April 2005 Live Reviews

(scroll down to read all of them)

THE WEIRDOS
DR. KNOW
THE STITCHES
THE ORPHANS
March 5, 2005 @ the Troubadour (Hollywood, CA.)
By Marcus Solomon

The Weirdos from Hollywood put on yet another great show, despite the obvious absence of co-founder and great guitarist Cliff Roman. All the other bands apparently put on excellent performances, as well, but it was somewhat difficult to appreciate the nuances involved, as I spent the majority of the evening outside the venue desperately trying to gain admittance. Ordinarily, SKRATCH MAGAZINE does not like the writers to describe our pre-show entry problems, but this show review is an exception. Despite an invitation and confirmation from The Weirdos' management, it was a no-go at the Troubadour box office. It was only $14 for a ticket, and even though I own a small tutoring business, I could not afford to pay my way after spending a portion of my personal pittance on parking. The rumor circulating outside was that The Weirdos put way too many people on the guest list, so the club decided to throw out the entire thing. It was more likely that the Troubadour staff let in a certain number of invited guests, then cut the rest. Tickets were readily available, and my broke-ass self watched in somber amusement as various punk-rock personalities were denied free entrance at the door. The Skulls' vocalist Billy Bones, his wife and daughter, and former Skulls guitarist Kevin Preston (now fronting Prima Donna) were denied entrance, shrugged, bought tickets, and entered. A steady stream of underground celebrities and other assorted VIPs encountered the same blockade. Most chose to accept fate and paid, but a few of my fellow indigents chose to stand outside and leech whatever remnants of sound leaked from behind the closed door. I was just about to leave in an indignant huff, when the night was saved by the arrival of Mr. Josh Mills from It's Alive! Promotions and Management. The generous Josh quickly paid my way (and that of a few other poor souls lingering about the Pearly Gates of Weirdoism). Fuck yeah! I ran inside and caught the last two songs from Dr. Know's set.

Former child star (of the television show THE COURSHIP OF EDDIE'S FATHER (1969-1972)) and present vocalist for the well-known Nardcore (Oxnard) original Dr. Know, Mr. Brandon Cruz, was completely drenched in sweat, as he quickly paced back and forth across the stage. The band obviously had been doing a great job, as evidenced by the frenetic throng of fans lining the stage. Dozens of amped-up admirers were also soaked with self-generated wetness, as they shouted lyrics in unison and pumped their fists in approval as an endless succession of stage-divers tumbled into the human froth. For the last number, Brandon allowed a dedicated fan onstage to sing "Fist Fuck". The song went off like a cannon while Brandon climbed up the light rigging on the side of the stage. The song then turned into a lightning-quick duet alternating between Mr. Cruz and the very capable invited fan/vocalist, who was happily enjoying his thrilling five minutes of relative fame. Dr. Know really knows how to crank out the rapid hardcore/metal intensity with chest-thumping, heavy bass-just like it was in the early years, before straight-edge jocks infiltrated the punk scene. Two songs from the source were much better than any full set played by the countless number of bands comprised of muscle-bound teetotalers in tube socks and jerseys.

Mr. Sean Antillon is truly one of the greatest rock drummers of all time-no exaggeration. His performance that evening was truly spectacular, and it was a blast to watch him immerse himself in the joy of setting the beat for the first punk band in Los Angeles history. The man is truly in his element. Speaking of the best, is there any doubt that Zander Schloss is the greatest bassist in punk rock? His instrument has melded with his body and soul, and the deep, punctuating pulse he creates is a study in awe-inspiring, ecstatic accuracy. On this evening, Zander was again in top form, closely watching the other musicians and keeping everything together, while also making eye contact with each and every fan alert enough to notice. The Denny brothers-Dix on guitar and John on vocals-were in loud, buzzing, rhythmic sync as the band took us to the top with all our Weirdos favorites. The glorious, well-earned encore was a too-short reprise of "We Got the Neutron Bomb". Remember, kids, "You're never gonna blow away FORT U.S.A.!"

