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I’m proud to be a Marylander tonight. I just got home from an awesome house show in College Park with Ante Up headlining. It was my first time seeing them and I had such a good time. not only did they cover Affront and Bad Brains (at my request after a conversation with the guitarist about their cover songs), but they had great music of their own!
They’ve obviously taken lessons from The Scare as far as the style of their “Whoa-ohs” and slower parts requiring melodic vocals. While it does seem a little cheesy and/or sappy at times, the gang vocals, fast metal riffs, and persistent drums compensate. It’s a fun listen. These guys took a Bane song title and produced good, not -over-the-top-tough-guy melodic hardcore. In short, Ante Up > Bane.
Crime in Stereo + The Scare + good times (i.e., covering Blink 182’s “Dammit” as their last song)= Ante Up.
Thank you Silver Spring, MD for giving me something to be proud of.
Wow, I only had to hear about two minutes worth of this band before I decided I would be blog-praising them.
The first thing that pulled me in was the intoxicating vocals. They sound like Ian Mackaye talking/ singing at times, but they mostly trade off for a more soothing sing/ yell. The voice reminds me of Ignite or Ambitions because of the genuine singing ability. The abundance in gang vocals give it that newer hardcore feel along with slow, two step-able double bass spots and a couple metal riffs high on the fret. The tempo ranges from super fast to mid-tempo and dance-able. A lot of the faster parts are melodic and Kid Dynamite-ish with more of a metal feel. The influences listed on their myspace page are pretty accurate - Minor Threat, Fugazi, Battery (Yay DC bands), H20, Decendents. I am also hearing AFI and Sinking Ships. These guys are definately not like recent generic hardcore. They are standing out and I am getting addicted. Already on my third run-through of their myspace songs.
They’re on tour now backing their full-length Lens. Check out their dates on the myspace page.
I want to thank Baltimore’s Double Dagger, who played the Talking Head (now attached to the Sonar).Thank you for the breath of fresh air during Insubordination Fest. I was drowning in pop-punk, and your sound was like a breath of fresh, non-toxic, arboretum-worthy oxygen. Although they just released a CD/LP on Toxic Pop Records, their sound belongs on a late-80’s Dischord compilation. They take Rites of Spring, smooth it over, add melody, and tone down the screachiness in the vocals. You can’t help but move to the rhythm of the drum and bass while vocalist Nolan Strals sing/talk/screams. Their tunes could be on in the background while you’re just laying around the house or turned all the way up while you’re throwing a house party.
Their live performance cannot be transferred to C.D., which is for the best considering the stage antics of Strals can get to be a bit overwhelming and obnoxious as he stumbles into the crowd and attempts to intimidate them by staring into their eyes and grabbing them while singing, or just rolling around and tangling the microphone wire throughout legs.
I forgive him for his obnoxious behavior because the sound was so refreshing. It’s really like nothing I’ve heard before and I’m happy to represent this local talent.
Sakes Alive!! is a treat. While their style will undoubtedly pull in fans of hardcore in general, they offer an extra spark that will attract metalcore and generic alternative rock fans as well. When I say “extra spark”, I pretty much just mean a couple impressive metal riffs tangled throughout their debut EP, “Presents”. The sound is generally melodic, but heavy. The liner notes claims they’ve only got one guitarist, Chris Vandeviver, doubling as a vocalist, but the combination of melodic riffs and fast-paced strumming makes it hard to believe there’s only one dude doing all of that. The sound remains mid to fast-tempo with a lack of breakdowns or any change of pace, pushing quickly through the three-song demo in seven minutes. They do a good job of mixing music styles, so that they’re not weighing too heavy on either the alternative rock, hardcore, or metal platforms. It will be interesting to see which direction their next couple albums head.
The lyrics are impressive, obviously Vaneviver took his time playing with words and I wouldn’t be surprised if he’s got some poetry classes under his belt. So even if you don’t appreciate the music, at least admit that this man can creatively rely his messages. His subject matter deals with worry and confusion about the future, loneliness, superficiality, and cutting tension - all with an empowering edge. There are also a few “Hey, Hey, Hey”s thrown in for a nice punk twist. The sound reminds me of Incommudicado, Crime in Stereo, Dillinger Four, and Olympia.
Wow, you know what I just remembered . . . Modern Life is War broke up and it sucks. This is a draft I started a while back and was too embarrassed to post it. Not anymore. I fucking miss you MLIW!
I just need to say goodbye.
This blog post is about to be cheesy as hell, and most likely long, but I feel it just needs to be done.
This morning I was daydreaming and I had a memory take over my mind - a Modern Life is War basement show in Harrisonburg, VA last September. I didn’t so much think about the set list or crowd reaction, but more just my friends and I’s reaction. We’d make eye contact and smile at parts of our favorite songs since we have all expressed our favorite lyrics to each other and incorporated them into inside jokes. Maybe you could consider us dorks, but we’ve even been known to act out our favorite lyrics. In the song “DEADRAMONES”, Jeff sings the line “Tonight we’ll get our kicks, tonight we’re all letting go . . .” Well sure enough when he said, “get our kicks,” Jason and I pointed to our feet and kicked our right legs. Wow, we’re losers. Maybe it’s for the best that MLIW is breaking up, and now we can all get lives. Nevertheless, I’m going to miss their shows - full of pile ons and fighting for the mic at our favorite lines (James once stole the mic for my favorite MLIW line, “The world isn’t against you, my dear. It just doesn’t care”, after insisting that he would help me up to get the mic at that point. He still thinks it’s funny.) After seeing them the first time back in January 2006, at every show of their’s that I’ve attended, I”ve struggled to be in the front row to smile at their (former) guitarist, Sjarm, and yell in Jeff’s face.
Modern Life is War has meant a lot to me, maybe too much.
They came along at just the right time in my life. I was 19 and lost when I first heard them, now I’m 21 and even more lost after graduating. However, Jeff’s inspiring lyrics pop into my head almost daily and give me hope. Just the simple, “we overcome, we push ahead” from My Love. My Way.’s “First and Ellen”. Like he said at their last show, knowing someone can feel the same as you is just indescribable. It really is. I can talk to friends about all the crap in my head, and if they can’t empathize, I at least recognize that someone felt the same and already wrote something inspiring relating to it.
I don’t know if Jeff will ever read this blog again so I don’t feel too awkward basically admitting that he’s kinda one of my heroes.
I don’t know if i will ever feel the same about another band…
</sappy>
These guys . . .
That’s them at my house in Jan. 2006 with their two roadies Sean and Josh I believe???
Only three of those five remained in the final line up, but yeah. I promise that is my house and this isn’t some random image I found on google.
Start new bands, guys. Start new fuckin’ bands.
July 4th is shaping up to be an amazing day. None More Black announced that they will be putting on a free show in Philadelphia and I am stoked. I just missed the boat on these guys, checking them out only when they released their last album, This is Satire, in 2006. They broke up shortly afterwards and I never got a chance to see them live. I will be there. Thanks, Punknews.
Credit: Chris Schmelke
While Radiohead’s Kid A plays on the overhead, many of the almost sold-out show are fighting back yawns before the headliners Tokyo Police Club take the stage at D.C.’s Black Cat. Although they name Radiohead as a major inspiration, Kid A might’ve been a poor choice for overhead music before their set because the D.C. audience did a whole lot of standing still during TPC’s entire set; it was not easy to get them moving. Tokyo Police Club didn’t seem to mind; of course why would they? They’ve been selling out venues across the world and they’ve been getting thrilling responses. The night before D.C., in Philadelphia, “They went nuts.” Bassist and vocalist Dave Monks said of the audience. “It wasn’t just one or two people doing it . . . it was kinda like (throughout) the entire set,” he said, excited that a show in the states could be as intense as a show in Canada; Tokyo Police Club’s hometown is Toronto, Ontario. While a lot of audience members at indie shows tend to avoid dancing and opt for standing still, Dave admits, “I’ve seen a lot of bands live and I’m absolutely guilty of not moving at shows.” The guys in TPC do like to see energy coming from their audience, but it doesn’t necessarily have to be kinetic, “We had an amazing show in Japan where people didn’t make any noise at all when we were playing but afterwards you could just see the smiles on everyone’s faces and everyone was cheering. It was definitely kind of bizarre, but it just felt right,” said Dave. “Just responsiveness in any way” will be appreciated by the members of TPC, said Dave.
