu looking hot in her low cut, backless custom made dress and the band being tight in their playing, "Equus" and the rest of the songs from Misery is a Butterfly were well done. A vast improvement from their Bimbo's show, and now I will call Blonde Shitehead their true name once again.
Where Blonde Redhead shined, Interpol was only so-so. When I saw Interpol on 26 October, I gave them a stellar review, mentioning at the end that I was looking forward to seeing them again. Well, I did but they seemed to fall flat at times throughout the show. They opened with the same song as before, "Next Exit," and surprised the audience when the song after that was their big hit "Slow Hands" from their second release, Antics. After those two songs were played, all the songs started to sound the same.
Other than the occassional antics (pun intended) of Carlos D., the band did not exert the energy that they did before. Although they were tight and sounded great, something in my viewing of the show left me unfulfilled. Were my expectations too high? Was my show ruined because of this ugly couple constantly making out right in front of me? Was it the loud teeny-boppers on my left side? Who knows. One thing is for sure though: Interpol was only so-so this time around.
Beer Rating: 3 Beers
As previously mentioned in my 16 November review of the Blonde Redhead gig at Bimbo's, I gave them a 5 beer rating and proceeded to call them Blonde Shitehead yet again. However, I really think that they are a good band despite that show and was willing to give them a second look. I have to say, they were much, much better this time around compared to their Bimbo's gig just 3 months earlier. The sound was crisp and loud, and you can actually hear Kazu belt out her voice. The band pretty much played their most recent release, Misery is a Butterfly, and nothing else. The highlight song of the night was "Equus." During their Bimbo's show, "Equus" was really flat and lacked that dance element that was prevalent in the album. Now, thanks to the wonders of acoustics and expensive speakers, "Equus" finally got the live rendition it so truly deserved. Add to that Kazu looking hot in her low cut, backless custom made dress and the band being tight in their playing, "Equus" and the rest of the songs from Misery is a Butterfly were well done. A vast improvement from their Bimbo's show, and now I will call Blonde Shitehead their true name once again.
Where Blonde Redhead shined, Interpol was only so-so. When I saw Interpol on 26 October, I gave them a stellar review, mentioning at the end that I was looking forward to seeing them again. Well, I did but they seemed to fall flat at times throughout the show. They opened with the same song as before, "Next Exit," and surprised the audience when the song after that was their big hit "Slow Hands" from their second release, Antics. After those two songs were played, all the songs started to sound the same.
Other than the occassional antics (pun intended) of Carlos D., the band did not exert the energy that they did before. Although they were tight and sounded great, something in my viewing of the show left me unfulfilled. Were my expectations too high? Was my show ruined because of this ugly couple constantly making out right in front of me? Was it the loud teeny-boppers on my left side? Who knows. One thing is for sure though: Interpol was only so-so this time around.
Beer Rating: 3 Beers
Call & Response (Cafe Du Nord, 12 February 2005)
I was just about to write a one word review that can basically some up Call & Response's entire performance: boring. However, I feel that I need to justify this rather blunt and simple statement.
See, although Call & Response were boring, it was only 90% of their fault. I ate a 4 course vegan dinner at the fabulous Millenium Restaurant before going to the show. By that time, my stomach was full of flourless chocolate cake and tempeh based dishes. I was experiencing that bliss that all food lovers enjoy: food coma.
The night started off bad with a rather mediocre set by Bart Davenport. His songs were trite, boring, and flat. The only thing that made his set at least somewhat appealing were his stupid poses on stage. Poses so silly that it would make any 80s hair metal rock star jealous. What made his set worse was the addition of his friend with a rather complicated and long name. He played the flutophone for two of the songs. Unfortunately, the flutophone added nothing to the songs. Even the stage act of playing two flutaphones at once did absolutely nothing to save this set. If there were tomatoes at hand, I probably would have thrown some at them.
After another opening band, Call & Response came on. Don't get me wrong, I like their albums (I have both of them and the EP) and was somewhat excited to see them. Instead of them playing a mix of their discography, they pretty much stuck with their latest release, Winds Take No Shape, which would have been fine if it wasn't for the lack of stage presence of the band. The lead singer was dull. Even the rather boisterous and dancey bass player did nothing. When I saw them open up for Sing-Sing, they were a fantastic band, full of energy. Instead, they played their songs with no energy. It wasn't until they played "Rollerskate" or "California Floating in Space" did they get a noticeable reaction. I was not the only one not feeling this show. By the time the main set was over, a good amount of the already small crowd have left.
It's a damn shame that Call & Response did not put on a good show. They write great songs, but it just didn't translate live this time around.
Beer Rating: 6 pack and liquor
See, although Call & Response were boring, it was only 90% of their fault. I ate a 4 course vegan dinner at the fabulous Millenium Restaurant before going to the show. By that time, my stomach was full of flourless chocolate cake and tempeh based dishes. I was experiencing that bliss that all food lovers enjoy: food coma.
The night started off bad with a rather mediocre set by Bart Davenport. His songs were trite, boring, and flat. The only thing that made his set at least somewhat appealing were his stupid poses on stage. Poses so silly that it would make any 80s hair metal rock star jealous. What made his set worse was the addition of his friend with a rather complicated and long name. He played the flutophone for two of the songs. Unfortunately, the flutophone added nothing to the songs. Even the stage act of playing two flutaphones at once did absolutely nothing to save this set. If there were tomatoes at hand, I probably would have thrown some at them.
After another opening band, Call & Response came on. Don't get me wrong, I like their albums (I have both of them and the EP) and was somewhat excited to see them. Instead of them playing a mix of their discography, they pretty much stuck with their latest release, Winds Take No Shape, which would have been fine if it wasn't for the lack of stage presence of the band. The lead singer was dull. Even the rather boisterous and dancey bass player did nothing. When I saw them open up for Sing-Sing, they were a fantastic band, full of energy. Instead, they played their songs with no energy. It wasn't until they played "Rollerskate" or "California Floating in Space" did they get a noticeable reaction. I was not the only one not feeling this show. By the time the main set was over, a good amount of the already small crowd have left.
It's a damn shame that Call & Response did not put on a good show. They write great songs, but it just didn't translate live this time around.
Beer Rating: 6 pack and liquor
06 February 2005
Luna (The Fillmore, 5 February 2005)
After fourteen years, Luna played their last show last night at a sold out Fillmore. This is my first and, unfortunately, the last time I'll be seeing Luna and I thoroughly enjoyed their set. I only have one album, the recent release Rendezvous, and I was satisfied with the night after they played tracks off that album. Little did I know that there was more in store for me.
