APRIL 2004 Show Reviews

DUVALL
A FALL FAREWELL
THE STAIRCASE DIARIES
BRADLEY
PRESTON
February 1, 2004
@ Chain Reaction (Anaheim, CA)
By Beth VanBoxtel

On what seemed like the longest day ever, I had to pry myself away from the biggest football game on television (not to mention I missed witnessing Janet Jackson's antics first-hand) to review a show that was two hours from my house. Humbly, I drove along the empty freeways of Southern California and arrived early at Chain Reaction. I managed to gain entrance to the venue, although there was no guest list for the small show.

Preston, one of Riverside's younger punk bands, started off the night with the announcement of their disdain for football. They immediately lost points with me, but lucky for them, I was there to review their music and performance, not their interests. Preston had the image of a garage punk band that attempted to experiment with different tempos and song-intro progression. Throughout their set, each member struggled to keep up with the fast-paced melodies, and the drummer's screaming back-up vocals created a timing problem that threw everyone else off-beat. I was hoping for a little more pure singing and less screaming. I will give them points for the creative dueling guitar sounds that they carried out through "Beautiful Axe Murder" which illuminated their skill level. I would compare the variety of their songs to that of Senses Fail and Brand New. To find out more about Preston, visit website.

Hailing from San Fernando Valley, the five-piece band known as Bradley also expressed their hatred for football. At this point in the show, I honestly couldn't blame them, because there weren't many people in attendance. "Splinter" was the song that started off their set. I was pleased to hear that the vocalists could carry each note well and in harmony. Their next few songs were more diverse and melodic, with excellent drumming. It seems that this shy-looking band brought all of their girlfriends and friends with them, because most of the audience was singing and dancing along to their creative hooks and technical skills. Perhaps with a little more practicing, confidence, and fan base, this band could conceivably breakout in the Southern California scene.

As the stage transformed from the look of the inside of a garage to musician's playground, The Staircase Diaries set up their vintage amps and keyboard in preparation to please the crowd. TSD began their set with a soulful melody that came to life through female/male vocals and occasional crooning from the keyboardist. The band had smooth, jazzy undertones, as the drummer rode heavy on the cymbals and bassist impressed the crowd with his methodical playing. When you attend a TSD show, you'll get more than you expected. Each member existed in their own world, playing passionate and beautiful lounge music, complete with acoustic guitars and even a trumpet player borrowed from Legacy of Luna. Bringing one of their acoustic songs to life, TSD finished their dynamic set and left everyone in awe of what they had just witnessed. Visit website for more info.

Recommended to me by fans of Poison the Well and Avenged Sevenfold, I had taken interest in Orange County's A Fall Farewell. After researching the band's recording history, being that since a member of Thrice took the time to record a few of AFF's songs, I should check this band out. Breaking the silence of the calm crowd, AFF captivated me with their exquisite hardcore guitar playing that filtered through the amps and speakers. Each song became louder and more chaotic, but the band never lost focus and control of the sound. Vocalist Jason Gallup strained his body as he painfully delivered each word from his food-poisoned body (he told us that he was suffering from food poisoning). The bassist did not hold back, as he nearly damaged his equipment to achieve the desired effects of "Lost in Dreams of You" off of their 2002 EP, THE IMPERMANENCE OF BEAUTY. Nearing the end of their set, the entire band brought forth every ounce of energy to produce a destructive, memorable presence on the stage. Check out this band's Website at website.

The last time Duvall played in Southern California was over two years ago with Ultimate Fakebook. Since then, their style has matured, and they have developed into a slightly country-influenced band. The crowd gathered close to the stage when the trio took up their instruments and began playing. I became instantly mesmerized by the upbeat, fun, and mellow balance of songs. The happy, humble attitude of singer Josh Caterer lifted my spirits, as I got lost in the sweet, gospel-centered lyrics. The music was not overdone and sounded full as they cranked out song after song. Caterer's voice was put to the test as he belted out some of the highest, loudest notes I've ever heard from a grown man. The band varied their set with tunes from their latest album, including "All in Your Hands", as well as older songs that they hadn't played previously on this tour. To download songs from Duvall or to find out where they're playing, visit website.