ELECTRIC EEL SHOCK
THE SPUNKS
GITOGITO HUSTLERS
THE INTERNATIONAL PLAYBOYS
March 21, 2005 @ Green Door (Oklahoma City, OK)
By H. Barry Zimmerman

Did you know that in the classic film GODZILLA VS. KING KONG that there were two different endings, one for American audiences in which King Kong (our guy) wins and one for Japanese audiences in which (their guy) Godzilla wins? America and Japan share a great deal more than ego and marketing techniques. For example, Japan gave Americans music at the beach by way of the transistor, and America gave Japan (and the world) rock 'n' roll. Monday night, March 21st, I went to the Green Door to see three Japanese bands (along with one group from Montana), and I can tell you that our baby is thriving in their hands.

When we arrived at the Green Door, The International Playboys (the Montana act) was blasting their boogie-laced version of hard rock. All of the bands on this night were part of a post-SXSW swerve-by. (We here in Oklahoma catch a lot of SXSW fallout this time of year.) The International Playboys play it loud with Paul Stanley kicks and James Brown slides. The band did songs off of their discs, THE INTERNATIONAL PLAYBOYS' FIRST ALBUM and SEXIFUL. My favorite title of the night was "The International Playboys Get a Bottle of Wine, Go to the Beach, and Get Fucked Up". The highlight of their set was a Gladys Knight and the Pips song, "If I Was Your Woman"; and a set-closing version of The Who's "Young Man Blues". The coolest fact about The International Playboys is that they have made a zombie movie (inspired by Guitar Wolf) called GHOULS GONE WILD, which they had for sale on DVD. I'm always impressed with people who get projects done. The International Playboys are a getting the job done.

GitoGito Hustler

Gearhead Records (which has a majorly cool catalog of bands) has recently signed GITOGITO HUSTLER, an all-girl band from Tokyo. This four-piece was the pop-punk band of the evening. The girls had a "motorcycle gang from a friendly cartoon" motif going, with matching sleeveless, zip-up shirts that said "GITOGITO HUSTLER" (what else?) on the back and old-school motorcycle boots. The band really had their chops together and won me over with their energy. They danced and posed and played it cute (if they had been local chicks playing it so cute, it might have come across as a little too much, but they came across like a wild bunch of five-year-old girls hard at play) and worked the audience into a frenzy. They played "Romantic" and "Wonderful" from their new 7", as well as songs from their previous two albums (released in Japan on their own record label, Candy Poison), which included "Love and Roll", "Rapo Rapo", and "Happy Today". When GITOGITO HUSTLER had finished their 40-minute set, I grabbed from the stage their set list, which also had things to say written out in English beside the Japanese interpretation-things like "How are you?" "We love beer," and "Do you know GITOGITO HUSTLER?" It was a cheat sheet. Very endearing. The GITOGITO HUSTLER were very cool.

The Spunks

A sample of a motorcycle motor revving up played over the P.A. as The Spunks' gear was moved out onto the Green Door's stage. Lead vocalist/axeman Hajime had been standing out in the crowd like a sore thumb all night, with his bleached blonde hair spiked up and back giving him the appearance of riding the iron-horse highway. When the New York City three-piece (which now included drummer Al Batross, formerly of MDC, Ludichrist, and The Plungers; and George on bass) hit the stage, Hajime ran at 90 mph holding the detached chrome handlebars of a motorcycle. The Spunks music is high voltage garage rock 'n' roll played tight. The Spunks played songs off of their disc BORN TO BE MILD, such as "I Love Wok & Roll", "Joystick Rock and Roll", and "Highway 69". In-between songs, Hajime relentlessly discussed his "small wiener." The Spunks' show was fantastic raw music and cool leather-jacketed showbiz.