"Malibu Love Nest" was done to perfection with Deans' voice being sharp and crisp. Although Britta's bass was too high for this song, and at some others throughout the show, I barely noticed it since I was really into the song. The guitars during "Speedbumps" were just absolutely amazing. I was very impressed with their guitar work and everything seemed to be in perfect sync. "Cindy Tastes of Barbecue" was a very entertaining track because the opening chords sound like Cornershop's "Brimful of Asha." Thus, I couldn't help but hum the Cornershop tune everytime I heard that chord sequence. I bet that would be a good mash up actually. But my favourite song of all out of Rendezvous is "Still at Home." It is such a beautiful song on the album, and is even more beautiful live because, well, it's live. Sean Eden's voice was surprisingly good, just because I thought such a voice wouldn't translate well live.
Most of the songs Luna played I didn't know, but there were two songs worth noting. Their rendition of Serge Gainsborg's "Bonnie and Clyde" was fantastic. Britta has big shoes to fill because Laetitia Sadier originally sang the female vocals, but Britta did well. I barely noticed the difference actually. Also, I didn't know this, but apparently Luna are famous for doing random covers during their encore. Well, they did a cover of a notable disco classic "Rock Me Baby" (Note: I think that's the title, but the chorus has those words so I just assumed). It caught me totally off guard and Dean's voice was perfect for the cover.
Overall, a good show and it is rather unfortunate that I was such a late bloomer to Luna. Like how I was with Dean's former band, Galaxie 500. However, at least I can say I saw them one last time.
Beer Rating: 2.5 Beers
"Malibu Love Nest" was done to perfection with Deans' voice being sharp and crisp. Although Britta's bass was too high for this song, and at some others throughout the show, I barely noticed it since I was really into the song. The guitars during "Speedbumps" were just absolutely amazing. I was very impressed with their guitar work and everything seemed to be in perfect sync. "Cindy Tastes of Barbecue" was a very entertaining track because the opening chords sound like Cornershop's "Brimful of Asha." Thus, I couldn't help but hum the Cornershop tune everytime I heard that chord sequence. I bet that would be a good mash up actually. But my favourite song of all out of Rendezvous is "Still at Home." It is such a beautiful song on the album, and is even more beautiful live because, well, it's live. Sean Eden's voice was surprisingly good, just because I thought such a voice wouldn't translate well live.
Most of the songs Luna played I didn't know, but there were two songs worth noting. Their rendition of Serge Gainsborg's "Bonnie and Clyde" was fantastic. Britta has big shoes to fill because Laetitia Sadier originally sang the female vocals, but Britta did well. I barely noticed the difference actually. Also, I didn't know this, but apparently Luna are famous for doing random covers during their encore. Well, they did a cover of a notable disco classic "Rock Me Baby" (Note: I think that's the title, but the chorus has those words so I just assumed). It caught me totally off guard and Dean's voice was perfect for the cover.
Overall, a good show and it is rather unfortunate that I was such a late bloomer to Luna. Like how I was with Dean's former band, Galaxie 500. However, at least I can say I saw them one last time.
Beer Rating: 2.5 Beers
02 February 2005
New Show Added
Cat Power is playing at Swedish American Music Hall on February 18th. She's doing a solo set, so it's going to be acoustic. Make sure you have an iPod with you because she'll be constantly tuning her guitar and not remembering chords.
Details in the Music Calendar.
Details in the Music Calendar.
01 February 2005
New/Updated Shows For Week of January 31st
The following shows were either added or updated in the Music Calendar. Most of these shows are going on sale this weekend:
- March 8: Kings of Convenience @ GAMH
- March 22: Kaiser Chiefs @ Slim's (conflicts with Decemberists - damn it!!)
- April 3: The Soundtrack of Our Lives @ GAMH
- April 28: The Fiery Furnaces / Dios Malos @ GAMH
- April 29: The Fiery Furnaces / Dios Malos @ GAMH
- April 30: Coachella @ Empire Polo Field, Indio, CA
- May 1: Coachella @ Empire Polo Field, Indio, CA
- May 3: Raveonettes @ GAMH
- June 1: Of Montreal @ GAMH
31 January 2005
East Bay Rats Fight Party & Carnival (Nimby, Oakland, 29 January 2005)
Whoa.
Pyrotechnics?
A bonfire in the back from a tin can?
Bikers?
Drunk men and women of various ages, styles, and degree of attractiveness?
Full on marching band complete with cheerleader strippers?
A 24 pack of Sierra and assorted Bass and Stella's at hand?
And a boxing ring in the middle where there are two girls wrestling each other with their bare hands?
All this for $5? Either I was in a real-life Fight Club or the bible got hell all wrong.
Welcome to the spectacle that is the East Bay Rats Fight Party & Carnival. This thing was probably the weirdest and most obscure thing I have ever seen. Yet, it was probably the most surreal and one of the most memorable nights I've had in a while.
As my friends and I were walking towards the warehouse, we can hear the loud sounds of engines, explosions, and the roar of the crowd from the inside. When we reached the entrance, a whole line of motorcycles were outside and was accompanied by a Volkswagen van that was so altered that the guys from Pimp My Ride would have been proud of it. I didn't know what to expect, especially since this isn't a scene that I'm really familiar with. I honestly thought, at that point, that I made a big mistake dragging my friends to this event.
However, all those preconceived notions were immediately thrown out the window when my eyes were greeted to the sight of a boxing ring where two guys were slugging the living crap out of each other. I was intrigued, so I moved closer. After I reached for a beer in my friend's bag, I suddenly became more into the event, becoming more thrilled as each punch landed. After this bout, I looked around and was amazed by the environment. Plenty of people all around of different backgrounds and ethnicities, a huge pyrotechnic set up in the far corner, a huge stage on the left for the band, and a blazing bonfire in the back. This was awesome!
My attention immediately focused on the ring yet again when a semi-attractive woman and her alleged sister or friend engaged in a wrestling match. At first, the match was boring because they would pull their hair and immediately both would end up on the mat. But then, the fight got better. At the start, these two girls were playful with one another, but now they are turning into bitter enemies. The hair tugging was more intense, there was real anger in each of their faces, more pushing and shoving, and then...the kicking started. Oh, yes! This was such a beautiful sight.
More of these types of matches went on and time definitely flew by. Most of the matches involving the men were entertaining, but some of them were just way too drunk to fight. For example, Fu Man Chu vs. Smitty was a great match to watch, but Smitty was way too drunk and everytime he would throw a punch, he would be falling soon thereafter. Fu Man Chu did get some good hits in there since Smitty was bleeding for most of the time. Another was the battle of the Big Black Guys, where the guy that belonged to the East Bay Rats was clearly drunk out of his mind to fight. They did give it a good go, but both of them were too tired and drunk to continue.
The girl fights were definitely the highlight of the evening because, let's face it, they're more entertaining to watch! DKNY vs. Whitie was a good one, with DKNY (a rather large African-American woman) got some good hooks and jabs against Whitie. However, despite the mismatch, Whitie stood her ground and fought DKNY hard. Another match was the Asian Girl with the Pink Streaks vs. Girl with Red Shirt. Asian Girl landed some great punches on Red's head and torsoe, and vice versa. Definitely the highlight match of the night, with Asian girl winning the bout.