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WAGNER
THE GLIMMERSTARS
MELEE
THE BRONX
February 3, 2004
@ House of Blues (Anaheim, CA)
By Todd Markel

I arrived at the House of Blues in Anaheim not really knowing what to expect from the first band. Wagner was their name. This brought up images of large, blonde Viking women on great white steeds riding across the sky. Well, THE RING CYCLE it wasn't. Wagner is local three-piece band with a sort of grungy, classic-rock sound. Their lead singer's voice reminded me a little of Billy Corgan's; it had that kind of angst to it. Occasionally they would thrown in a new-school scream to punctuate a chorus. They had a couple rocking songs, but I just wasn't blown away by their live show, and I got the feeling that neither was most of the sparse crowd at the venue. They just kind of became background music to getting started on an early evening of drinking. I did pick up one of their CDs that they were handing out and do enjoy a couple of their songs on it (such as "Strangers"). Check out their Website at website.

The Glimmerstars played next. They can best be described as a fun power-pop band made up of veterans of the local Southern California music scene. They are led by singer/songwriter/ bassist Mini Mendez, who states on their Website that "All rock n' roll was meant to be fun, pure and simple, that's the bottom line." The impression I got was that they were a bunch friends having fun playing music for friends. They played original bubblegum-pop tunes such one radio-friendly number called "Marcella" and another catchy song called "Sugar Blue". It was nice, safe, non-threatening pop. There were even a few toddlers rocking out on the dance floor. The Glimmerstars did seem a little out of place considering who the headliners were tonight, but nevertheless they were well-received by the crowd. Surf over to website to learn more about Mini Mendez and The Glimmerstars.

Orange County's own Melee took their turn on stage and proceeded kick it up a notch. Melee had been in rehearsals and writing new songs in preparations for a trip to the studio to record their first full-length CD. (Tentatively titled EVERYDAY BEHAVIOR, it's scheduled to be released early this summer on Hopeless Records.) The boys were taking a short break from these rehearsals to try out a number of new songs that we can except to see on the upcoming release. Among the songs they played were "Mestizos Love Song", "The War", and "Lions Cage". The band's pretty-boy looks and poppy emo sound were a big hit with most of the audience. You can catch Melee on the entire Vans Warped Tour this year, or log on to website.

There's been a lot of press written about The Bronx lately. The U.K.'s NME recently called them "the best live act in the world," so I was ready to see what all the hubbub was about. From the first note, there was no doubt that The Bronx were all about take no prisoners and no fucking around. They grabbed the crowd by the shirt collar and screamed in its freakin' face. The venue was far from a full house, but this just enabled lead singer Matt Caughthran to show what he could do. After one song he jumped off the stage into the pit and spent the ENTIRE show at the end of his mic cable going round in the circle with the fans. This is from a guy who just over a week before had to cancel a couple shows due to being in a car accident and breaking his nose; and then on top of that he came down with a bad case of strep throat. Between trashing hotels and crashing cars, The Bronx have been making a lot of people take notice, and tonight they showed why. You didn't just watch the show, you participated. They closed the night with "Kill My Friends" from 2003's self-titled CD. Then, while still in the middle of the crowd, Matt threw his mic in the air and walked off before it had time to hit the ground. The show was what rock 'n' roll should be: unpredictable and dangerous. Go to their Website at website to check them out.

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SWORN ENEMY
AS I LAY DYING
HIMSA
WITH HONOR
February 4, 2004
@ the Showcase Theatre (Corona, CA)
By Beth VanBoxtel

When I am preparing to make the lengthy drive to Corona for a show, my entire day revolves around it. Once I arrived at the Showcase, I had lots of time to kill, so I exchanged a few quick words with two of the bands about the tour and expectations for the show that night. The excitement was mounting around the venue as everyone filed in before the action was to commence. I was anticipating a first-class show consisting of a heavily-touring band, a highly acclaimed up-and-coming Seattle band, a band that introduced me to hardcore music, and an East Coast band that has created risen up in the post-hardcore scene.