While they’ve been selling out venues lately, TPC’s goal is to establish themselves as a long term band. “Don’t’ want to be a flash in the pan type situation . . . just establish ourselves as a band that’s going to be here for a while not just one of those bands,” Greg Alsop, drummer, explained. Before venues were selling out on the nights they visited, TPC’s goals were a lot more modest, “When we first started we’d play anywhere to anyone . . . At first I didn’t know we’d be playing the Black Cat,” said Dave. The guys, recent Letterman performers, were shocked by any media attention at all to begin with. “When I first heard ourselves on the radio in Toronto . . .I mean . . .that was not part of the plan,” Dave said, explaining original goals for the band.
“Your view of success changes so much . . . you kind of refine your goals as you go,” said Greg.
As they continue trying to establish themselves as a long term band, TPC just released a new album, Elephant Shell. It was released on April 22nd but the majority of the D.C. audience may not have picked it up yet, considering they didn’t show much energy as TPC plowed through at least half the songs from the album. Elephant Shell is their first full length, and it’s a good listen. It seems a bit more relaxed than their previous LP A Lesson in Crime, but there is still a good amount of poppy riffs, clapping, and dance-able They guys in TPC are happy about the response to the album so far and feel that most fans like it more than the old stuff, “As far as live shows, it used to just be that new songs would get the standard obligatory applause, like ‘cool cool, now let’s hear something we know,’ but now its working out that even the new songs get louder cheers than old songs,” said Dave. “We’re really happy with it and we tried to make a record where every song could be someone’s favorite Tokyo Police Club song,” he said. Dave named his favorite song on the new album as “The Baskervilles”, the very last track. Find your favorite Tokyo Police Club song at www.myspace.com/tokyopoliceclub.
I wrote a short review about Gaslight Anthem’s new EP, The Senor and the Queen, a while ago. I slacked and didn’t post it. Quickly enjoy these 223 words . . .
The new Gaslight Anthem EP, Senor and the Queen, has managed to keep the same ol’ Gaslight Anthem sound, and that is a good thing. They have yet to alter their sound a whole lot, staying on the same wave of alternative/folk/pop/punk. The music seems to straddle Against Me!, Hot Water Music, and Bruce Springsteen all at once. Their fun, hard-to-classify sound debuted with the LP Sink or Swim, and this four-song EP flows perfectly in the same vein. They’ve really struck gold with their specially brewed genre, as it’s quite vague and their small alterations to tempo and instrumentation don’t really push it out of its realm, and it keeps fans wondering what new sounds will make them dance next.
They’re still singing a lot about nostalgia, falling in love, having a party, and dancing with girls named Maria. Vocalist/ guitarist Brian Fallon’s voice sounds a little hardened, but still soothing as he tells stories of times past and times to come. Overall, filling listeners with a hopeful, good feeling; no songs seem to end on a bad note, but rather hopeful. Giving a listener an inspiring lyric is like giving a mouse a cookie, they’re going to keep coming back for more. Gaslight Anthem will likely be around for a good while handing out more inspiring lyrics and good punkish tunes.
I interviewed Lauren Measure last week. Here is the resulting article:
(from myspace.com/themeasuresa)
Forming in the summer of 2004, and not expecting the band to last for very long, The Measure recorded their debut LP, Historical Fiction “just to have a record of the band,” said Lauren. They’ve kept on truckin’ and releasing numerous 7 inches along the way. So far they’ve got seven 7 inches out in addition to Historical Fiction. Each 7 inch displays the ever-changing sound of The Measure, as they break further away from the “pop-punk” label, “If you listen to our first album verses our 7 inches that we just put out, it’s really different. You can probably tell the 7 inches now are by the same band that put out Historical Fiction, but I think we’ve definitely come a long way as a band,” guitarist and vocalist Lauren said. The Measure can’t be simply be labeled, and they like it that way. While they fall into the “pop-punk” genre, “you can’t really label us as just a pop punk band, just early 90s rock, or just and indie band. We try to not just sound like one specific sound . . . I think we all want to write songs, but that don’t sound like we just wrote a pop punk song. We want it to be more interesting than that,” said guitarist Lauren Measure. A lot of the Measure’s influences come from folk and country musicians such as Bob Dylan and Billy Bragg. Lauren named punk and pop punk favorites as Screeching Weasel, The Clash, Jawbreaker, NOFX, and Green Day. Lauren agrees that recently there has been a pop-punk revival, “I used to think that it was just me getting into more pop punk, but I definitely think there are a lot of bands that are getting back to pop punk whereas for a while you saw a ton of hardcore bands and metal making a comeback . . .I think a lot of what I see now is pop punk . . . I think that’s cool ‘cause I’m having a good time,” she said. Lauren has good reason to be having a ton of fun because a lot of those bands accumulate in the New York and New Jersey region; The Measure is one of them with a hometown in New Brunswick, New Jersey. “The New Jersey scene is just great,” she said. “Bands from New Jersey are putting out some of the best records I’ve heard in a long time and we’re all friends and I just think it’s great. I think I’m really lucky to live in close proximity to that,” she said. The Measure is also able to take inspiration from these bands in close proximity, “We’re really influenced by a lot of bands we play with all the time. They keep pushing us to be better,” she said, listing some newer bands as inspiration, “I’m really into bands that are out there now – The Ergs, The Hunchback, This is My Fist, Ringers.”
The Measure tends to play a lot of shows with these hometown bands and at their local shows they expect to see their friends up front going off, but as they’ve been touring more and more, they’ve started to see fan emerging all over the place. “More and more our records are getting out there . . . we went on tour recently and we saw kids that we don’t know sing along and having a really good time -I was really excited about that,” she said. They’ve started playing bigger venues and their only current goal is to just keep touring. “We definitely want to go on tour. That’s the only thing we keep talking about,” she said.
The Measure has gone through a couple line-up changes and it currently consists of Lauren Measure - guitar/vocals, Fid - guitar/vocals, Andrew – bass, Mikey Yannich – drums.
To hear The Measure check out http://www.myspace.com/themeasuresa.
I interviewed Dr. Dan recently.
It was the best interview I’ve done in a long time.
This feature on Paint it Black is almost 1,700 words. Tell me what you think.
photo: Chrissy Piper
It’s not uncommon to sometimes see Dan Yemin referred to as a God or a hero. Check punk rock message boards, fanzines, or music news outlets. The musician has performed in four well known acts within the punk scene – Lifetime, Kid Dynamite, Armalite, Paint it Black. He’s been the guitarist for all but Paint it Black, where he’s on vocals – mostly screams, “It’s been established that I can’t sing,” said Yemin. But how does he respond to hearing that someone claims him as a god or a hero? “That’s ludicrous,” he said. Not only does he believe “the God part is offensive,” but he also said “I hope people can choose more inspiring heroes.”
However, he’s not all that vexed by the notion, “When people refer to me as a hero I’m flattered . . . if I’m a positive figure for people that’s awesome . . . but I can’t take credit all for myself,” he said, suggesting that all of his projects have been collaborative efforts. He also admits that he tries not to keep his worshippers and fans in mind when creating new material with his bands. “You’ll be dishonest if you’re writing for fans . . . it’s to them not for them,” he explained.
It seems his most recent project, Paint it Black, is where he is investing a lot of his interest lately, especially after the release of their third full length, New Lexicon, in late February. Yemin admitted he is super hyped about this album, naming it as one of his most proud accomplishments musically, “The new album- I haven’t been that excited for an album since Hello Bastards (Lifetime’s first record released in 1995),” he said.
New Lexicon has been getting great reviews and all of Paint it Black’s members are happy with the response aside from Jared, drummer, who is the newest addition to the group and had been too apprehensive to read reviews. He joined two years ago and New Lexicon has been his first chance to showcase his talent with Paint it Black on an album, but his band mates assured him that everyone loves the new album. “We sound the tightest and most bludgeoning that we have. You know, I think people are always shy about complimenting people to their face, but at least one person every night on this tour has come up to me and said ‘I was a little nervous about the change in drummers, but God damn!’,” said Yemin. Paint it Black recently played a select few dates on Strike Anywhere’s tour with Riverboat Gambler and they stopped at DC’s Black Cat on March 6th.