While all these matches were unfolding, bands would play on the sidestage. Two punk bands played but were largely ignored by the crowd because they sucked. However, the Extra Action Marching Band stole the entire event. This group consisted of a full on marching band and they sounded fabulous, especially since their tunes were accompanied by people beating the crap out of one another. Then, the cheerleader strippers, which consisted of two flat chested women and one man with a thong performed cheers for the crowd while Extra Action were playing. It was fantastic! However, the dude with the thong was just way too disgusting to look at. Grotesque!
Overall, a memorable night. One of the most entertaining and awesome spectacles to date!
Beer Rating: 1 Beer
Pyrotechnics?
A bonfire in the back from a tin can?
Bikers?
Drunk men and women of various ages, styles, and degree of attractiveness?
Full on marching band complete with cheerleader strippers?
A 24 pack of Sierra and assorted Bass and Stella's at hand?
And a boxing ring in the middle where there are two girls wrestling each other with their bare hands?
All this for $5? Either I was in a real-life Fight Club or the bible got hell all wrong.
Welcome to the spectacle that is the East Bay Rats Fight Party & Carnival. This thing was probably the weirdest and most obscure thing I have ever seen. Yet, it was probably the most surreal and one of the most memorable nights I've had in a while.
As my friends and I were walking towards the warehouse, we can hear the loud sounds of engines, explosions, and the roar of the crowd from the inside. When we reached the entrance, a whole line of motorcycles were outside and was accompanied by a Volkswagen van that was so altered that the guys from Pimp My Ride would have been proud of it. I didn't know what to expect, especially since this isn't a scene that I'm really familiar with. I honestly thought, at that point, that I made a big mistake dragging my friends to this event.
However, all those preconceived notions were immediately thrown out the window when my eyes were greeted to the sight of a boxing ring where two guys were slugging the living crap out of each other. I was intrigued, so I moved closer. After I reached for a beer in my friend's bag, I suddenly became more into the event, becoming more thrilled as each punch landed. After this bout, I looked around and was amazed by the environment. Plenty of people all around of different backgrounds and ethnicities, a huge pyrotechnic set up in the far corner, a huge stage on the left for the band, and a blazing bonfire in the back. This was awesome!
My attention immediately focused on the ring yet again when a semi-attractive woman and her alleged sister or friend engaged in a wrestling match. At first, the match was boring because they would pull their hair and immediately both would end up on the mat. But then, the fight got better. At the start, these two girls were playful with one another, but now they are turning into bitter enemies. The hair tugging was more intense, there was real anger in each of their faces, more pushing and shoving, and then...the kicking started. Oh, yes! This was such a beautiful sight.
More of these types of matches went on and time definitely flew by. Most of the matches involving the men were entertaining, but some of them were just way too drunk to fight. For example, Fu Man Chu vs. Smitty was a great match to watch, but Smitty was way too drunk and everytime he would throw a punch, he would be falling soon thereafter. Fu Man Chu did get some good hits in there since Smitty was bleeding for most of the time. Another was the battle of the Big Black Guys, where the guy that belonged to the East Bay Rats was clearly drunk out of his mind to fight. They did give it a good go, but both of them were too tired and drunk to continue.
The girl fights were definitely the highlight of the evening because, let's face it, they're more entertaining to watch! DKNY vs. Whitie was a good one, with DKNY (a rather large African-American woman) got some good hooks and jabs against Whitie. However, despite the mismatch, Whitie stood her ground and fought DKNY hard. Another match was the Asian Girl with the Pink Streaks vs. Girl with Red Shirt. Asian Girl landed some great punches on Red's head and torsoe, and vice versa. Definitely the highlight match of the night, with Asian girl winning the bout.
While all these matches were unfolding, bands would play on the sidestage. Two punk bands played but were largely ignored by the crowd because they sucked. However, the Extra Action Marching Band stole the entire event. This group consisted of a full on marching band and they sounded fabulous, especially since their tunes were accompanied by people beating the crap out of one another. Then, the cheerleader strippers, which consisted of two flat chested women and one man with a thong performed cheers for the crowd while Extra Action were playing. It was fantastic! However, the dude with the thong was just way too disgusting to look at. Grotesque!
Overall, a memorable night. One of the most entertaining and awesome spectacles to date!
Beer Rating: 1 Beer
26 January 2005
The French Kicks (Bottom of the Hill, 22 January 2005)
It was a chilly Saturday evening in San Francisco as I arrived at the Bottom of the Hill. Surprisingly, there was a line outside the door full of kids waiting in the hope that the venue wouldn't fill to capacity. The place was packed and I was just checking to see whether I was at Arcade Fire again or something. Because, I would have never thought that the French Kicks would attract this many people.
So, yes, the place was packed. It was as if I was a lost cow in Coalinga - just going through herds upon herds of bodies. As I was trying to find my way through the place, Dios (or Dios Malos) were playing. I only have their EP, the really good Los Arboles EP. They played many songs that were, obviously, not on the EP and I found them rather enjoyable, although a bit repetitive. Repetitive in a sense that Kevin Morales' voice doesn't vary much and their songs blend some classy pop elements without any sort of "adventure" in any of their instrumentation. Probably the most enjoyable part of their set was when some woman decided to take Kevin's beer and splashed its contents on him, partially getting his equipment wet. I stiill don't know what was behind that fiasco, but apparently the band knew who this woman was.
On came the French Kicks a short time later. I couldn't believe how tall Nick was. I mean, I saw therm perform on Later with Carson Daly and knew he was tall, but he seemed taller than life on stage. I was excited to see this band, since their new album, The Trial of the Century, was a dramatic improvement over their debut release, One Time Bells. The band started off with their "hit" off One Time Bells "Wrong Side." This immediately ignited the crowd, and caught my attention. I was surprised that they played this song first, since it is a type of song that a band would save for their encore. The band were into it, with Nick playfully eyeing the crowd.
However, that was probably the best moment of the Kicks' entire set. The songs from that point just all blended together, and the band themselves weren't exactly the most exciting to watch on stage. "Don't Thank Me" was played well, but it failed to really catch my attention. "Oh Fine" did catch my attention, with Nick clapping his hands, but I was so inattentive after the opening drums that I almost fell asleep.
I think this review is really unfair on The Kicks because I really do think that they are an excellent band, with strong tunes. However, I may have to categorize them as one of those bands that you can just listen over and over again on your iPod but yet feel empty when you see them live. Although Nick makes a great effort in trying to entertain (the man looks like Topher Grace to me, but that's my opinion), the band just lacks the "ooomph" that I thought would be forthcoming.
Then again, I love Oasis and they don't do jack shit on stage. Eh, go figure.