The five members of Stillborn Records' With Honor timidly took center stage above the restless audience. A crowd this young and full of vivacity took a keen interest at the first few notes released through the speakers. A slight problem in the sound levels resulted in heavier-than-normal guitars paving over the less-than-rowdy vocals. Once the sound adjusted, WH kept a steady pace with plenty of hammering and deranged guitar sounds, pulsing of drums, crunching of cymbals, and head-banging. As the vocalist gasped for air to breathe life into each word, it was enough to make me feel lightheaded. I was captivated as the band released such energy and passion. They convinced me of their professionalism of a touring band. Visit website to find out when they'll be touring near you.

Based in Seattle, Himsa has been bred from one of the most diverse music scenes in the country. Formed from the ashes of various other bands, Himsa has combined the talent of heavy-metal hitters to produce the evolved sound that became the full-length album known as COURTING TRAGEDY AND DISASTER more than six months ago on Prosthetic Records. Since the release of that album, metal fans have come by the hundreds to experience the songs live. At this show, Himsa delivered a flawless performance that had cleaned up since their last show at the Showcase two months earlier. Jaws dropped among the crowd as Himsa opened with the pleasing "Rain to the Sound of Panic". Other songs included "Fatal Attraction to Terror", "Kiss or Kill", "Jacob Shock", and "When Midnight Breaks. The haunting intros and painstaking harmonies created such a stir that the crowd was feeding off of every note and barraged frontman John Pettibone as he moved toward the edge of the stage. Within the set, Pettibone made several shout-outs to guests, including the Whorror Crew and the merchandise saleswomen from To See You Broken (an all-girl band from Seattle and formerly on tour supporting Himsa). By the end of the set, Himsa became a clear and present danger to those left standing after the moshing and pit action, as members of the band dove toward the floor. Catch Himsa on tour with Death by Stereo and Bleeding Through in April. website.

Ttwo hours from San Diego, As I Lay Dying still had drawn the vast majority of the crowd, as this was their closest show to home on the tour. Over the past few years, AILD created a formula that withstood the shaky ground of the hardcore scene. Their popularity has since surged into the thousands of fans who have been following and attending AILD's shows across the nation. With the addition of former Tomra guitarist Phil Sgrosso, former Evelyn guitarist Nick Hipa, and former Fontane bassist Clint Norris, AILD's action-packed shows have evolved into an unforgettable array of movement and powerful, mind-bending riffs that tear through any venue. In one quick move during their set, Sgrosso's guitar hit frontman Tim Lambesis's elbow, which caused the guitar to careen toward the ground. Despite the minor complication, AILD did not lose focus. Their set included the two newest, most popular songs, "94 Hours" and "Forever", which were played with such drive and determination that this true hardcore band showcased their deepest commitment to pleasing the crowd. AILD will be on tour with Every Time I Die, The Black Dahlia Murder, and Scarlet this April; and on 17 dates of the Vans Warped Tour this summer. To find out more, visit website.

As the crowd vacated the area against the stage, I felt like Moses parting the sea as I broke through the masses of people heading toward the exit of the venue. With one final band left to play, I sympathized because of the significant decrease in the crowd size. Sworn Enemy has had some hype build up on the West Coast, but possibly not enough to keep people at their shows. As this five-piece band from Queens, NY, appeared on the stage, I was intimidated by the size of each member. The band took pride in the disgruntled, angst-ridden melodies that ascended from their equipment. I enjoyed the bassist's moves, which included several kicks, jumps, and spins. As the set continued, the mosh pit got messy, and the remainder of the crowd did not let up with what energy remained in them. The band pummeled through their set with minutes left to spare for an encore song that came from one of their older albums. For more information on Sworn Enemy, visit website.