Paint it Black has had a few line up changes as far as guitarists and drummers, but the two originals, Dan Yemin and Andy Nelson, bass, agree that the lineup is solid and they’re playing the best they ever have. Dan also expressed that “this band has the best work ethic of any group of people I’ve ever played with,” he said. Bassist Andy feels “I think that with Josh (guitar) and Jared . . . for the first time we have become a cohesive unit as opposed to a series of people playing songs that are written,” he said. The band might work so well together because “As a band in general we’re friends outside of it and that definitely comes through. We can hang out and do other things outside of it,” said Andy. They also try a lot different things during the creating process to get the best result, like playing all the songs at half speed. Andy explained why they chose to do that while recording the last record, “Hardcore bands and punk bands tend to favor velocity and volume over precision and detail, really . . . when we slowed it down, played it quiet and really paid attention to every note…it yielded a lot of things that probably wouldn’t have been there if we were just playing hard and fast,” he said. The creating process generally follows the pattern that Dan explained, “I write the lyrics and I write the skeletons of the songs . . . these guys cut it open, pull all the organs out, rearrange it so that the head is sticking out of the ass and like wrap the intestines around the neck,” he said. In the end, “I’m really proud of the dynamics on this record,” said Dan. Something he’s come to learn through working with so many different musicians in various bands is “learning to trust other people with my songs,” he said.
Another helpful aspect is that the Paint it Black members all listen to a wide variety of music and they all bring something different to the table with their different musical backgrounds. “You can’t write good hardcore if you only listen to hardcore,” Andy said, attributing the advice to Dan Yemin. All of the band mates agreed with this statement, and “if you look at Jared’s IPod it’s proof,” said Dan. Jared listed some of his favorite musicians as Nirvana, Fugazi, Roy Orbison, and John Bonham in addition to a few hardcore acts. All of Paint it Black admitted to being huge Fugazi fans, admiring the way the band worked together to create music and got to know each other so well they could feel what their band mates wanted to play live and didn’t need a set list. Andy and Jared of Paint it Black both suggested that sometimes they get that feeling while practicing together and both understand what song the other wants to play. “You couldn’t do that without me,” said Dan. “You would say ‘1,2,3,4’ and I would start singing something completely different, Dan said, jokingly.
Dan is also a big fan of underground hip-hop including KRS-One, Chuck D, and MF Doom. All of the hip-hop MCs have a huge effect on Paint it Black, explained Dan. He admires hip hop in the way that they give a character voice, tell a story with a character, and have fun with language. He tries to apply this when writing lyrics, and he also realizes that “what’s catchy is the cadence over the beat,” he said, and this is very apparent on the new album; you could easy catch yourself bobbing your head to the beat seeing as how Dan snuck those catchy aspects into his lyrics.
When he writes, “it usually starts with one line and goes from there,” he said. His lyrics are always a social commentary and he tends to encourage hope through his lyrics. “The best compliment I ever got was ‘it’s amazing how you make disillusionment seem so hopeful’,” he said. He feels that hope is important and every song ends on a hopeful note. “Hope is courageous. Hopelessness is cowardly,” he said. He went on to talk about how he believes change is important and hope is tied into change. “I stake my life and career on the fact that people can change,” he said. He hopes his lyrics can be inspiring, “words and relationships can be catalysts for change. I offer words and hopefully this band offers a relationship (for the fans),” he said.
One common theme on this last record is challenging religion. In his lyrics, Dan mentions that he doesn’t believe in God and he envies those who do, “I wish I had your faith, maybe then I’d feel safe,” he yells on “White Kids Dying of Hunger”. “On this record, I interrogate the idea of faith a lot. It’s a duality because faith is what gets people through the day, but it’s also a tool to oppress and it’s a tool for social control,” he said.
Fans seem to really be digging the new material. They’ve been getting great responses at their live shows. Dan said they no doubt get the best response in Philly, their hometown, and since the record’s been out for a month, they are getting an ever bigger response. “People are really going for it with the new record,” said Dan. He admits that being on vocals can really take it out of him, especially when the crowd is going wild. “I’ll come home with bruises and my wife will say she wishes there was some other way for the crowd to show their appreciation . . . some nights feel like I’m not going to make it through the set . . . I feel like I’ve been beaten by 2×4s,” he said, referring to the multiple pile-ons at shows when the kids go crazy and fight to get the mic from Dan to sing their favorite lines. It must not help that Dan keeps up his intimidating attitude on stage, however. At their second record release show in Philly back in January he told the crowd he wanted to see a lot more stage dives that night than the previous night, or else “I’m gonna kill you,” he announced to every one in the crowd. Of course it’s meant to be funny, but when you get what his band mates call the “Eye of Sauron,” it’s still a little scary. In DC, a crowd member in the front row shouted, “Show me your degree!” (Dan Yemin is a child psychologist). Dan responded quickly by saying, “I’ll show you the bottom of my foot.” Being behind a mic is a lot different than just being behind a guitar. He admits it’s “much more physically taxing . . . being on guitar is easier,” he said.
Dan admits that sometimes being on stage can be “the best feeling in the world,” he said. “If the band has got it together musically, and there is good crowd participation . . . we’re going to give it 100 percent no matter what, but when the crowd is into it, it’s like, times ten . . . it’s a cyclical inspiration. We’re inspired when someone gets stoked . . . it’s like your first orgasm all over again. You realize ‘wow! I could do this all day long!’”
Check them out. www.myspace.com/paintitblack
My piece on Gaslight Anthem . . .
New Brunswick, New Jersey’s most recent musical gem is Gaslight Anthem. The four-piece just hit the road with The Loved Ones and their first stop was Washington, D.C.’s Black Cat. Brain Fallon, vocals/ guitar, expressed that he was pumped about this tour, This is going to be the good hang out tour with our friends. It’s going to be really cool. The Loved Ones are from the same area, we all have the same friends, so it’s just going to be like taking the home show out on the road. . . You normally don’t go on the road with people you know. It’s going to be awesome,” he said. Gaslight opened for The Loved Ones, but attendees might agree that they stole the show with their energy and fun, impossible-to-classify sound. In addition to one seemingly out-of-place stage dive at the Black Cat show, their live show usually makes for “a lot of singing along, a lot of beer spilled, and a lot of hugging,” Brian said, expressing that he doesn’t quite understand why their music induces hugs amongst the crowd.
Gaslight Anthem is able to pull fans from all sorts of musical genres, and the band members themselves have varying music tastes. Brian names Tom Petty, Bob Dylan, Bruce Springstein, The Clash, and The Rolling Stones as some of his favorite artists. Brian mentioned that his band mates, bassist Alex Levine, drummer Benny Horowitz and guitarist Alex Rosamila, all appreciate different artists - from Otis Redding to The Cure to Hot Water Music. With all members appreciating different musical styles, Brian said it was really simple to mix the styles together and stick with the sound that they created. Brian explained what a practice would be like, “We all got in the room and we said, ‘you play what you want to play, I’m gonna play what I wanna play,’ and so on . . . my song would sound like a country song . . .Alex would play something that sounded like The Cure…the other Alex would play something that sounded like Hot Water Music…Benny would play huge drums. We recorded it and played it back and we’re like, ‘that’s what we sound like’” Brain loves the chemistry between himself and the other band members while creating music together, “it was so easy, no one tells each other what to play. I don’t think any of us could do it without the others in the band. Literally, it just comes together,” he said. Brian understands when a song is officially a Gaslight Anthem song because of the feel the song creates. When practicing, “there’s a certain feel to songs when we know it’s ours. There’s something to it that I can’t even describe. Sometimes you can’t even explain what you did or how you did it. It’s almost like waiting for lighting to strike. Sometimes you’ll strum the same chords over and over again and they aren’t right and one time it is right,” he said.
Their sound appeals to a lot of people but Brian is still a little clueless as to where their growing fan base comes from, “I’ve been waiting for the bomb to drop. It’s like, ‘what’s going on? Why are these people so into us?’” he said.