Beer Rating: 3.5 Beers
So, yes, the place was packed. It was as if I was a lost cow in Coalinga - just going through herds upon herds of bodies. As I was trying to find my way through the place, Dios (or Dios Malos) were playing. I only have their EP, the really good Los Arboles EP. They played many songs that were, obviously, not on the EP and I found them rather enjoyable, although a bit repetitive. Repetitive in a sense that Kevin Morales' voice doesn't vary much and their songs blend some classy pop elements without any sort of "adventure" in any of their instrumentation. Probably the most enjoyable part of their set was when some woman decided to take Kevin's beer and splashed its contents on him, partially getting his equipment wet. I stiill don't know what was behind that fiasco, but apparently the band knew who this woman was.
On came the French Kicks a short time later. I couldn't believe how tall Nick was. I mean, I saw therm perform on Later with Carson Daly and knew he was tall, but he seemed taller than life on stage. I was excited to see this band, since their new album, The Trial of the Century, was a dramatic improvement over their debut release, One Time Bells. The band started off with their "hit" off One Time Bells "Wrong Side." This immediately ignited the crowd, and caught my attention. I was surprised that they played this song first, since it is a type of song that a band would save for their encore. The band were into it, with Nick playfully eyeing the crowd.
However, that was probably the best moment of the Kicks' entire set. The songs from that point just all blended together, and the band themselves weren't exactly the most exciting to watch on stage. "Don't Thank Me" was played well, but it failed to really catch my attention. "Oh Fine" did catch my attention, with Nick clapping his hands, but I was so inattentive after the opening drums that I almost fell asleep.
I think this review is really unfair on The Kicks because I really do think that they are an excellent band, with strong tunes. However, I may have to categorize them as one of those bands that you can just listen over and over again on your iPod but yet feel empty when you see them live. Although Nick makes a great effort in trying to entertain (the man looks like Topher Grace to me, but that's my opinion), the band just lacks the "ooomph" that I thought would be forthcoming.
Then again, I love Oasis and they don't do jack shit on stage. Eh, go figure.
Beer Rating: 3.5 Beers
22 January 2005
The Bravery (Cafe Du Nord, 21 January 2005)
Let's see:
1. Scenester Hair? Check.
2. Scenester Outfits? Check.
3. Booming guitars ? Check.
4. Accompanied by synths? Check.
5. Stage presence? Check.
6. Good music? Umm...good music? Anywhere?
The checklist above represents how the Bravery were like. All looks, no music. This is the new buzz band of the moment and NME is already heralding this band as the next Franz Ferdinand or the next Killers. Are they kidding me? You know, NME has mislead me many times throughout the years. When they said that Gay Dad back in 1997 was the next Blur, I bit on the bait and was sorely disappointed. Oasis' Be Here Now as the greatest Oasis release? Yeah right! I should have learned my fucking lesson when the NME said the same about the Bravery.
Don't get me wrong. On MP3, the Bravery can churn out the tunes. The incredibly catchy "Honest Mistake," "Unconditional," and "Fearless" are outrageously dancy that I find myself strutting down Market St. on my iPod sometimes. But such songs, for some reason didn't translate well live.
First, the Bravery were hindered by a non-working mic on the first 3 songs of their set. This immediately made me disinterested in their proceeding songs. Although the instrumentation was very strong, not being able to hear the lead singer's voice made the first 3 songs unbearable. In fact, I was yawning uncontrollably during these songs, despite "Unconditional" and "No Brakes" being a part of those songs.
Second, the crowd in the back sucked. There was no energy back there and it showed. Maybe because they were as turned off as I was with the mic being off, but others just didn't give a shit. It seemed like we were suckered by all the hype behind this band and we didn't get anything.
Third, even when the Bravery were audible, the lead singer's voice was just not strong enough for the mediocre PAs of Cafe Du Nord. His voice did not carry and it didn't enable me to be even remotely interested. Even "Honest Mistake," which is my favourite song by the Bravery, was just plain flat. Even their covers were flat. It just never flowed.
Finally, there were many personal circumstances which prevented me from enjoying this show. After seeing The Arcade Fire three times before this show, the Bravery had a lot to live up to. I wanted theatrics, like how Will and Richard would bash each other. I wanted a strong voices like Win. I wanted eye candy with the band like Regine. See what I mean? It was just not fair for the Bravery under the circumstances.
Without the music, your band of pretty boys is just that . . . a bunch of pretty boys. Haven't these guys learned from The Faint? They needed more synths! Hell, more cowbell would be great too!
This was how bad the Bravery were: their openers were better than they were. The first band sounded like how the Bravery would have sounded like if their mic worked. Honestly, I thought it was the Bravery playing when in fact it was only the opener. Even the Peels, which is a female fronted band which is not new wave band unlike the two others, energized the crowd with their strong guitarwork and the lead singer's Karen O. like presence.
Beer Rating: 4.5 Beers
1. Scenester Hair? Check.
2. Scenester Outfits? Check.
3. Booming guitars ? Check.
4. Accompanied by synths? Check.
5. Stage presence? Check.
6. Good music? Umm...good music? Anywhere?
The checklist above represents how the Bravery were like. All looks, no music. This is the new buzz band of the moment and NME is already heralding this band as the next Franz Ferdinand or the next Killers. Are they kidding me? You know, NME has mislead me many times throughout the years. When they said that Gay Dad back in 1997 was the next Blur, I bit on the bait and was sorely disappointed. Oasis' Be Here Now as the greatest Oasis release? Yeah right! I should have learned my fucking lesson when the NME said the same about the Bravery.
Don't get me wrong. On MP3, the Bravery can churn out the tunes. The incredibly catchy "Honest Mistake," "Unconditional," and "Fearless" are outrageously dancy that I find myself strutting down Market St. on my iPod sometimes. But such songs, for some reason didn't translate well live.
First, the Bravery were hindered by a non-working mic on the first 3 songs of their set. This immediately made me disinterested in their proceeding songs. Although the instrumentation was very strong, not being able to hear the lead singer's voice made the first 3 songs unbearable. In fact, I was yawning uncontrollably during these songs, despite "Unconditional" and "No Brakes" being a part of those songs.
Second, the crowd in the back sucked. There was no energy back there and it showed. Maybe because they were as turned off as I was with the mic being off, but others just didn't give a shit. It seemed like we were suckered by all the hype behind this band and we didn't get anything.
Third, even when the Bravery were audible, the lead singer's voice was just not strong enough for the mediocre PAs of Cafe Du Nord. His voice did not carry and it didn't enable me to be even remotely interested. Even "Honest Mistake," which is my favourite song by the Bravery, was just plain flat. Even their covers were flat. It just never flowed.
Finally, there were many personal circumstances which prevented me from enjoying this show. After seeing The Arcade Fire three times before this show, the Bravery had a lot to live up to. I wanted theatrics, like how Will and Richard would bash each other. I wanted a strong voices like Win. I wanted eye candy with the band like Regine. See what I mean? It was just not fair for the Bravery under the circumstances.