While Electric Eel Shock set up their equipment, the members of GITOGITO HUSTLER and The Spunks constructed a massive pyramid, as their peeps and fans snapped pictures. The night was full of stunts that reflected what was obviously the good-natured fun of all these bands. Electric Eel Shock was the metal act of the evening. Lead vox/axeman Aki Morimoto's fretwork was a tip of the hat to Angus Young, Eddie Van Halen, and Tony Iommi. Drummer Tomoharu Ito (naked, except for one long sock) was a beast, a fantastic force. Some of the highlight tunes of their hour-long set included "Bastard", "Killer Killer", and "I Love Fish". The band has recently signed to Gearhead Records, and their first release, GO USA!, is out now. Electric Eel Shock was a great closing band, with big smash and boom style.

It was a rocking Monday night that rolled over at 1 o'clock Tuesday morning. King Kong and Godzilla both won. Sayonara, so long. Keep on rockin'.

THE RANDIES
PUNK ROCK KARAOKE
ME FIRST AND THE GIMME GIMMES
March 12, 2005 @ the Troubadour (West Hollywood, CA)
Photos and text by Todd Markel

The Randies

They've been called a punk-rock supergroup, the greatest cover band in the world, and one of the sloppiest bands in the world. I could only be talking about one band: Me First and the Gimme Gimmes. With a punk-rock pedigree that reads like a who's who of the genre, the group features members of NOFX, Lagwagon, and Swingin' Utters; and, for this tour, Brian Baker of Bad Religion filling in for Chris Shiflett (who was off recording with his other band, Foo Fighters). This show was a rare, sold-out appearance of the Gimmes, who haven't played in L.A. (other than an appearance on THE JIMMY KIMMEL SHOW and at Jonny Wixen's Bar Mitzvah) since 2001.

Punk Rock Karaoke

The doors didn't open until 9:00 p.m., and the first band to go on (at 9:30) was the Los Angeles girl band The Randies. Featuring three women and a guy on drums, they are in the midst of a self-proclaimed perpetual "tour of L.A." and have a new CD out called AT THE FRIENDSHIP MOTOR INN. They have a retro-rockabilly look and an upbeat, poppy punk-rock sound. They're a little reminiscent of early The Go-Go's or The Bangles. They started their set with a catchy song called "Threadbare" and played a song that seemed to be singing the praises of Kevin Bacon. They finished their set with a tune called "Boys in Stereo"-probably not a moment too soon, as the crowd was ready for the punk-rock extravaganza that was to follow.

Punk Rock Karaoke

With both the headliners and the next band, Punk Rock Karaoke, being all-star punk bands, anticipation was running high. PRK is made up of Eric Melvin of NOFX, Steve Soto of many legendary punk bands (including The Adolescents), Greg Hetson of Bad Religion and Circle Jerks, and drummer Derek O'Brien (formally of Social Distortion and D.I.). Their motto is: "We play, you sing." Master of ceremonies was Eric Melvin, who kept things moving along. Prospective singers had to sign up at the merchandise booth, where they had a list of songs to choose from. Lyrics were provided, and you were all set to be a rock star. First up was a girl named Ramona and her friend, who sang The Runaways hit "Cherry Bomb". PRK was being taped for an upcoming Kung Fu Records DVD, and everybody who was anybody got in on the act. Alkaline Trio's Matt Skiba (with his broken arm in a cast) tore up the stage with The Adolescents' "Creatures". Crowd-favorite Joey Cape of Lagwagon came out and sang Descendents' "Bikeage". Fat Mike got on stage bare-chested and drinking a can of Guinness, which he then poured on Eric Melvin's head at the end of his song. NOFX's stage crew even took their turns at the mic: Kent got up and sang Fear's "I Love Living in the City", while Timmy the Turtle started his song by kicking the mic stand across the stage, almost taking out a cameraman in the process. Shawn Stern of BYO Records and Youth Brigade fame was sidestage cheering on the proceedings and providing encouragement.