So far they’ve only got one full length album, Sink or Swim, under their belt, but a four song EP, The Senor and the Queen, was recently released. Brian was pleased with the final product of that EP, “We’re pysched about it. I think it came out really good . . . it was just really fun to write and fun to record” he said. As far as its sound, “We kind of just refined what we were doing a little bit more, we got a better grasp on it . . . there’s more of a light-hearted feeling to this record but it’s got more of a soul influence to it too. It’s a love story really, as cheesy as it sounds,” he said. Cheesy or not, most of Brain’s lyrics on Sink or Swim are romantic. “I have this grandiose, romantic way of writing lyrics,” Brian said. He tends to take a literal approach to writing lyrics, admitting, “Sometimes you don’t have anything clever to say you so you just write what you did. Straight forward lyrics are usually the best,” he said.
Brian wants to make a career out of music. “I think we want to be one of those bands who will be around for 25 years. Like Tom petty and the Heartbreakers,” he said. He explained that he doesn’t want to be a superstar or have Gaslight Anthem action figures made, but “we want to be a consistent band and maybe we can pay for our kids to go to school or something,” he said.
http://www.purevolume.com/paintitblack
Paint it Black released New Lexicon on Tuesday.
This album is amazing. Here’s my review.
I work at an ice rink as a rink guard and instead of opting to listen to XM’s top 20 songs over the loudspeaker everyday, I hide my iPod headphones under my hood and skate around in circles enjoying my favorite music. Paint it Black’s third release, New Lexicon, came out last Tuesday, so by last Thursday I was awkwardly moving around on the ice as my ears told my body to two-step and bounce up and down to the heavy, yet melodic tunes that make up the new album.
Paint it Black is one of Dr. Dan Yemin’s four influential hardcore bands (Kid Dynamite, Paint it Black, Lifetime, and Armalite). Dan Yemin hides behind the guitar in his three other bands, but thank God Paint it Black uses him as their angry and loud, but honest and inspiring voice. In short, Dan Yemin is a badass vocalist. He roars about growing up and loosing friends on “The Beekeeper”, blind faith in religion on “White Kids Dying of Hunger”, and simply dispenses his everyday anger into each of the 15 tracks on the album. Yemin’s lyrics, although deep and sometimes difficult to decipher, are easy to relate to and encouraging. While the music can be super tough and heavy at times, the comfort of knowing Dr. Dan understands what you’re going through is prominent and might put a smile on your bouncing and two-stepping face. On “The Beekeeper” he ends with the lyrics “Live fast (but don’t die young)/ Slow down, but never, ever stop.” Aww, thanks for the encouragement, Dr. Dan. Maybe he’s so good at relating to others and understanding emotions because he has a PhD in psychology - he is a practicing child psychologist. While he tends to scream throughout the album, there are a couple fun “whoa-oh’s” on the tracks “New Folk Song” and “Shell Game Redux” to give it an extra tinge of melody. He’s been inspired by early hardcore bands such as Gorilla Biscuits, Minor Threat, and Black Flag, and now his bands have all been inspiration for my generation.
Although Dr. Dan Yemin is considered a hero to many, the other members of Paint it Black do their part to create the genius sounds on the new album. While some would probably brush it off as just another hardcore band and say that each song sounds the same, I believe Paint it Black has a very distinguishable sound. They tend to be very bass-heavy while often using the guitar for harmonics to counter the bass. In some songs, the guitar seems to be strummed sporadically, as if guitarist Josh Agron hadn’t planned on when he was going to play until getting to the chorus. Paint it Black proves that you don’t need a lot of guitar to create a heavy sound, just Andy Nelson’s (also backup vocalist) fast bass riffs and a lot of distortion. The drumming from Jared Shavelson ranges in speed throughout the album depending on the effect they’re going for. It tends to be slower during the badass breakdowns and brutal slow verses, but it will speed up along with the guitar during parts that resemble traditional punk riffs. They also collaborated with Oktopus, of hip-hop duo Dalek. Oktopus sprinkled industrial noise throughout the album to give it a little something to set it apart. The sounds aren’t excessive and they add something fun to the mix.
The third release follows 2003’s CVA and 2005’s Paradise, both tough albums to follow, but I think New Lexicon is the best so far.
Check them out at myspace.com/paintitblack.
Oh, just for shits ‘n’ giggles, here is a pic of me freaking out next to Dr. Dan.
who puts on a great show?
Hot Water Music.
Great live band. Great show. Great tunes. Great that they’ve re-united.
That is all.
The Tokyo Police Club!!!!
tokyopoliceclub.com
This indie rock, synthesizer and tamborine-laden band is good fun and they’ve recently announced a tour and a new album entitled Elephant Shell set for release in April. They’ve already released: two ful lengths; A Lesson in Crime and Live from SoHo; and recently and EP, Smith.
I saw TPC for the first time last summer and I got totally stoked on them. TPC band kept their high-energy performance going strong and kids actually danced and clapped their hands during the show. We could all feel the energy. Today I’m excited to hear that they have new material and they’re coming around again to provide dance parties for any indie fans who’re not afraid to get their groove on.
They’re a ton of fun.
Richmond, VA seems to be the nucleus of new music that falls under any subgenre of punk rock these days. If you live there you’re sure to get caught up in the double helixes and start a band or go to a thousand shows a week.
Recently I discovered a couple good Richmond bands at a show in VA Beach - Resonance and Permanent.
Resonance is a melodic punk band with members from Richmond and VA Beach. I saw them perform last Saturday at The Jewish Mother in VA Beach and they were a lot of fun. Their devoted hometown fans pissed off the managers of the place by stage diving a whole lot (why did you agree to have a hardcore show if you didn’t expect stage dives and/or slam dancing? . . . but that’s another story, I guess).
Not realizing who the band was when they started to play, I could hear in them a cross between Jawbreaker, Lifetime, and Hot Water Music. Interestingly enough hey list those three bands as influences on their myspace page in addition to Embrace and Turning Point.
The vocals are somewhere between singing and screaming and remind me of screamo bands like A Static Lullaby or Thursday, but the music defiantly takes the sound in a better direction. They aren’t really on the pile-on or two-steping side of hardcore, so tough guys might not find much appeal in this band. However, they are talented and make some really good tunes. Just check it out: myspace.com/resonanceva
(myspace)
Permanent. This is further up the tough guy alley, but still toned down enough for those who get sick of juggajugs and metal riffs. There isn’t as much melody, and there are a couple metal riffs. The vocals are all screams. In general, it’s faster and angrier. There are some beautiful breakdowns that’ll get you swaying back and forth wishing you could two-step.
Their sound reminds me a lot of Ruiner, but they are not as fast, which I think I enjoy more. They’re a lot of fun and I was surprised this band played first on the Dragonsaur bill last Saturday in VA Beach. These guys should be huge by now. Get into it!!!
The Steal = four cute UK boys who have no trouble making me rock my shoulders back and forth, pretending I am two-stepping. The Steal is the UK’s Kid Dynamite, but I might like thm even more than Kid Dynamite. Their tunes are all pretty poppy and fast.
These guys have recently released a debut album in addition to their split with Set Your Goals. They’re probably popular in the states because of working with Set Your Goals, but don’t expect Set Your Goals part II, The Steal is much less New Found Gory-esque.
I can’t help but smile when I hear this band and I’ve already got their song on my myspace page!
You can hear their ENTIRE ALBUM at this link:
I discovered an awesome indie band from New York City, The National. These guys sounds so amazing. Of course I wouldn’t go to their shows because no one would dance, but this music is definitely great for chilling, driving, and probably making out. If you’re sad, it will probably make you sadder. But if you’re chill, it’ll probably make you bob your head.
Here, just check it out . . .
Ships are sinking and burning. Ship mishaps have inspired a couple band names, and these bands know how to rock.
Bands Sinking Ships This Ship Will Burn are all making badass hardcore/ punk.
Sinking Ships is hardcore from Seattle.
(myspace.com/sinkingships. Todd Pollack)
They’ve got fun, two-step-able, breakdowns and some good melody. It’s a little bit poppy but still angry, somehow. It’s magic!
They’ve got a full length out on Revelaion Records, Disconnecting. Although I don’t own a copy yet myself, I highly recommend picking one up.
They remind me of Ambitions and Gorilla Biscuits
This Ship Will Burn labels themselves as simply “rock”, but they definately have hardcore aspects such as fast guitar, fast bass, fast drums, and fast screaming vocals. Lyrics such as “This is what it’s like to loose your mind” are pretty depressing and badass. They do have an element of southern rock sometimes, when the guitar wails. Other than those riffs, these guys are just awesome, fast hardcore.