Without the music, your band of pretty boys is just that . . . a bunch of pretty boys. Haven't these guys learned from The Faint? They needed more synths! Hell, more cowbell would be great too!
This was how bad the Bravery were: their openers were better than they were. The first band sounded like how the Bravery would have sounded like if their mic worked. Honestly, I thought it was the Bravery playing when in fact it was only the opener. Even the Peels, which is a female fronted band which is not new wave band unlike the two others, energized the crowd with their strong guitarwork and the lead singer's Karen O. like presence.
Beer Rating: 4.5 Beers
18 January 2005
The Arcade Fire (The Troubadour, Los Angeles, 16 January 2005 [1st Show])
What a crazed, maniacal fan am I. After seeing Arcade Fire for two straight nights at the GAMH, and missing their third night there due to a trip to L.A. that weekend, I decided to shell out the bucks and see them (again) in L.A. This time, the venue was the Troubadour and I went to see the Arcade Fire play their early show on Sunday night. As you may already know, Arcade Fire had a two day, three show residency at the famed Troubadour, with them playing two shows on Sunday: a 6:30pm matinee and a 9:30pm prime time show.
Opening bands Tyco B and Final Fantasy once again joined the Arcade Fire on this part of the tour. The schedule was tight, so each opener was relegated to a set amount of time (30 minutes max). At around 7pm, members of the Arcade Fire started to enter the venue. At one point, during a brief pause in the Final Fantasy set, I yelled out, "Hey Win!" and Win looked around to see who it was. I raised my beer to assert my presence, he looked at me weird, but nonetheless waved hello. Yeah, I'm a freak. My girlfriend thought so at least.
At 7:45pm, Arcade Fire came on. Unlike their San Francisco shows, where they opened with "Wake Up" and "Laika," they instead opened up with "Tunnels" and, I believe, "Crown of Love." The set was shorter because of the time constraints, with standard setlist songs like "In the Backseat" and the Talking Heads cover of "This is the Place" missing from the setlist. Regardless, core favourites of mine like, "Power Out" and "No Cars Go" were present. Win called the early crowd the "polite crowd," since the night before, the L.A. crowd was really loud and active.
In the middle of the set, Win invited the singer of Tyco B on stage for them to perform "Cars and Phones," which is a demo performed by the Arcade Fire when the Tyco B singer was part of the band. Win said, "the San Francisco crowd asked for this song, so after a couple of days of rehearsing it, here it is." Apparently, this song is available on some P2P sites, but I have yet to hear the demo version. However, this live version is absolutely amazing and is very worthy of being an A-side in any upcoming Arcade Fire release. It's one of the softer songs, with heavy strings and acoustic guitar accompanying it.
The stage antics were again present here, with Richard and Will knocking the crap out of anything solid during "Laika," which was the last song of the main set. The band came on to perform one encore, "Wake Up," which was, yet again spine chilling from beginning to end.
After the short set, the crowd obviously wanted more! Talk was abundant amongst the audience on how they could sneak into the sold out second show. Others were saying that this was the "best show ever!" Nonetheless, the crowd was not disappointed and I'm absolutely certain that when Arcade Fire come around L.A. again, these same people will be there and they will take a few friends along to witness the glory. I brought my girlfriend along and thought that Arcade Fire put on an amazing show, so much so that she is probably listening to their album right now as I type.
Beer Rating: 0.5 Beers (just because it's shorter and it's in L.A.)
Opening bands Tyco B and Final Fantasy once again joined the Arcade Fire on this part of the tour. The schedule was tight, so each opener was relegated to a set amount of time (30 minutes max). At around 7pm, members of the Arcade Fire started to enter the venue. At one point, during a brief pause in the Final Fantasy set, I yelled out, "Hey Win!" and Win looked around to see who it was. I raised my beer to assert my presence, he looked at me weird, but nonetheless waved hello. Yeah, I'm a freak. My girlfriend thought so at least.
At 7:45pm, Arcade Fire came on. Unlike their San Francisco shows, where they opened with "Wake Up" and "Laika," they instead opened up with "Tunnels" and, I believe, "Crown of Love." The set was shorter because of the time constraints, with standard setlist songs like "In the Backseat" and the Talking Heads cover of "This is the Place" missing from the setlist. Regardless, core favourites of mine like, "Power Out" and "No Cars Go" were present. Win called the early crowd the "polite crowd," since the night before, the L.A. crowd was really loud and active.
In the middle of the set, Win invited the singer of Tyco B on stage for them to perform "Cars and Phones," which is a demo performed by the Arcade Fire when the Tyco B singer was part of the band. Win said, "the San Francisco crowd asked for this song, so after a couple of days of rehearsing it, here it is." Apparently, this song is available on some P2P sites, but I have yet to hear the demo version. However, this live version is absolutely amazing and is very worthy of being an A-side in any upcoming Arcade Fire release. It's one of the softer songs, with heavy strings and acoustic guitar accompanying it.
The stage antics were again present here, with Richard and Will knocking the crap out of anything solid during "Laika," which was the last song of the main set. The band came on to perform one encore, "Wake Up," which was, yet again spine chilling from beginning to end.
After the short set, the crowd obviously wanted more! Talk was abundant amongst the audience on how they could sneak into the sold out second show. Others were saying that this was the "best show ever!" Nonetheless, the crowd was not disappointed and I'm absolutely certain that when Arcade Fire come around L.A. again, these same people will be there and they will take a few friends along to witness the glory. I brought my girlfriend along and thought that Arcade Fire put on an amazing show, so much so that she is probably listening to their album right now as I type.
Beer Rating: 0.5 Beers (just because it's shorter and it's in L.A.)
14 January 2005
The Arcade Fire (GAMH, 13 January 2005)
Remeber how things that comes in two's are good? Wouldn't it be better if things came in three's? Such as three strikes against the opposing team? Three day weekends? Three wishes from a genie in a bottle (preferably not Christina Aguilera . . . well, maybe)? How does seeing three Arcade Fire shows in a month sound? Too good to be true? Well, add seeing them three times to the list.
Like my previous post, I thought that seeing them for the third time, the recent two in consecutive nights, will erode my interest and "awe" in them. And at the very beginning of their set during their second night at GAMH, I thought that albeit for only a brief moment. My friends and I secured a really good spot this time, front and center, to see the band in all their glory. Unfortunately, that spot had its consequences: we had to stand there and perish as opening bands Tyco B and Final Fantasy did their bit. Granted, I came in late (as usual) and saw Final Fantasy, but his schtick immediately wore off. This is especially the case when he did his avante garde bit with the yelling into the violin and even more random fits of shouting. Although Owen is very talented, I think his role is better suited as Arcade Fire's second violinist.
Arcade Fire came on much quicker this time, since their set-up is practically rooted at the GAMH stage for the next three nights. There really is no incentive to disassemble and re-arrange from the previous night. Like last night's show, the band came on with the same stage outfits and opened with the same two songs, "Wake Up" and "Neighborhood #2 (Laika)."