Punk Rock Karaoke

The lights went down, and Me First and the Gimme Gimmes took the stage in matching red-and-white Hawaiian shirts and sparkling custom guitars. Joey Cape had the honor of playing the opening notes to that classic-rock radio staple, "Stairway to Heaven". With fans yelling "Joey, you suck!" he started and stopped four times, before the band finally joined in and played a version that would have curled Robert Plant's chest hair. The set list was a nice mix of songs from all five of their CDs, including their cover of REO Speedwagon's "Take It on the Run" (which is on their latest CD, RUIN JONNY'S BAR MITZVAH). They played their tongue-in-cheek rendition of "End of the Road", with Joey playing the part of the surfer dude with his line, "Remember that time we drank that 12er? / We were so wasted we passed out." About halfway through their show, Mike announces that they were going to take a short break to do a "costume change." They reappeared in different matching Hawaiian shirts, and the hits just kept coming.

Me First & The Gimme Gimmes

The second half of the show began with John Denver's "Country Roads", and then they played one of my favorites, R. Kelly's "I Believe I Can Fly"-which is really a whole lot more inspirational than the original version. "Come Sail Away" was introduced by saying, "Most of you probably know this song from SOUTH PARK." "Tomorrow" from ANNIE was introduced as "probably one of the gayest songs ever written-which is fitting, since we are in West Hollywood." They took a special request to play "Sloop John B" from soundman Kent, then had a big finish with Elton John's "Rocket Man", which had the whole crowd singing along: "I think it's gonna be a long long time...." And it probably will be a long long time before we see Me First and the Gimme Gimmes do another tour-though I hope not.

BANE
COMEBACK KID
WITH HONOR
SILENT DRIVE
LIKE IT OR NOT
March 26, 2005 @ Chain Reaction (Anaheim, CA)
By Luke Skywalker

A show with Bane and Comeback Kid is certainly one show an avid music fan should not pass up. By just looking at the tour poster, you knew it would be good. I fear the Showcase Theatre show the night before would have been better for its grungy punk-rock appeal, but Chain Reaction sold out, and that means there's got to be some dedicated fans.

Arriving shortly after Like It or Not finished, I am sad to say that I have no idea what they sounded like. I can guarantee that they were well represented by kids in white sweatshirts that said "L.I.O.N C.R.E.W." I'm still trying to figure out what "C.R.E.W." stands for.

Silent Drive put forth a good effort with their set. With members playing in both this group and Bane, they definitely have stamina. Still trying to make a name for themselves, this group had mostly friends representing them in the crowd, but I think they inspired some new fans with their melodic chaos rock. Apparently, the lead singer couldn't help but be obnoxious the night before, but at Chain he seemed pretty tame, yet he was still charismatic.

There has been a buzz about the band With Honor. East Coast hardcore was well represented by this group, and they were even willing to represent Connecticut on their merch. Playing just their second show at Chain Reaction, they were able to get a good response from the crowd with songs like "To Believe" and a cover called "Forgotten". The kids had a good time with a decent circle pit, but unfortunately it began to wane and slowed down to people just standing around watching. Still, With Honor exceeded all expectations and played an excellent set. (FYI, the lead singer has strikingly similar appearance to THE REAL WORLD's Landon.)

The highly-anticipated Comeback Kid blew the crowd away. With the recent release of their record in February, many people came to check out their new set. Right off the bat, kids began flying through they air. I believe my face became a foothold for many head-walkers. Surprisingly, these Canadian boys started off their set with some songs from their old record. With songs like "Step Ahead", "Die Tonight", and "Always", veteran fans were pleased to get a taste of old. Then came the new. "Wake the Dead" and "False Idols Fall" were clearly crowd-favorites, but when band played "Final Goodbye", the show stalled out. It's a great song on the record, but the audience stopped responding.

Bane was clearly the highlight of the night. I will attempt to describe their show, and I only hope I can do justice writing about these wise hardcore musicians. With no crazy metal riff intro-or even a hello-the Massachusetts hardcore band simply began to play their genre. I couldn't help but notice that much of their set consisted of the songs they have on purvolume.com. Interspersed with speeches and ambiguous rhetoric, the band played "Ante Up", "Pot Committed", and the crowd-favorite, "Can We Start Again". Kids went crazy for this song, which just goes to show how respected these OLD TIMERS are.