(myspace.com/thisshipwillburn.)
I have that T-shirt!
They are from Sudbury, Ontario. They sound similar to Cancer Bats.
P.S.
Shipwreck a.d. is another ship mishap band name, but I wouldn’t waste my time if I were you unless you’re into tough guy BS. I often confuse them with Sinking Ships, and it’s not a fun mistake. I know now that I don’t want to listen to Shipwreck a.d.
Who is your favorite artist? Keep them in mind.
What do they sing about? Relationship problems, family, friends, politics, self-motivation, depression, changes within their life? These subjects all make for great lyrics. However, if that artist sings about the same thing over and over again, it could get pretty boring (unless they are the God of lyrics. coughBlakeSchwarzenbachcough)
Imagine if your favorite artist sang about the same three things over and over again simply to enhance their image and keep their gimmick running strong.
Tim Barry is a good ol’ country boy and he keeps his audience very aware though his good ol’ country lyrics. His subject matter consitintly includes: his dog, his dirty bare feet on his porch, and smoking or drinking “Smoking till my lungs burn” - the same three things you will find in all of his promo photos, hmmmm.
I imagine his photo session going something like this:
Photographer: Let’s try to get you conveying that good ol’ country bumpkin feeling. How can we do this best?
Tim: I know what I’m doing. Just let me take off my shoes and socks here . . . Gotta make them understand I can’t even afford shoes.
Photographer: Maybe we should head down to that shack by the river to get a better sense of how country you are. “Country” is an adjective, you know.
Tim: Of course, let me grab Rover and my pack of beer.
Photographer: Sure. Oh, here, don’t forget to have a cigarette. I’ve got two packs, so we should be good for the whole session. Just try to have one in your mouth the entire time.
Every song on his solo album, Rivanna Junction, is a story about getting drunk with a friend and complaining about life, loosing a girl and complaining about life, sitting on his porch with his dog and complaining about life. Tim Barry, cheer the hell up. You have chosen to live this life - you could’ve sold out with Avail long ago and been making tons of money by now. You told your audience in D.C. last summer that you were moving into a shack by the river just for the hell of it, you mean just so you can complain some more about it? Every song is slow as hell and depressing.Tim Barry grew up in Reston, Virginia, a safe and expensive suburb of Washington, D.C. He no doubt had a fine childhood, after all his brother and sister are both classically trained musicians. They both appear on Rivanna Junction. They probably don’t wear shoes either, but they were once able to afford classical music lessons.
As an adult he moved to Richmond, Virginia where he started working with hardcore/punk band Avail.
He’s been fronting Avail since 1991, screaming without a twangy accent and wearing shoes on stage. His lyrics with Avail seem to have a little more variety and be less specific. They are general lyrics about where he is in his life, where he wants to go in life, optimisitc views about his hometown (”It’s a beautiful, beautiful, beautiful day. With the sun still shining shining shining shining over the James”). Maybe after years of fronting Avail and being mostly optimistic, he got depressed?
He took off his shoes and started his depressing solo career last year. You would never know that the upbeat, fast singer/screamer in Avail is the same guy whining about everything and making slow twangy songs today. Good thing Avail is still together and touring with upbeat bands, otherwise I’d guess Tim Barry is in a deep depression. Those optimistic Avail views seem to be long gone and he’s not afraid to let all of his fans know.
(myspace.com/timbarryrva)
Get it? He’s an angry country bumpkin.
Enough with the gimmick, Tim Barry. We know you’re a happy guy and you can afford shoes. Stop faking your poor, country bumpkin image.
(myspace.com/timbarryrva)
I get it. You are so depressed that you can’t afford shoes so you’re trying to drown your sorrows and smoke until your lungs burn. I get it, already!
I hate you, Tim Barry.
update (6/10/08):
I’ve gotten more comments on this than any of my other posts. Since they have pretty much all been negative, some including mild personal attacks on me, I’m just going to attempt to defend myself and minimize the amount of negative feedback.
1. I have seen Tim Barry live twice at this point.
2. I have listened to Tim Barry’s recordings.
3. So I didn’t just pull all of this randomly out of my ass.
4. I was just slightly annoyed by his behavior when I saw him live in D.C. last summer. I was slightly annoyed when he told his mom to cover her ears before he said “fuck”. I was really only slightly annoyed with this man.
5. I mentioned to my friends that I thought maybe he was trying to convey a certain behavior to keep up a SLIGHT gimmick. They all strongly disagreed, and I was once again slightly annoyed because no one seemed to see where I was coming from.
6. I figured I would just get all of my radical thoughts out through a blog so I could express how I was feeling and feel some relief after fully expressing my thoughts. Sometimes that’s what blogging is all about, eh?
7. I wrote an EXAGGERATED blog in an attempt at humor while also expressing how I felt. I thought it was funny. I don’t mean any real harm.
8. Tim Barry isn’t a bad guy. I don’t wish any ill on him. When I saw him open for Bouncing Souls, he made me laugh out loud. When I bought Smoke or Fire merch from him last February or March, he was very polite.
As for me taking time out of my busy day (by the way I just graduated and I am currently unemployed so blogging is probably one of the better ways I can spend my day) to write something negative, didn’t you just take time to stoop to my level and write something negative by leaving an angry comment?
Either way, it’s still just a joke.
Thanks for reading, and maybe take a couple minutes to leave a nice comment on one of the other posts that are positive?
Fiya is a poppy punk band from Gainsville, Fl. They’ve been around since 2002, but I hadn’t heard anything from them until Wednesday night when they played with Fucked Up and Government Warning in D.C., two bands that sound nothing like Fiya.
Their sound reminds me of Against Me!, The Draft, and every other Gainsville punk act.
Their myspace page describes their music as punk/comedy/thrash. I’d call it fun, energetic, and honest pop punk.
They’ve already released two CDs. The latest, “Better Days”, through No Idea records.
Dear Cancer Bats,
Tour the U.S. East Coast.
Love,
Steph
(Liam of Cancer Bats. www.myspace.com/cancerbats)
Cancer Bats is touring again . . . in another country/ continent.
They’re doing a European tour with This is Hell and Comeback Kid. This would be a great show to see, and the past two times Cancer Bats have come around I couldn’t be there. The first, I already had tickets for Bouncing Souls the same night. The second, I was on a trip to New York City with my school’s newspaper ( . . . on which I stalked Blake Schwarzenbach and met him).
Anyway, I’ve never had the opportunity to see them live, and I’m getting anxious.
However, I did once interview Liam, the vocalist of Cancer Bats, and it was the best interview I’ve ever done. Check out the story:
“I can work really hard at this and this can become my life” said Liam Cormier of Cancer Bats. “Still our only goal is to go on tour and work hard. It’s what we love doing,” he said. Cancer Bats is made up of Scott Middleton - guitar, Mike Peters - drums, Andrew McCracken - bass, Liam Cormier - vocals. In the two years since they formed in 2004, Cancer Bats have been all over MTV Canada. “We never intended to be on MTV or shoot music videos. We’re just hardcore kids that wanted to have fun in a band,” said Liam. Now, don’t think that Cancer Bats are a bunch of dicks just because they’re on MTV. Liam promises they’re not. Liam feels the best method of promoting themselves is definitely touring, and incorporated in that is what goes on after the show - hanging out with the fans. “You know how a lot of times you’ll go and see a band, and you’ll meet them and they’re like, total dicks? I’ve had my heart broken growing up,” said Liam. “You’re so stoked on a band and they finally go on tour and you meet them, and they’re total assholes. If a kid wants to come up and talk to me, I have all the time in the world for them. I love talking to kids.” If you visit their website, www.cancertbats.com, you’ll notice that in their tour diary they’ve requested that fans hang out with the band and have fun after the show. “Also, if you have fireworks, firecrackers, anything that blows up bring it, we want to blow it up with you. Parking lot antics ya dig?” reads a recent entry in the tour diary. Liam supports the Straight Edge lifestyle, so he doesn’t drink or do any drugs, but he’s always looking to have a good time while on tour. “Every day is exciting,” said Liam. “‘Life was meant to be awesome’ - it’s kind of the motto we live by.” To really get the audience involved, “The biggest thing is we try and take it there. With our live show and everything. If there’re only 4 kids who get it and totally love it, then we’ve won. It’s been a success that night,” he said. “Obviously we’re getting better and playing to more kids, more kids are getting stoked on it, and we’re taking it there every night. We take it really seriously that way. We’re going to put on a good show every day. It doesn’t matter if there are 2 people there; I’m going to blow those two people’s minds. That’s my only plan of attack.” Liam explains that he’s in this for the live shows. “We’re not like ‘we just wanna sell records…’ If we sell records we can go on tour, so I’m like ‘Yeah! Let’s sell records!’”