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FEAR
BEER MONGERS
THE NANCYS
UNITED FISTS
February 11, 2004
@ the Green Door (Oklahoma City, OK)
By H. Barry Zimmerman

"Back into battle again / Back on the road to see all of my friends"—Fear (Lee Ving)

We (me and all my buddies) have been counting down the days until Fear, for months now. FEAR! Lee Ving, the heart, attitude, and voice of Fear, sounds like Paul Stanley (starchild of KISS) and Bob Mould (V master vocalist of Husker Du)...and he sounds like Lee Ving, fire and rage and a barroom clown. You might have also seen Mr. Ving in a couple of flicks: he was the body in the movie CLUE, and he was the murderous bad guy in the John Crier flick DUDES. Fear also appeared in the documentary THE DECLINE OF WESTERN CIVILIZATION—THE PUNK YEARS. They scared me.

We arrived at the Green Door with a full head of steam—and just in time to miss half of the bands. The Nancys I have seen several times. This three-piece, teenage punk machine is one of the better local bands. The United Fists hail from the suburbs (Shawnee) and carry a lot of solid hype.

Beer Mongers call Tulsa home, and when we got down front, they were setting it up. Beer Mongers played an aggressive version of straight-up rock 'n' roll, with good riffing and excellent soloing. They were packing classic axes and a big, fun stage act. Their volume was extraordinary and waved through my minerals like sheets of blistering weather. My eardrums bore as deep as their wiring would allow, into the innermost points of my skull. My body opened up and embraced the vibrations. Sweet mother rock. The Beer Mongers played a great deal of beer-oriented tunes, closing their set with a song called "Last Call". Appropriate.

Big, black cases and amplifiers marked "Fear Gear" were pushed and pulled out onto the stage. Wires were connected, and the sound dude shuffled about hooking up mics and chatting up preferences with the band. I didn't see Lee. Oh my gawd! Who I thought was a crusty old roadie turned out to be Lee Ving, Esquire. He had shoulder-length, dirty hair and looked as though he might have woken up next to a dumpster on California Street earlier that day. He pulled his mic stand back by the drums and sang alone, "I, I love / Living in the city," and it was on. Fear's attack is thick and edgy axe-heavy, earth-moving rock. Their volume doesn't wave through you, it leans on you and all the way through you. The kids went absolutely berserk. Fear rocked hard...but I expected them to rock even harder than they did. Those records have a defining, massive bang underneath the surface layer of chords and instrumentation. Fear is a force. Therefore, I thought that the glass windows of the Green Door might shatter or an audience member might burst into flames. Nothing so dramatic transpired; it was only class-A punk rock. That'll have to do. Fear played for only 30 minutes, but what was there was choice. They played the classic "Fuck Christmas", "I Don't Care About You", and "Hey". Fear closed it down with "Let's Have a War", their hit (featured on the REPO MAN soundtrack). Classic. Lee Ving leaned his guitar on his amp, jumped off stage, and stormed through the place. He walked almost right over me as I heard him mutter to himself, "I'm outta here." Lee Ving walked out the front door and disappeared into the cold night. A real rock 'n' roll legend and punk-rock asshole. Long live Fear.

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Boys Night Out
The Beautiful Mistake
Moneen
Senses Fail
February 11, 2004
@ the Glasshouse (Pomona, CA)
By Jessica Rihal

Walking into the venue halfway through Canada's own Boys Night Out set was reminiscent of walking through the hallways of my old jr. high. A crowd full of prepubescent kids bobbing their heads along to upbeat pop-punk fused with hardcore-esque screams made for an enjoyable set. Singer Connor Lovat-Fraser's dark-tinted sunglasses and energetic presence kept my attention till the last song, and something gave me the impression that these guys would rock out the same for two people as they would for a sold-out crowd. Check out their latest Ferret release MAKE YOURSELF SICK.