SKA IS DEAD TOUR II:
VOODOO GLOW SKULLS
STREETLIGHT MANIFESTO
MU330
THE CULPRITS
March 14, 2005 @ the Knitting Factory (Hollywood, CA)
By Jennifer Swann

Despite a grueling, annoying, and disaster-stricken transportation situation, I finally made it to the Ska Is Dead Tour-and, thankfully, it lived up to all of the hype.

We arrived in time to catch the last two or three songs by The Culprits. I don't have much to say about them because I missed most of their set, but nothing I did hear struck me as extraordinary or set them apart from any other punk band. They did seem to have a good sense of humor and joked at the fact that they had to play on the smaller stage and had literally no money in their bank accounts.

Next on the main stage was MU330, a five-piece ska-punk band from St. Louis, MO, with enough energy to pack the entire crowd and get everyone jumping. In matching black shirts with "330" on them in red, each member was unique and had his own charismatic persona. Lead singer Dan Potthast was cool and quirky enough to look as if he had just jumped off a comic strip. He was like a mix of Poindexter and Buddy Holly, complete with a buzzcut and thick, square glasses-and he had an animated personality, to boot. The band had an awesome, laid-back yet loud and jazzy vibe, and all of the members seemed like at one-time high-school band geeks who came together and started jamming, creating something original and off-the-wall in the process. In between songs, Potthast would ask some random trivia questions and banter about the Hollywood crowd, while larger-than-life trombone player Gerry Lundquist (referred to on stage as the "Ayatollah of Rock 'n' Rollah") got out his chainsaw and paraded about, unveiling to the crowd some of his personal collection of crazy dance moves. MU330 put on a dynamic, high-energy stage show that certainly set the tone for the night, raising the bar for the following bands to live up to.

Next up was Streetlight Manifesto, the band I was most looking forward to seeing. Composed partly of ex-members of Catch 22, this band's killer line-up included two sax players, a trumpet, a trombone, drums, bass, guitar, and vocals. They radiated an incredible vibe and maintained their exuberant energy throughout the entire set. The word "catchy" does not even begin to describe their sound. You'd have to have had a serious lobotomy to keep from dancing constantly. They played "Everything Went Numb" (the title song off their latest album), as well as many other crowd-favorites, like "Point/Counterpoint", "Here's to Life", and "A Moment of Violence". Tomas Kalnoky's gritty, sometimes folky vocals at times reminded me of bands like This Bike Is a Pipe Bomb or Jawbreaker. Bass player Chris Paszik connected really well with the audience, often humorously turning to us for the rhythm and initiating us to clap our hands to the beat. One of the coolest aspects of Streetlight that sets them apart from a lot of other ska bands is the fact that their lyrics are poetic, poignant, and hard-hitting-something often masked by the happiness of the music. I would definitely recommend seeing them live.

The headlining band was Voodoo Glow Skulls, and they were undoubtedly the most anticipated, judging by the huge crowd that pushed its way over to the stage area as they were about to go on. The venue was completely packed when the last two bands played, so it boggled my mind to see what looked and felt like literally twice as many people squish themselves into this tiny venue to see the almighty VGS. The A CLOCKWORK ORANGE soundtrack that was eerily played in between sets finally faded out, VGS started jamming, and the crowd went wild. Lead singer Frank Casillas took the stage wearing a Mexican wrestling mask, and the band played harder and faster than any of the other bands that night, bombarding us with hit after hit of what VGS calls "California street music." The pit was raging in full force, and the pungent aroma of marijuana mixed with massive sweat and B.O. filtered through the stuffy air. VGS even played a rendition of Ozzy Osbourne's "Crazy Train", suffusing it with their own signature hardcore punk/ska sound. Unfortunately, it just happened to be a Monday night, and due to many shitty circumstances, I was only able to stay to watch half the set. Even so, I was more than thrilled to make it out and join in this monster of a dance party.

Social Distortion
March 19, 2005 @ SOMA (San Diego, CA)
By Kevin Farr

After a long, arduous tour, Social D was back in sunny SoCal. This O.C. band has seen members swing through, party, leave, and even pass away. They currently have a new drummer, new bassist (well, this guy's has been utilized on Ness's solo albums and tours); and another guitarist has come to assist Ness and Social D on the 2005 tour supporting the release of Social D's first studio album in eight years. Yet, despite complications stemming from a revolving door lineup, Social D has successfully retained its musical and lyrical validity.