Although the same two songs came on, they were noticeably different from the night before. First, "Wake Up" didn't seem so great the third time around. Although it is still my favourite song from the album Funeral, the in unison shout of the band didn't seem to be that strong tonight. Maybe it was where I was standing, where the speakers were weirdly aligned, or maybe it's because of my "been there, done that" attitude at that point, or, and this is the most logical reason, it may be because of Win's initial guitar problems, but it just wasn't the same. However, that feeling quickly disappeared towards the last and final group shout. The shivers came back and it was more intense than ever. The below 5'7" crowd I was around was jumping and dancing at the last minutes of the song. The crowd was into it, and then I became into it.
"Neighborhood #2 (Laika)" [pictured above] was also different because, apparently, someone stole Will's blue helmet. Win then threatened the crowd, albeit jokingly, that if he sees the helmet on eBay, he will kill the person! The absence of the helmet really changed the dynamics of the song because, usually, Will goes ape shit with that helmet on and does really bad things. Like smash walls! I was looking forward to him smashing more walls, but this time no such smashing was to be found. However, Richard did climb up the speaker and ignited the crowd with his helmet bashing. Will proceeded to do other things that are even more electrifying compared to last nights. At this point, I was thinking, "Damn it! I LOVE THIS BAND!!"
"No Cars Go" was the next song. At this point, Win was urging the crowd to stop acting as if the GAMH was a museum. Although the GAMH did look like a museum, I really didn't understand this remark because it seemed like the crowd was even more into it tonight compared to the night before. Another fantastic rendition of this Arcade Fire staple. Will was his usual crazy self, playing the guitar wildly and marching back and forth throughout the stage. At one point, Win had enough of his shenanigans and Win took the mic cord and wrapped it around the neck of his brother and proceeded to strangle him. We were in shock! But it made for great entertainment. Also, Win was slightly injured in this set because he hit his head on the mic. This produced some bloodshed and that's probably why he choked his brother. It was pure foreshadowing because more antics involving bodily harm were to come up.
Regine was as dazzling as ever when she was playing the steel drums during Arcade Fire's rendition of the Talking Head's "This is the Place" [see above]. She was playing with the crowd the entire time, raising her arms and playing "peek-a-boo." She's so cute! Why must she be all chummy with Win. Yeah, the guy's her husband. And they are madly in love as evidenced by her signing a friend's EP (my friend's name is Edwin, and she wrote edWIN and placed smiley faces and hears around WIN - argh!!!). I'm happy for them . . . I guess. But I digress.
Not sure what was next, but maybe it was "Haiti."
As the band powered through the rest of the album, including my new favourite renditions of "Rebellion (Lies)" and "Crown of Love," the band came back for their first encore. Like last night, the flash lights were back as, "Neighborhood #3 (Power Out)" came on. At this point, Win said, to some extent, that this song will end the museum-ness of the venue. Surely, it did. Everyone was having an epileptic seizure it seems like, with their bodies shaking, knees buckling, and facial expressions that are just plain weird. Yeah, I was one of them. Win was really into it that he stood in front of the drums and climbed on it. The man almost fell over, nearly injured the drummer, and severely injured Bessy the Cow.
The last song played was "Backseat." As the song was ending, the group began their moaning all at once bit, then in funeral procession like fashion, marched off stage carrying a tambourine. A fitting ending to a fantastic show.
A fucking amazing show! So much show that I bought tickets for their L.A. gig on Sunday.
By the way, the awesome pictures above were taken by Sara. Thanks Sara!
Beer Rating: 0.0000000000000001 Beers
Like my previous post, I thought that seeing them for the third time, the recent two in consecutive nights, will erode my interest and "awe" in them. And at the very beginning of their set during their second night at GAMH, I thought that albeit for only a brief moment. My friends and I secured a really good spot this time, front and center, to see the band in all their glory. Unfortunately, that spot had its consequences: we had to stand there and perish as opening bands Tyco B and Final Fantasy did their bit. Granted, I came in late (as usual) and saw Final Fantasy, but his schtick immediately wore off. This is especially the case when he did his avante garde bit with the yelling into the violin and even more random fits of shouting. Although Owen is very talented, I think his role is better suited as Arcade Fire's second violinist.
Arcade Fire came on much quicker this time, since their set-up is practically rooted at the GAMH stage for the next three nights. There really is no incentive to disassemble and re-arrange from the previous night. Like last night's show, the band came on with the same stage outfits and opened with the same two songs, "Wake Up" and "Neighborhood #2 (Laika)."
Although the same two songs came on, they were noticeably different from the night before. First, "Wake Up" didn't seem so great the third time around. Although it is still my favourite song from the album Funeral, the in unison shout of the band didn't seem to be that strong tonight. Maybe it was where I was standing, where the speakers were weirdly aligned, or maybe it's because of my "been there, done that" attitude at that point, or, and this is the most logical reason, it may be because of Win's initial guitar problems, but it just wasn't the same. However, that feeling quickly disappeared towards the last and final group shout. The shivers came back and it was more intense than ever. The below 5'7" crowd I was around was jumping and dancing at the last minutes of the song. The crowd was into it, and then I became into it.
"Neighborhood #2 (Laika)" [pictured above] was also different because, apparently, someone stole Will's blue helmet. Win then threatened the crowd, albeit jokingly, that if he sees the helmet on eBay, he will kill the person! The absence of the helmet really changed the dynamics of the song because, usually, Will goes ape shit with that helmet on and does really bad things. Like smash walls! I was looking forward to him smashing more walls, but this time no such smashing was to be found. However, Richard did climb up the speaker and ignited the crowd with his helmet bashing. Will proceeded to do other things that are even more electrifying compared to last nights. At this point, I was thinking, "Damn it! I LOVE THIS BAND!!"
"No Cars Go" was the next song. At this point, Win was urging the crowd to stop acting as if the GAMH was a museum. Although the GAMH did look like a museum, I really didn't understand this remark because it seemed like the crowd was even more into it tonight compared to the night before. Another fantastic rendition of this Arcade Fire staple. Will was his usual crazy self, playing the guitar wildly and marching back and forth throughout the stage. At one point, Win had enough of his shenanigans and Win took the mic cord and wrapped it around the neck of his brother and proceeded to strangle him. We were in shock! But it made for great entertainment. Also, Win was slightly injured in this set because he hit his head on the mic. This produced some bloodshed and that's probably why he choked his brother. It was pure foreshadowing because more antics involving bodily harm were to come up.
Regine was as dazzling as ever when she was playing the steel drums during Arcade Fire's rendition of the Talking Head's "This is the Place" [see above]. She was playing with the crowd the entire time, raising her arms and playing "peek-a-boo." She's so cute! Why must she be all chummy with Win. Yeah, the guy's her husband. And they are madly in love as evidenced by her signing a friend's EP (my friend's name is Edwin, and she wrote edWIN and placed smiley faces and hears around WIN - argh!!!). I'm happy for them . . . I guess. But I digress.