Following Boys Night Out was another Canadian band, Moneen. The hype surrounding this band has been built up following their support on the Taking Back Sunday tour late last year. Moneen came out and played like they owned the stage, seeming pretty comfortable playing to such a crowd. They opened with their latest single, "Are We Really Happy with Who We Are Right Now?" and continued to play their brand of effervescent pop/rock to an exuberant crowd.

The next act up was The Beautiful Mistake. These guys came out, and there was not much that I could see to set them apart from other similar bands. I can say that the vocals, which at times included two to three members participating, got a little out of hand. I couldn't tell by watching, but one of the screamers was screaming as if his shoes were on fire. Pretty unpleasant. One of the better moments of their set was when one of the guitarists from Senses Fail came out to join them for the last song, which drove the crowd mad in anticipation for the headlining act to take stage.

Senses Fail is one of those bands that I have heard here and there but had never been able to fully grasp my attention. However, as soon as they took the stage and began their set, I knew that tonight this would change. As they began playing, the crowd exploded into an array of energetic pogo-jumping and crowd-surfing, all while they loyally shouted out lyrics. Singer Buddy Nielsen genuinely thanked the audience repeatedly for their support and had awesome crowd participation. Towards the end of their set, Senses Fail paid homage to the late The Movielife and played their own rendition of "This Time Next Year", and this was, hands down, the best song of their entire set. They also played some older material, along with some of their new stuff that will be on their upcoming debut full-length, LET IT ENFOLD, out on Drive-Thru this spring.

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THE BOUNCING SOULS
HOT WATER MUSIC
RANDY
LET IT BURN
February 13, 2004
@ the Troubadour (West Hollywood, CA)
Text and photos by Annette Ovanessian

I have to start off by saying that I love going to shows at the Troubadour; but one thing that scares me is the toilets. I will never order drinks from the bar again, just so I don't have to use the bathroom. I'm sure many females will vouch for the fact that the bathroom is a horrific, unsanitary situation. The stalls are so small that your knees hit the door when you sit. On this particular night, the roof was leaking above the toilet, so water was hitting my ass as I was squatting. This is a plea to the Troubadour: please remodel your bathrooms!


Let it Burn

With two sold-out shows, The Bouncing Souls prove that they are truly an influential and entertaining band. Even though most of the crowd was there to see The Bouncing Souls, the packed show provided great exposure for the three opening acts. Personally, I don't think the openers complemented The Bouncing Souls sound at all; but according to The Bouncing Souls, they're "not afraid to mix up the sounds and the philosophies: the more the merrier!" If one band had to be completely booted, it would be the first, Let It Burn. This New Jersey band, who were all dressed in black, was displeasing. I couldn't help but notice the lead singers' fruity strides. He was tip-toeing all over the stage like something was up his butt. I don't want to hurt anybody's feelings, but for some reason that REALLY annoyed me. There is a chick in the band who plays on this old-school heavy-metal guitar. She looked cool, but the drummer was the one with all the talent. The truth is that the songs didn't move me at all. First of all, I couldn't understand a word that was being said. Second, all the songs sounded exactly the same. It was kind of sad when the band took a brief pause and someone in the audience yelled, "You fucking suck!" I guess I would be saying that, too, in this review—but at least I didn't ruin the moment.


Randy

Now is my time to say something about the band Randy, the second band opening the show. A long time ago, I interviewed the band for SKRATCH, when their entertaining album THE HUMAN ATOM BOMBS came out. Since the band is from Sweden, we had to conduct an e-mail interview. Well, I was so disappointed at the one-word responses I got back that I didn't even turn in the interview. But now was my time to check out what they're like in person. Unfortunately, I enjoyed the album much more than their performance. Although I have not heard their new album, WELFARE PROBLEMS, I'm sure it's a much better experience. Randy is a very political band and has no problems telling us their views. Whether it's wearing the famous "Not My President" shirt or telling us "Don't worry, L.A., we are not Communists, we're Anarchists," it really portrays their sensitivity to political issues. I'm not sure about the ways of the government in Sweden, but it seems to me that their views are universally-natured.