Social D's SEX, LOVE AND ROCK 'N' ROLL has a better semblance to their live shows than prior albums. It depicts a more reflective and introspective Ness (not that past releases lack insightful reflection) and expresses a wisdom gained (only) after years of living and struggling with the trials and tribulations of life and love.

Their recent stint at San Diego's SOMA venue further solidified Social D's astounding comeback (though they never really went anywhere). The band has had strong influences on both mainstream and counter-culture lives, and their live show captures these two opposing forces with style and grace. They move fluidly from tracks like "Nickels and Dimes" to "Story of My Life", often pausing to offer a wise tale about life to receptive fans. On this night, Social D played an eclectic mix of rock, punk, and rockabilly, as both young and old danced and sung the night away. The set list spanned Social D's lofty history They opened the evening with "Highway 101" off the new album, then quickly shifted into past hits/covers like "Ring of Fire" and "Under My Thumb". Before striking the first chords of "Prison Bound", Ness approached the mic, asked the crowd where the youngest cat at the venue is, and preceded to bring the kid on stage. At this point, Ness offered a parable about raising our seeds correctly so that they don't find themselves prison bound. Ness and Social D have the capacity to create an intimate atmosphere, regardless of venue size and capacity. Few artist have the skill to capture the personal and expresses it in a way that connects in such a raw and honest fashion. Watching Social D play is like eating a fine meal with the crew and throwing back some wine while receiving a schoolin' in life from veteran punks.

THE SUB CITY TAKE ACTION TOUR:
MELEE
HOPESFALL
ANBERLIN
HAWTHORNE HEIGHTS
SUGARCULT
March 10, 2005 @ Irving Plaza (New York, NY)
By Melissa Wong

It's really surprising what a small world it is. How could I have known that, in addition to seeing some of my favorite bands, I would meet a dude from a Japanese record label, the ex-bassist from Nerf Herder, and some cool photographers in the press pit all in the same night? Well, I did. But aside from boasting about my networking expertise, I just have to say that it would be an understatement for me to say that the entire lineup's performance was just kick ass. You had to be there.

It was my first show at Irving Plaza, and when I first arrived, I assumed from all the screaming and obnoxiously annoying 14-year-olds that it was going to be a teeny-punk-pop disaster. Maybe this is because I'm an old fart (yes, all of 21) or because I think back to when I was in high school and how much cooler rock shows were. I assumed wrong. This show made me realize that, no matter how old you are and how cool you are, all of it-the bands busting their butts to record and tour, teens begging their parents to pay for their expensive Ticketmaster tabs, and me scrambling to write a decent review-is all about music. You hear that phrase, "It's about the music," but when you've experienced it, that tiresome phrase will start to make sense.

Whether it was the sincerity of the Melee boys when they played their happy, piano-based numbers that made me want to dance or the intensity of the piercing vocals from Hopesfall's Jay Forrest, I knew I had to fight for my tiny spot next to the front row. I was wedged between four screaming, ecstatic, and glitter-drenched girls. At least they were nice, so I couldn't help but enjoy and appreciate the Melee performance, as the songs were cheery, positive, and just downright fun. On a serious note, vocalist Chris Cron dedicated "The War" to the cause of the Take Action Tour, which is for suicide prevention.

I was blown away by the music of Hopesfall combined with the screaming vocal chords of vocalist Jay Forrest. I enjoyed "Icarus", but overall I think that the Hopesfall record does a better job of featuring his vocals.

Next, Orlando, FL, natives Anberlin rocked the audience. I had never seen Anberlin live before, but I had always heard great things about them. After their 30-minute set, I was in love (with vocalist Stephen and the live songs) and took home the new Anberlin album. As much as I think adore Sugarcult, this Tooth and Nail band really stole the show. The kids were crowd-surfing from the front of the club all the way to the back. All I could see were mouths singing along to the lyrics and limbs flying everywhere, as kids were tossed in the air like baby tomatoes in a garden salad. The highly addicting and catchy "A Day Late" and "Paperthin Hymn" were stuck in my head all the way home.