As for the other bands currently on tour with them, Alexisonfire, Attack in Black, and until recently when they had to drop off to start another tour, Every Time I Die, “I love all the bands on our tour right now,” said Liam. He is impressed by the stamina they are able to keep up while on stage. “Every Time I Die are monsters. They kill it every night,” he said. “After we played, I’d load our stuff and hurry up and go stand on the side of the stage and watch them and sing every word.” Alexisonfire is headlining the tour, and they have been playing 90 minute sets every night. “Alexisonfire plays for an hour and a half, but they’re having so much fun with it, it doesn’t look forced or anything,” he said. “They’re playing for 4,000 people but they’re goofing around and the whole show is super fun.” Liam is a big fan of the bands he’s on tour with. “Alexisonfire is really rad. It’s really nerdy, leading up to touring with those guys, I was listening to their C.D. every day. Now that we’re on tour with them, I can’t, but I watch them perform every night,” he said.Cancer Bats’ first release, Birthing the Giant, was released last month and so far the response has been good. “Slowly but surely,” said Liam. “It’s our first record and I’m pumped!” They’d been touring on a four-song demo, but they’d been writing a lot of stuff since they formed in 2004. “The record was a long time coming itself” Liam said, hence the title, Birthing the Giant. The release date kept getting pushed back, but everyone is pleased with the final result. “We worked hard for so long and finally we produced a healthy baby!” he joked.
While in the studio, Liam helps to lay down the drumming, and the music comes first. “Then I sort of switch modes. I go from drummer brain to vocal brain,” he said. “Then I’m like, ‘It’s time to spit hot fire’.” Cancer Bats don’t seem to fit into a specific genre. Their sound has been compared to Every Time I Die, This is Hell, and Nerve Agents, but they remain unique. When writing, “To me, it’s like putting together parts that I’m stoked on,” said Liam, “I don’t know if you noticed, I’m kind of ADD, so I get stoked on certain parts.” He explained that he especially enjoys breakdowns while guitarist, Scott always wants to incorporate metal solos.
“We all have different tastes. In the end, all of those conflicting ideas come together to make the band really good. We keep everyone in check,” he said. Each member of Cancer Bats has a different taste in music. They’ve all been known to listen to contemporary hardcore, but they each had their own influences growing up. “Just a history of listening to hardcore, punk rock, and metal influenced us in what we’re doing. I could just talk bands all day. So many bands getting me stoked,” he said, excitedly. Get stoked on Cancer Bats and check them out at www.myspace.com/cancerbats.
I recently attended the first ever School of Rock Fest in Asbury Park, NJ, the Bouncing Souls’ homestate. The Bouncing Souls, Bad Brains, Loved Ones, and Lucero were a few of the great musicians to play.
During the Bouncing Souls’ set, I was inspired to commentate on some “show etiquette”. I don’t know how upsetting crowd surfing is to others, but I often find myself really pissed at shows when the same people keep falling on my head. I surprised myself at this show when I found myself flicking off a female crowd surfer I didn’t know and screaming “Fuck you!” twice while looking her square in the eyes. She’d surfed onto my head at least five times and I believe by the end of the set she had gone a total of seven times.
Crowd surfing can be fun although it’s rarely necessary. When one is injured or dehydrated and needs to get out of there, sure. But other than that . . .
I can understand the appeal. I mean, it is a cool feeling. People are lifting you up. You are special and people actually want to put their hands on you. In reality they just don’t want you to break their neck and they are compassionate enough to keep you from breaking yours. You could also make it closer to the stage, closer to the band members, and maybe onto the stage depending on what kind of show you’re attending. Other than these desires, I’m not sure why people feel the need to crowd surf over and over.
During the Bouncing Souls at the festival, there was a barracade and there was no way you were making it onto the stage. The only way you’d be able to interact with the band members would be if you were surfing while Greg had the mic in the crowd.
Why did certain people feel the need to surf seven times? More importantly, why did audience members agree to lift the same people up and keep them up?
I suggest only surfing at smaller clubs when you know there’s a chance of making it up onto the stage and singing along to one of your favorite songs. Pick the line in the song that you love, go up 30 seconds to 45 seconds before that line so you can make it onto the stage, sing along, and jump off. How accomplished would that make you feel? It’s a great feeling!
Where is the desire in surfing over and over again as you piss off every single person in the crowd? As much fun as it is for you, it’s not fun for anyone else. At all. Your sweaty ass crack is rubbing on the backs of unsuspecting victims’ heads. Don’t be surprised if we grab your shoe and throw it. As for what else could happen to you: we are grouping every possible body part, you could loose your wallet in addition to your shoes, we’re going to pull your hair, you might land on your neck, you might loose your clothes, you might not make it to the stage and just end up in a sweaty pit of people in an unknown location. All this for what?! I can understand enduring this if you really want to sing along on stage, but why else would you continue these antics? So you can run over to your best friend afterward and brag that you broke the world record for most surfing during one song?
Why does this continue? Maybe the meatheads just want a good feel-up.
Maybe all crowd surfing should be banned by federal law. However, stage diving would be almost impossible, and stage dives make me feel more alive.
Maybe I will tackle stage diving etiquette at a later date.
For a quick review of my two favorite bands . . .
The headliners were, of course, our nation’s capital’s own Bad Brains. They closed the festival on Sunday night with a set of about 50 percent reggae and 50 percent legendary hardcore punk. After their classic “At the Movies,” crazed circle pit-addicts hollered, “One more song!” over and over again (probably hoping to hear “Big Takeover” cough Ilovethatsong cough). HR’s performance was a little lacking, seeing as how he didn’t move too much and sometimes sang in a monotone voice. However, I was greatful. He didn’t show up in a wild outfit wearing a helmet of some sort; he didn’t storm off stage; and the band only referred to the crowd as “a bunch of assholes” once. So for recent Bad Brains performances, I’m assuming this was one of the better. Not that I’m an expert.
The Bouncing Souls put on a great performance as always, despite the sound system acting up. They played a great variety of stuff, and that always excites me. They of course played a couple obligatory How I Spent My Summer Vacation favorites (”True Believers” and “Private Radio”). They threw in a couple newer ones from last summer’s The Gold Record and 2003’s Anchors Aweigh. The songs that really got the crowd pumped were the favorites from Hopeless Romantic, Maniacal Laughter, and even a super old favorite from The Good, The Bad, and The Argyle, “Joe Lies” (title based on a scene from Say Anything . . . The Bouncing Souls love my favorite 80’s movies). The band always has a god amount of energy, especially considering they’re all 30-something years old. Greg is awesome about getting up on the barricade and letting the crowd have the mic.
New Ruiner is good stuff. The Baltimore hardcore band released their new album, Prepare to be Letdown, today. It was also available at their record release show last Saturday at the 10 Car Pile Up in Towson.
(from their myspace page)
I don’t quite like it as much as their previous EP, What Could Possibly Go Right? This album doesn’t feature any major changes in sound or lyrics. The lyrics as just as impressive and the music is just as hard. I noticed that this album may me a little more melodic, but they still play mostly slow hardcore, similar to Modern Life is War’s style.
Check out a full review of the album:
Melbourne, Australia’s Architecture in Helsinki played the U.S. Capitol’s 9:30 Club last Sunday.