Hot Water Music

Hot Water Music had much better crowd appreciation than the first two bands, but to me their performance was mediocre. I've never heard their music before, so my first impression wasn't too thrilling. By this time, I was desperately waiting for The Bouncing Souls to highlight my night, so I was rather impatient during Hot Water Music. I mean, during their set, no sparks flew and no lasting impression was imprinted in my memory database. All I can say is that they were MUCH better than Let It Burn and Randy, both musically and routinely.


Bouncing Souls

Finally, The Bouncing Souls! The first thing that happened was that Greg (lead vocals) came out and immediately jumped straight into the audience. That was fucking awesome! Now sparks were flying uncontrollably. This was like no other show I had ever seen at the Troubadour. The band showed so much joy when performing that I noticed Greg with a permanent smile attached to his face the whole time. The crowd was out of control. They were flying in the air, singing ALL the songs, jumping on stage to share the microphone, and then stage-diving into the audience. The security guards were not even concerned that most of the audience were hogging the show. The Bouncing Souls were so inviting up there that it was hard for anyone to stay back. Since it was the night before Valentine's Day, when it hit midnight, Pete (guitar), dedicated the song, "I Like Your Mom" to everyone's mom for the occasion. Playing mostly their older, more comical songs, they also mixed in the new, more structured songs off the new album, ANCHORS AWEIGH. I read that The Bouncing Souls think that this is their best album by far. You be the judge. With a long set list, they sadly ended. After about five minutes of the audience singing out the chant of The Bouncing Souls' song "Olé", the band came back out to some hardcore madness. At this time, the whole audience climbed up on stage. It was probably a nightmare to the Troubadour staff, but to all of us it was good times. All of this craziness really showed The Bouncing Souls the greatest Valentine's Day of all: pure love.

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MAE
COPELAND
THE WORKING TITLE
SLOW COMING DAY
February 13, 2004
@ the Roxy (Hollywood, CA)
By Luke Skywalker

Another cold night waiting in a line for an indie-rock show, but with one difference: this was the day before Valentine's Day. Couples leaned up against the buildings on Sunset Blvd. sporting their latest indie fashion trends, while I stood in line next to my two girl friends showing off my new Duane Peters and an old Thrice T-shirt.

Eventually getting into the club after an hour waiting outdoors in the freezing Hollywood weather, Slow Coming Day came on and literally warmed up the crowd. The four-piece rock band from Orange County played a decent set, which included a sing-along song that no one sang to. An insider of the scene told me that the members of the band have a reputation of being dorks, and I found this to be evident in their use of moccasins for shoes. SERIOUSLY, who wears moccasins? In a final attempt to win over the girls in the audience, lead singer Orion Walsh dedicated a screamo song to all the ladies for Valentine's Day. Shameless. Shameless.

As for the young quartet known as The Working Title, my insider informed me on the lead singer's hotness. Personally, I think he was handsome, but far from hot. Anyhow, busting out "Something She Said" as an opener and, later, "Beloved" perked up my ears to this band, but I began to feel uncomfortable as PRETTY BOY began rocking out on his acoustic guitar, exposing his midriff. Luckily, that rendition ended, and the Charleston natives began "The Mary Getaway", which received a "You're freak'n awesome" from the girl standing beside me.

To preface the next band, going into the show I had heard a lot of good things about Copeland and their awesomeness. Apparently, these guys have a big following for their mellow sounds, and it was made even more evident to me on my college campus, as people were envious that I got to cover this particular show. As this third quartet of the night came on stage, the enthusiasts in the crowd applauded with approval and admiration. Oddly, lead singer Aaron Marsh stood far stage right, rather than the normal center position that most vocalists command. The group played crowd-favorites that included "Brightest", "Take Care", and (my friend Paula's favorite) "When Paula Sparks". The highlight of their set came when they dedicated a new song to those without a Valentine's date, which I appreciated, finally being acknowledged for my bachelorhood. Finishing their set with the emotional song "California", the crowd praised the great band with another huge ovation.