Once my excitement elevated, I was ready for Hawthorne Heights. But to my surprise, I really didn't enjoy their set as much as I had the others, and I found myself checking my phone to see when they would end. They were just alright. After the first two songs, I wasn't really impressed and found myself questioning whether it was the band itself I didn't favor or screamo in general. I think it's just the whole screamo element. Plus, after I went home and examined some HH tunes online, I found that the songs were pretty tightly recorded and catchy, so I'm thinking that the live show just isn't their thing. But I'm sure the audience would disagree, because during their entire set every mouth there was belting out every word. And remember the tomatoes in the garden salad? They were definitely in the air and all over the place.

Finally, everyone's favorite Santa Barbara quartet, Sugarcult, came on, and the crowd went WILD-almost like when Louisiana Mayor Schiro announced BEATLES DAY IN NEW ORLEANS in 1964. Girls were jumping, screaming, giggling-the whole bit. The punk-rocker guys were bouncing off the walls. Everyone was stoked. Poppy tunes "Daddy's Little Defect", "Memory", and "She's the Blade" rocked the entire house-literally. I think I could feel the floor shaking.

In addition to all of the spectacular performances, the show was for a good cause, and I met a bunch of super sweet kids who reminded me that life isn't so much about being cool but about being yourself and having a good time.

BLOC PARTY
ERASE ERRATA
DANCE DISASTER MOVEMENT
March 22, 2005 @ the Troubadour (Los Angeles, CA)
By Jeff Lambert

Unfortunately, I miss Dance Disaster Movement doing their thing due to problems with the guest list, but I do manage to catch the start of an intense show put on by Erase Errata. Red and yellow lights fill the stage, as the all-girl trio bangs away on their instruments. Mostly comprised of drums and bass, the Bay Area natives perform at a mixed pace, led by the on-again, off-again rants from lead singer/guitarist Jenny Hoysten. The guitar work is sloppy, at best, while the neatly-played bass lines quickly get repetitive...but for the life of me I can't help but bob my head to the likable drumbeat. The individual songs are short-lived and lack much melody, yet every once in a while they mix in a complicated bass line or even surprise the crowd with an overly poppy guitar riff. The otherwise jaded performance picks up steam towards the end, when Hoysten pulls out the trumpet for their finale, "Ease on Over". The frantic song stands out as the best they have to offer and elicits a loud cheer from the mildly subdued audience.

Kids push their way to the front so that they can be as close as possible to the headlining act, Bloc Party. This indie guitar-rock group from Britain has quite the growing reputation, and they can thank the likes of Franz Ferdinand for helping them break into the scene. Rumor has it that Bloc Party lead singer Kele Okereke sent their demo to Franz, who passed it along to the "right people." Their demo impressed someone important, and they quickly became one of the most talked-about bands on the U.K. indie rock scene.

The lights dim to a subtle blue as the foursome from the U.K. take over the small Troubadour stage. As expected, they open the show with the opening track from their 2005 release, SILENT ALARM (Vice), "Like Eating Glass". Led by the charismatic stage presence of frontman Kele Okereke and the brilliance of drummer Matt Tong, Bloc Party plays with a refreshing sense of arrogance that actually manages to impress the blase´ Hollywood crowd. Their confidence and swagger continue to build with each passing song, as they treat the audience to new favorites "Positive Tension" and "Banquet". The songs hold up very well in a live setting, and the group locks together so neatly that I often wonder if I am listening to the Bloc Party record. To switch things up, they add an expanded guitar solo to "This Modern Love", which gives their performance the "live" feel it was missing early on. Drummer Tong continues to mesmerize the audience with his flawless precision, while bassist Gordon Moakes plays so smoothly that the subtle intricacies of his bass lines cannot be overlooked. Combine that with the quiet intensity of guitarist Russell Lissack and the charisma of Okereke, and Bloc Party has all the makings of a great live act. The group bounces through a nine-song set before abruptly stopping-which doesn't please the crowd, who were obviously expecting more. The small chorus of boos detracts from the ovation Bloc Party should receive and sucks the energy out of the otherwise lively crowd. But the crowd quickly changes their tune when Okereke leads his bandmates back on stage for what would prove to be a four-song encore. They open their second act with a very powerful version of "So Here We Are", before breaking into a few fast-paced tracks. They finish with an older song, "The Answer", which proves to be the exclamation point to an already impressive show. Its infectious beat and catchy guitar build to a spectacular finish that leaves the Troubadour crowd begging for more. This time the crowd comes alive and bids Bloc Party farewell with an enthusiastic applause.