Not sure what was next, but maybe it was "Haiti."
As the band powered through the rest of the album, including my new favourite renditions of "Rebellion (Lies)" and "Crown of Love," the band came back for their first encore. Like last night, the flash lights were back as, "Neighborhood #3 (Power Out)" came on. At this point, Win said, to some extent, that this song will end the museum-ness of the venue. Surely, it did. Everyone was having an epileptic seizure it seems like, with their bodies shaking, knees buckling, and facial expressions that are just plain weird. Yeah, I was one of them. Win was really into it that he stood in front of the drums and climbed on it. The man almost fell over, nearly injured the drummer, and severely injured Bessy the Cow.
The last song played was "Backseat." As the song was ending, the group began their moaning all at once bit, then in funeral procession like fashion, marched off stage carrying a tambourine. A fitting ending to a fantastic show.
A fucking amazing show! So much show that I bought tickets for their L.A. gig on Sunday.
By the way, the awesome pictures above were taken by Sara. Thanks Sara!
Beer Rating: 0.0000000000000001 Beers
13 January 2005
The Arcade Fire (GAMH, 12 January 2005)
Few things in life are good the second time around. A second helping of your favourite dish, a second paycheck, and a second chance. Well, add a second time seeing The Arcade Fire to that favourite lists of seconds. After raving about them in their first San Francisco show at the Bottom of the Hill back in December, well, be prepared for another rave review of their first of three shows at the Great American. In fact, I'm so excited to write about what transpired in their first show at GAMH, that I'm literally going to pee in my pants in 5 minutes. Yeah kids, drinking and then having a spot that is impossible to leave is not good for the bladder.
There were several similiarities from their December show with this one. First, everyone's outfit was the same. Regine wore her trademark black dress with white strap and accompanying red stockings and gloves (more like an arm warmer), the female violinist (forgot ther name) wore the same dress, and Win wore the same outfit (suit jacket and dress shirt). The props were the same, with the cow near the drums (I like to call her Bessy) and the reindeer (which Winn said they got from Wal-Mart who is their secret corporate sponsor). And they played the same songs.
Also, the first two songs they started with were the same, with "Wake Up" and "Neighborhood #2 (Laika)." Like the December shows, these were just outstanding and they were excellent starting songs because it really pumped up the crowd. I literally got shivers when they shouted in unison during "Wake Up." It's just sheer bliss. During "Laika," Richard (aka Napoleon Dynamite) and Will put the motorcycle helmets again and were banging the living shit out of anything solid. Will even got up on the speaker and made several visible dents on the wall on the upper right side of the stage. An act so brilliant and moving that I wanted to go up there and smash things up myself.
Let me digress here about Will: he has to be my favorite Arcade Fire member next to Richard. He is just an absolute crazy fool! You don't know what he'll be up to. And he bangs the drums like a mad man. At one point, he had this look on his face while he was banging the drum on "Laika" like this crazed murderer constantly stabbing his helpless victim. Yeah, it was that intense.
While some things were the same, others were noticeably different: (1) There was one reindeer missing. in their props; (2) They had the album cover hands taped on the pillars; (3) they have an additional violin player, Owen from Final Fantasy; (4) the songs were played in a different order; and (5) the length and sound of their songs were more epic. I think the reason for (5) is that the GAMH's sound system is vastly superior to Bottom of the HIll's.
I am just amazed at the Arcade Fire's intensity throughout their show. I don't know how they do it. They seemed a lot fresher for this show than their December one, probably because of their much needed break (even though Win was sidelined for a couple of weeks with illness). Of course, their intensity is . . . um . . . intensified by the much bigger stage of the GAMH. Every song, from the start to the finish, was just downright amazing. From all 10 tracks of the album, to "No Cars Go," to their newish song called "Burning Bridges, Breaking Hearts," and to their outstanding cover of Talking Head's "This Must Be the Place," every bit was played with so much intensity and brilliance that one has to wonder if these guys are like manna from heaven. Just the abundance of layers in their music - the percussion, guitars, strings, and the occasional accordion and xylophone - made each song stand out on their own. All they needed was a cowbell damn it!
OK, my bladder is about to burst, so I have to stop here. Just to let you know, I'm going tomorrow night and I can't fuckin' wait! Also, I brought some friends with me who saw them for the first time and I'm glad to hear from all of them that they enjoyed the show very much. So much so that they were asking me for tickets!
Once again, Arcade Fire, "this Bud's for you!"
Beer Rating: 0 Beers
There were several similiarities from their December show with this one. First, everyone's outfit was the same. Regine wore her trademark black dress with white strap and accompanying red stockings and gloves (more like an arm warmer), the female violinist (forgot ther name) wore the same dress, and Win wore the same outfit (suit jacket and dress shirt). The props were the same, with the cow near the drums (I like to call her Bessy) and the reindeer (which Winn said they got from Wal-Mart who is their secret corporate sponsor). And they played the same songs.
Also, the first two songs they started with were the same, with "Wake Up" and "Neighborhood #2 (Laika)." Like the December shows, these were just outstanding and they were excellent starting songs because it really pumped up the crowd. I literally got shivers when they shouted in unison during "Wake Up." It's just sheer bliss. During "Laika," Richard (aka Napoleon Dynamite) and Will put the motorcycle helmets again and were banging the living shit out of anything solid. Will even got up on the speaker and made several visible dents on the wall on the upper right side of the stage. An act so brilliant and moving that I wanted to go up there and smash things up myself.
Let me digress here about Will: he has to be my favorite Arcade Fire member next to Richard. He is just an absolute crazy fool! You don't know what he'll be up to. And he bangs the drums like a mad man. At one point, he had this look on his face while he was banging the drum on "Laika" like this crazed murderer constantly stabbing his helpless victim. Yeah, it was that intense.
While some things were the same, others were noticeably different: (1) There was one reindeer missing. in their props; (2) They had the album cover hands taped on the pillars; (3) they have an additional violin player, Owen from Final Fantasy; (4) the songs were played in a different order; and (5) the length and sound of their songs were more epic. I think the reason for (5) is that the GAMH's sound system is vastly superior to Bottom of the HIll's.
I am just amazed at the Arcade Fire's intensity throughout their show. I don't know how they do it. They seemed a lot fresher for this show than their December one, probably because of their much needed break (even though Win was sidelined for a couple of weeks with illness). Of course, their intensity is . . . um . . . intensified by the much bigger stage of the GAMH. Every song, from the start to the finish, was just downright amazing. From all 10 tracks of the album, to "No Cars Go," to their newish song called "Burning Bridges, Breaking Hearts," and to their outstanding cover of Talking Head's "This Must Be the Place," every bit was played with so much intensity and brilliance that one has to wonder if these guys are like manna from heaven. Just the abundance of layers in their music - the percussion, guitars, strings, and the occasional accordion and xylophone - made each song stand out on their own. All they needed was a cowbell damn it!