To make the indie-rock evening even more memorable, Mae finished off the night with their style of unique melodic rock. Once the Virginia-based band took the stage, Asian emo girls charged forward as the fashioncore kids in the rear continued drinking. To my disappointment, the first attempt to please the crowd with a song about some guy named Jesus was drowned out by excessive reverb. Fortunately, this audio malfunction only lasted for that first song, and the listeners were able to enjoy a melodic set. "Runaway", "Sun", and "Soundtrack for Our Movie" were performed by the five-piece, not to mention a sweet piano solo by pianist Rob. Midway through the set, I decided to take a moment to relieve my bladder. While standing at urinal #1, I discovered that the acoustics were quite astounding for a restroom. Upon my return I was greeted by yet another Valentine's Day dedicated song, which the whole group sang together. In a grand finale, the Asian girls from before did not act so courteous, bouncing at the foot of the stage and flailing their arms as Mae played "Summertime". Guitarist Zach swayed with his solo as he finished the song and the night.

After such a great rock show, I've come up with the criteria that following rock shows must meet to achieve greatness. First, there must be a minimum of four members in the band. You can't rock out to anything less than a quartet. Second, each band must have either an acoustic guitar or some sort of piano player. This assures musical diversity. Third and last, one of the bands from this show's lineup must be included. All the bands were excellent and deserve to headline their own shows.

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Black Eyes
Need New Body
February 13, 2004
@ the First Unitarian Church (Philadelphia, PA)
By Matthew Siblo

Black Eyes are, by all accounts, a crazy band (and I don't mean this in the "they're so crazy because they have two drummers" novelty sort of way). Since their inception in 2001, the band's very presence has been one of absolute chaos and deconstruction, and it is this seemingly innate insanity that has garnished them such widespread attention. True to form, Black Eyes' live show is a spectacle not to be missed. The band skillfully blends its rhythmic flow and groove-heavy nature with a spastic, off-kilter attack that it seems only bands from DC can usually make work. On February 13th, however, there was something strikingly lacking in Black Eyes' notoriously uproarious live show. After much deliberation on what it could have been, the answer had finally hit me: everything that I usually find so inspiring about Black Eyes' show had already been demonstrated by the band's opening act. About an hour before Black Eyes would thrust into a performance that would eventually produce an incomprehensible mix of lost noise and misplaced inspiration, Philadelphia's resident weirdoes Need New Body had already achieved the avant-brilliance that Black Eyes is known for. Simply put, Black Eyes had been beaten at their own game.

Perhaps an example would help illustrate this point better. In Milos Forman's 1975 classic ONE FLEW OVER THE CUCKOO'S NEST, Jack Nicholson plays a character named Randle Patrick McMurphy, a relatively average miscreant who, with a little arm-twisting, is able to convince prison authorities that he'd be better cared for in a psychiatric ward. As the film progresses, we eventually see that McMurphy takes pleasure in his relative sanity when surrounded by his much more challenged cohabitants. It was this kind of relational sanity that worked against Black Eyes performance, making them seem so entirely predictable in comparison to Need New Body's joyful catharsis of bizarre noise, nonsensical visuals, and beautiful insanity.

Say what you will about File 13's Need New Body, but predictability is one adjective that simply will not suffice. The band's live set was a jumbled and frantic affair that bordered on the absurd and flirted with brilliance. More accurately, it was brilliantly absurd. The band bounced around the stage like a troupe that Barnum & Bailey intentionally left behind, gleefully merging the best parts of An Albatross' freakshow charm, El Guapo's off-time beats, and theatrics that almost matched those of Fischerspooner. And while the band's personality may owe loosely to those aforementioned bands, Need New Body projects a craziness that is all their own. The band boogied and bellowed their way into the hearts of the hometown crowd, performing such soon to be classics as "Show Me Your Heart", "Beach", and the rousing set-closer "Pen" (which asks the existential question "Pen, pen, pen…Where's my pen?).

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