At about 8:30 p.m., an hour after doors, Black Moth Super Rainbow, a really lame electro-pop band, took the stage. The small audience looked up at the screen featuring a Richard Simmons workout video, and their eyes remained glued to the screen throughout the band’s set. BMSR’s myspace page describes the band as “psychedelic/ folk/ pop.” I’d call it “sleepy time music” and I’d only put this crap on if I needed to lure myself to sleep. Then again, the random high pitched noises might get annoying. So, the band strolls onto the stage, doesn’t greet the crowd at all in any way, and jams to their psychedelic crap. By “jam” I mean the bass player sort of swayed back and forth while the two keyboardists did their thing. There was also a vocalist and he was sitting on the front of the stage with doggie ears on his head, resembling Barf from Spaceballs. His vocals are pretty unnecessary anyway, considering they were all synthesized and morphed into different sounds. Some of the audience probably thought about dancing, but I think their eyes remained glued on the giant screen above the stage. Amature-drawn cartoons played as well as old commercials and Richard Simmons videos. The cartoons featured disturbing images such as ice cream and hamburgers coming to life. Yeah, these guys must’ve just been too artistic and indie rock for me. It went over my head. Remind me to smoke up or try some LSD next time.
The next band was awesome. (Seriously, I have searched and searched to find the band’s name and I give up. I will post as soon as I find it!) They had much better stage presence and clap noises for the now-larger audience to clap along to. They had a reggae/ hip-hop vibe and the girls in their skirts got a chance to shake their rumps in my face. Way to go, indie rock skanks. The music was a lot of fun and I enjoyed clapping along and shaking my hips. The audience interaction was impressive. I believe the vocalist asked us how we were doing, at least. The keyboardist did the “keyboard dinosaur dance” where one holds their hands as a T. Rex would and pretends to poke keys on a keyboard, and that’s always amusing.
Architecture in Helsinki finally took the stage close to 10:00 p.m. The audience had now grown to “approaching sold-out size.” We had anticipated this the entire show as we noticed their excessive amounts of instruments on the stage. There were a couple keyboards, cowbells, a trombone, drums, and guitars (I was most excited for the cowbells). Architecture in Helsinki, with their awesome Australian accents, introduced themselves and constantly said amusing things throughout their set. They even threw out a free copy of “The Wickerman” featuring Nicholas Cage. Their drummer claimed, “I watched it today. It’s awful.”
The stage presence was amazing as they played favorites from their EPs and their full-length, In Case We Die. I was within the first three or four rows and I was dancing it up. I couldn’t help but pogo and shake my hips and completely flip out when I recognized my favorite tunes. However, not many others felt the same. Fuck indie kids and their “I’m going to pretend I’m not into this music right now” attitude. Even Kellie Sutherland, lone female member - keyboard and vocals, had to encourage movement, “It’s your last chance to dance!” she exclaimed before the encore. I guess the lack of audience participation didn’t bother them too much, the place was almost full on a Sunday night. That says something.
I recently skimmed through the latest issue of Alternative Press magazine and I decided that there are a couple bands that, out of respect for themselves and all music lovers, should really throw in the towel. I’m asking nicely . . .
(http://www.myspace.com/poisonthewell) by Mike Parker
First of all, you guys put on a boring live show. Us audience members would really appreciate it if you acknowledged our presence. Maybe make some eye contact, Jeff. Hand us the microphone once in a while. Try showing a little enthusiasm. Maybe ask the crowd how they are feeling or give an anecdote relating to the previous song or the upcoming song. Could you tell us a couple fun tour stories? Or are you having any fun at all? *Yawn*
Second of all, your new album, Versions, was just plain weird. I don’t think you guys can be lumped into the post-hardcore/ metalcore genre anymore. So if you were looking to span the genres and avoid labels, well done. It starts off fast, fun, and exciting with the song, “Letter Thing,” and it’s downhill from there. In the next track, Jeff is kind of chanting but it’s hard to make out under the heavy guitar and bass drowning him out. They probably didn’t want anyone to notice the awful lyrics. The songs get progressively slower and weirded. They have added horns, piano, and various other instruments. Experimenting is all good, but this is pushing it. Also, Jeff used to sing . . . well. On this he is either chanting or mummering. Speak up! Belt it Opposite of December-style!
As for lyrical content, in previous albums, Opposite of December, Tear from the Red, and You Come Before You, the music was a lot harder and faster with some of the most creative break-up lyrics ever (”Why does your name leave a bad taste in my mouth when it rolls off my tounge?” “Emotions catch up with me, but I’m too fast for them,” etc.) This album has some very different lyrics. “I am a snake. I let my children, let my children go” are lyrics featured on the track, “Nagania.” Ok Jeff, you’re a snake. You have always been good with metaphors. I guess this one is just over my head.
Thanks for making some of my favorite music of all time, but you can stop trying now.
2. The Ataris
What happened guys? Or should I say, what happened Kris Roe? You’re the only original member of the band left. You took what was The Ataris and molded it into an ugly money-hungry monster. After signing to Columbia with your fourth album, So Long Astoria, the music has gotten poppier and poppier. Today, you guys might want to consider going under a different name. Even on The Ataris’ website, Kris Roe admits that he was sick of what The Ataris used to be: “He was completely disillusioned by the music his band had been playing.” In fact, the website doesn’t include any older pictures of The Ataris. Kris, you’re denying your roots! Why didn’t you just call the quits on The Ataris and label this mess something else. I would have so much more respect for it and you. He describes their latest release as “the most daring, dazziling, and inspiring Ataris album yet.” Well I guess I am old and bitter. Fuck this experimental shit! This isn’t The Ataris!
Your band used to consist of drums, bass, and guitar. Today you have the addition of keyboards and lots of effects peddles, apparently. Oh yeah, Kris Roe, didn’t you used to hollar sometimes if the song saw fit? Today your voice could lure my grandma to sleep. I mean, hey, you’ve got a nice voice and all of the new teeny bopper fans must swoon to the point of no return. Well, it makes your old fans want to cry. I don’t remember any soothing 15-second long “Ooooooooooh”s when you couldn’t come up with lyrics on the earlier albums. Your lyrics have always been pretty good, and that aspect of The Ataris has not changed with the new album, I’ll admit. I can still poke fun at your fashion choices . . .
You used to wear Dickies shorts, converse, and spikes in your hair. Today you dye your hair black and wear nothing other than black button ups, black dress pants, and black ties (at least in your sophisticated photo sessions . . . what kind of illusion are you going for here?!).
2007
v.
circa 1998
(myspace.com/theataris) by Piper Ferguson
This has been my first edition of “Throw in the Towel, Please.”
Thanks for tuning in.
I’ve been lazy.
Here’s an old show review of The Ergs! at Charm City Art Space in Baltimore
(photos by me)
The Ergs know how to take a broken heart and turn it into the best pop punk show you’ll ever see. Last Thursday at the Charm City Art Space in
Baltimore, (a small basement that they managed to fill during their set) five bands played a five dollar show. The opening acts included O Pioneers! (their sound is somewhere between Against Me and Hot Water Music), The Ergs played a ton of old favorites to the crowd as well as brand spankin’ new material from their recent release, Upstairs/ Downstairs.The Ergs play some of the best pop punk on earth. They’ve got fast guitar riffs and bouncy bass lines that sound even better live than recorded on their three full-length albums. Last Thursday in
Baltimore, the crowd of about 50 kept their feet tapping, heads bobbing, and smiles on their faces. The lyrics aren’t always the most upbeat, however. On their song “Most Dangerous Rap Group,” for example, he sings “I would bet my life that you’re never gonna call me/ I would bet my life that I’ll end up feeling lonely/ It’s just as well I guess/ It would only leave a mess.” But he manages to do it in such a tone, with fast poppy riffs, that one must smile as they sing along.Undoubtedly, The Ergs are all about having a good time. They did a great job of keeping the mood lightened by joking around with the audience and responding well to their heckling. Before going into a new song, bassist decided to count down from five, “Five, four, three—”
“Seven!” shouted an audience member, but The Ergs just pushed right into their song. Despite the heckling, the audience couldn’t get enough of The Ergs. After their last song, the crowd had to shout out requests for “One more song!” There were requests for favorites off of the albums New Jersey’s Best Prancers (a play on Lifetime’s
New Jersey’s Best Dancers) Dorkrockcorkrod, and a ton of others from the slew of 7’’ and EPs they’ve released. There were even requests for cover songs of The Descendents. . .that would’ve been awesome. The Ergs, being the great guys they are, went ahead and played the crowd two more, including a cover of Gin Blossom’s “Hey Jealousy.”
Ruiner is from Baltimore, MD and they are amazing.