OK, my bladder is about to burst, so I have to stop here. Just to let you know, I'm going tomorrow night and I can't fuckin' wait! Also, I brought some friends with me who saw them for the first time and I'm glad to hear from all of them that they enjoyed the show very much. So much so that they were asking me for tickets!
Once again, Arcade Fire, "this Bud's for you!"
Beer Rating: 0 Beers
10 January 2005
Communiqué (Bottom of the Hill, 9 January 2005)
Minus a handful of exceptions, local bands seem to disappoint me. I guess it all started in high school in San Diego when this band called FITH (i.e. Fucked In The Head - dumb ass name!)played at the high school talent show. Consisting of high schoolers and some recent graduates, the band was a direct knock off of Nirvana and Pearl Jam. Unfortunately, they weren't as good as those bands, and they were just downright dreadful. I gave local bands another try throughout the years, all with utter disappointment and disgust.
So, when Jason told me to check out Communiqué, a local band, my skepticism immediately started. I was hesitant to see this band because: (1) they were local and (2) they opened up for a handful of major acts that came to San Francisco and I missed all their appearances on purpose because of (1). Since I had nothing better to do that night other than watch Desparate Housewives and Jason guaranteed to me that they were going to be good, I bought my ticket and checked them out.
Before going to the show, I bought the band's EP, A Crescent Moon, and gave it a listen. I was impressed by their sound, since it was very melodic indie rock. Some of the tracks reminded me of The Killers, solely because of the accompanying keyboards in some of the tracks.
Jason's excitement for this show was very amusing, insisting that we go to the front. I acquiesced and was not disappointed. I don't know the titles to most of the songs they did, but the ones I did know, such as "Evaporate," were surprisingly good. The band weren't "spring chickens" by any means. They were tight in their song playing, provided a really hyper stage presence, and the lead singer would sometimes place his left arm on his back - sort of like how Brett Anderson of Suede would do. The chords were really catchy, although the lyrics were a bit simplistic. Lyrics really never bothered me, since I'm more of a catchy tunes person myself. They were rockin' on all their songs, including their encore. The crowd were hopping and some were dancing maniacally. They definitely wanted more after their encore (although a majority of those were their friends). Needless to say, I wanted to see more of what these guys can do.
Sure they can play a crowd, but can they headline? With one album and one EP under their belts, they definitely need some more material to provide a more meaningful headlining act (their set lasted 45 minutes). Based on what I saw, they could be a fantastic opening band for any indie show. This headliner show they had proved that they can headline and have the music to prove it.
A great show. One of the surprising ones of the year thus far.
Beer Rating: 2.5 Beers
So, when Jason told me to check out Communiqué, a local band, my skepticism immediately started. I was hesitant to see this band because: (1) they were local and (2) they opened up for a handful of major acts that came to San Francisco and I missed all their appearances on purpose because of (1). Since I had nothing better to do that night other than watch Desparate Housewives and Jason guaranteed to me that they were going to be good, I bought my ticket and checked them out.
Before going to the show, I bought the band's EP, A Crescent Moon, and gave it a listen. I was impressed by their sound, since it was very melodic indie rock. Some of the tracks reminded me of The Killers, solely because of the accompanying keyboards in some of the tracks.
Jason's excitement for this show was very amusing, insisting that we go to the front. I acquiesced and was not disappointed. I don't know the titles to most of the songs they did, but the ones I did know, such as "Evaporate," were surprisingly good. The band weren't "spring chickens" by any means. They were tight in their song playing, provided a really hyper stage presence, and the lead singer would sometimes place his left arm on his back - sort of like how Brett Anderson of Suede would do. The chords were really catchy, although the lyrics were a bit simplistic. Lyrics really never bothered me, since I'm more of a catchy tunes person myself. They were rockin' on all their songs, including their encore. The crowd were hopping and some were dancing maniacally. They definitely wanted more after their encore (although a majority of those were their friends). Needless to say, I wanted to see more of what these guys can do.
Sure they can play a crowd, but can they headline? With one album and one EP under their belts, they definitely need some more material to provide a more meaningful headlining act (their set lasted 45 minutes). Based on what I saw, they could be a fantastic opening band for any indie show. This headliner show they had proved that they can headline and have the music to prove it.
A great show. One of the surprising ones of the year thus far.
Beer Rating: 2.5 Beers
07 January 2005
Earlimart (Popscene, 6 January 2005)
You know that Napoleon Dynamite movie? Well, it was on last night on the telly at 330 Ritch and I couldn't take my eyes off of it. Granted, the audio is on mute but the sheer sight of Mr. Dynamite himself is so hilarious! I can't get over how much he looks like Richard Parry of the Arcade Fire. I just had to laugh as I was watching the movie.
Then there's this stupid bimbo and her boyfriend dancing as if this was some sort of freak show. Me and my friend Minh-Lan were speaking in Spanish (really badly by the way) making fun of them. "Le estupide en su izquierda bailar como una slut!" Yeah.
Popscene crowd was kinda old. The young kids must be out and about in thier suburban homes in L.A.
Oh, yeah. Earlimart. Almost forgot about them. Just goes to show how much I wasn't into them during this show, which is a shame since their latest release is pretty good. You know how there are those certain bands that are just really good on CD but not so good live? Well, that's Earlimart. They were fun to watch at the Fillmore, but 33o Ritch doesn't give bands that much justice. I haven't seen one show at 330 Ritch that's even worth a 3 beer rating. Even Ash, a band that I absolutely love to watch, was not worth a 3 beer rating at 330 Ritch.
With that in mind, my apologies Earlimart. It didn't seem like you guys were having that much fun on stage anyways.
Beer Rating: 4 Beers
Then there's this stupid bimbo and her boyfriend dancing as if this was some sort of freak show. Me and my friend Minh-Lan were speaking in Spanish (really badly by the way) making fun of them. "Le estupide en su izquierda bailar como una slut!" Yeah.
Popscene crowd was kinda old. The young kids must be out and about in thier suburban homes in L.A.
Oh, yeah. Earlimart. Almost forgot about them. Just goes to show how much I wasn't into them during this show, which is a shame since their latest release is pretty good. You know how there are those certain bands that are just really good on CD but not so good live? Well, that's Earlimart. They were fun to watch at the Fillmore, but 33o Ritch doesn't give bands that much justice. I haven't seen one show at 330 Ritch that's even worth a 3 beer rating. Even Ash, a band that I absolutely love to watch, was not worth a 3 beer rating at 330 Ritch.
With that in mind, my apologies Earlimart. It didn't seem like you guys were having that much fun on stage anyways.
Beer Rating: 4 Beers
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