I’m glad to see that a lot of great hardcore is coming out of my home state.
Ruiner formed in 2004 and they’ve already released two EPs and signed to Bridge Nine records. They are releasing their first full length C.D. next month - June 16th is their record release show at 10 Car Pile Up in Towson.
They consist of vocals - Rob Sullivan, bass - Steve Smeal, drums - Joey Edwards, guitar - Danny Porter, guitar - Mitch Roemer.
Their sound has been classified as melodic hardcore.
You can hear their stuff on their myspace page and you can see me at their next show.
I keep hearing about Fake Problems from Naples, FL.
I figured I’d might as well check them out.
If you like Against Me!, Fake Problems is the folkier and more experimental version. If you don’t like Against Me!, try a listen anyway. Imagine Against Me!’s sound a little watered down with the addition of a banjo, fiddles, some horns at times, and a scratchier voice.
Obviously Florida is spawning a popular new genre. All those hardcore and punk kids needed something a little less intense, but something you can tap your foot and bang your head to. In fact, if you really wanted to mosh to Fake Problems, I’m sure you could get away with it.
The band has an EP, Spurs and Spokes/ Bull> Matador, and a new full length, How Far Our Bodies Go.
I’m sure they’re going to have to carry the Against Me! comparison for the rest of their existence, but these guys sound like they can rise above. Thier sound is pretty unique, but I don’t know how many people are going to go for the extra-folky bits. Somehow these guys have taken bluegrass and melded it with punk to make something really fun and unique.
How We Are just broke up.
As soon as I post about them, they fuckin’ break up. Looks like I won’t get to see them at that show in Towson this summer with Ruiner at Ten Car Pile Up in Towson, MD.
I’ve recently discovered two awesome hardcore/ punk acts, How We Are and Take Warning.
It seems that when bands name themselves after songs by great artists, they are destined to create music just about on par with those artists.
How We Are, whether or not they’re willing to admit it, have obviously named themselves after a Lifetime song. Lifetime is just about ledgendary, and maybe How We Are, with their faster and angrier melodic riffs, will make it to ledgend -status. How We Are is from Rochester, New York, and they’re gaining recognition along the upper East Coast. They got together in 2004, “Just five guys who wanted to play in a fast melodic hardcore band, nothing more nothing less,” according to their myspace page. I was expecting something a lot poppier, but their stuff is pretty hard and fast. Nonetheless, it’s fun stuff.
Take Warning, Operation Ivy-inspired band name, is from Santa Cruz, California. Well, apparently there are quite a few Take Warnings but I am talking about the talented punk/ hardcore band that just released their debut EP. Their influences include Gorilla Biscuits, Strike Anywhere, Good Riddance, Lifetime, and Ignite - which is very apparent in the vocals. These guys can acutally sing, and they have some fast, fun riffs. Check out this myspace page.
Richmond, Va.’s Cloak/Dagger recently signed to Jade Tree Records. They’ve got a new album coming out on the label and it’s available on Jade Tree’s site.
They formed just last year and have already been touring all over the East Coast with other newer hardcore bands such as Fucked Up, Career Suicide, and Government Warning. Their influences inc;ude Black Flag and Hot Snakes, an odd combination - yes, but give it a listen!
The fun, punky rockin’ guitar riffs and the vocals remind me of Hot Snakes, but it’s a lot angier and faster. It reminds me of The Bronx, only way louder and better.
This is their first full-length album.
(Ambitions - www.myspace.com/ambitionshc)
This is Hardcore is a three-day festival based in Philidelphia, PA at the Starlight Ballroom.
The full lineup has been listed, and I’ll be damned if I’m not going.
Blacklisted, Shipwreck, Ceremony, Cold World, Have Heart , Rise And Fall, Paint It Black, Death Before Dishonor, Wisdom In Chains, Strength For A Reason, Ambitions, Verse, Trash Talk, Meltdown, CoA, Steel Nation, My Turn To Win, The Mongoloids, Know The Score, Fight Like Hell, Pulling Teeth, Brain Dead, Lighten Up, Crime In Stereo
(my faves are highlighted. Ambitions is amazing. Click that link.)
It’s August 17, 18, and 19th
I’m sure a ton of camoe shorts and slightly sideways hats will show up ready to throw dem bows.
Good times.
Here’s the very first article I did this year. I saw Every Time I Die at Warped and did an interview with Keith Buckley. This remains my favorite interview ever, and possibly best article.
(my photos!)
“He’s throwing up!” Keith Buckley, vocalist and cowbell of Every Time I Die, yells into his microphone as he points to his brother and guitarist Jordan, whose vomit is just barely missing the security guards in front of the barricade at the Hurley stage. “That circle pit was so bad, you guys made him throw up.”
Keith notices that Jordan is wiping his mouth.
“Let’s try this again,” says Keith, and a sick, red-faced Jordan launches into the opening riff of “The New Black,” one of Keith’s favorites from their latest release, Gutter Phenomenon. By their second to last date of the Warped Tour 2006 in Bristow, Virginia at Nissan Pavilion, after rocking hard on every date, who could blame Jordan for feeling a little nausea?
In reality, “I think he drank some warm Monster energy drink”, said Keith in response to Jordan’s vomit, “He and I throw up a lot.”
Every Time I Die doesn’t mess around when they take the stage. Where does that energy come from?
“It’s no act, really. It just is what it is,” said Keith. “I think it’s because the days are so boring. We just look forward to the show so much.”
It’s obvious from all of bassist Chris Byrnes’ eye contact with the audience, guitarists Andy Williams and Jordan Buckley’s constant head banging, and Keith Buckley’s beckoning of the audience to sing along. The boys’ love for rocking out is easy to see and feel, even with the three-foot space from the edge of the stage to the barricade. Karate kicks are visible in the middle of the crowd while the kids holding onto the barricade mouth every word they possibly can. Keith Buckley writes some very intense lyrics.
“I think I’ve found a niche in my writing style. Independently, if you read lyrics, I think you’ll be able to pick mine out. Out of hundreds, really,” said Keith. “I think I’m getting better at it, hopefully.”
He admires the writing styles of Thom Yorke of Radiohead, Adam Duritz of the Counting Crows, and Stephen Jenkins of Third Eye Blind. For inspiration, he turns to the book Word Virus by William Burroughs.
Keith explains: “Usually if I just read a story, I have all of these new images in my head. It’s sort of like jumping onto a moving train. It’s really fast and powerful. You just gotta get on and think about it, and you’ll have a bunch of new ideas to work with. But, you know, that’s just one tactic. Another tactic would be to just get incoherently drunk and see what comes out.” He says he might work best when the pressure is on.
Knowing his deadline for recording always helps to add to the pressure. “May 13th, I think we have to be in the studio,” he said. After an upcoming two months of touring, Every Time I Die will be writing once the winter starts. This means we can expect a new album by next summer.
Every Time I Die played their favorites off of Hot Damn! and Gutter Phenomenon at Nissan Pavilion on August 10.
“We just wanted to split it up with old stuff and new stuff. That’s the worst part of getting ready for a tour, the set list. I f***ing hate making set lists. Nobody agrees on anything. Everyone ends up pouting,” said Keith, explaining how they decided what they’d play on the Warped Tour. “We had an idea that we were going to make two or three set lists. Once we got comfortable with the one, we were comfortable with it. Why change it up? By the last two weeks, we were so bored of playing those songs,” he said.
Not only were they bored of playing those songs, but being on tour is prime time for boredom. There is evidence of this on their upcoming DVD, Shit Happens due out on Halloween. In a preview available on their website, Jordan is shown setting his own hair on fire.
What else goes on in the tour bus?
“Nothing. We just set our hair on fire,” said Keith. “Imagine being locked in your apartment all day. What would you do? Video games, I read, drink. You know what’s cool is, when I’m at home I write music on my laptop and stuff. I finally buckled up and bought a portable little keyboard. That’ll take up a lot of time on the road. I can write music on the road instead of waiting until I come home.”
Being on Warped Tour also provided them the opportunity to check out new music.
“Travis from Gym Class Heroes was an amazing front man. When Mutemath was on the Warped Tour I really liked watching them,” said Keith as he tried to pinpoint the best performance at Warped Tour. These days, Keith has been listening to Iggy Pop, Mutemath, Jimmy Eat World,