FACEDOWN FEST, NIGHT ONE:
NO INNOCENT VICTIM
THE DEAL
BLOODY SUNDAY
JESUS WEPT
CLEAR CONVICTIONS
BRUTAL FIGHT
XLOOKING FORWARDX
BRADLEY HATHAWAY
March 18, 2005 @ Showcase Theatre (Corona, CA)
Review and photos by Johnny Rocket

Another year, another weekend of Facedown Fest that flew right by. 2004 and 2005 have been huge years for the hardcore scene, and each year's Facedown Fest seems to put giant exclamation points at the end of it. Facedown Fest is a two-night showcase of Facedown Records' (and their sub-label, Strike First Records) finest groups. The first night featured acts such as No Innocent Victim, The Deal (final show), Jesus Wept, Bloody Sunday, Brutal Fight, and Clear Convictions. In Due Time was also supposed to play; however, for a reason unknown to me, they couldn't, so Maryland's XLooking ForwardX took their place. I got there late (as most people did, because the 91 freeway is terrible) and missed XLooking ForwardX, but I was just in time for Brutal Fight. Brutal Fight hails from Washington and brought some tough hardcore to an eager crowd. Clear Convictions came out all the way from Puerto Rico to play, and they showed it. They provided energetic and heavy hardcore reminiscent of NIV but definitely with their own flavor. It's really cool to see guys from that far away who have such a burning desire for playing hardcore and doing it for God. Florida's Bloody Sunday returned for their second straight year of Facedown Fest. They are just as heavy as all the other bands, but their music feels more driving and raw to me. They have a different frontman than they did last year. I preferred the old vocalist, but these guys are most worthy of taking the stage. Lyricist/poet Bradley Hathaway entertained in-between the first few bands. He performs clever poetry that is catchy, funny, and not devoid of message. He seems to be quite the rage of MYSPACE. The tension started to build a bit more when Jesus Wept started to set up. They feature members of xDisciplex and are led by none other than Dan Quiggle. The fan base from xDisciplex seems to appreciate Jesus Wept just as much, as a relentless surge of scream-alongs and fist pumps broke loose. They played "Sick City" and "Thank God There's More to Life Than This" (both from their recent EP, SICK CITY). A very good thing was about to come to a crashing end, because The Deal was gracing all of us with their dominant presence for the last time. They came out dressed in tattered, zombie-like clothes, with faces painted and lots of fake blood. The soft flames of the candles that lined the drum platform of the stage lightened the mood, and the backs of their shirts put it bluntly: "The End." It was a blow to the punk scene of Southern California, as The Deal was one of the finest punk bands playing in Orange County in recent years. They started off their set with almost all of their original members, and boy, did it feel and sound just like the old days while they played "Soon Cometh the Day". Halfway through they switched to their current lineup, which is nearly as good. They played a well-thought-out mix of songs. It was sad to see them hit their last note and end all those years of memories, but everyone there showed them the respect that they deserve. Last and in no way whatsoever least, hardcore veterans No Innocent Victim rushed the stage. They were more than just a tease this year (last year at Facedown Fest they came on during xDisciplex's set and played one song), as they busted out with all the greats, such as "Reunion", "C.E.B.", "Death Grip", and "My Beliefs". What was possibly even more exciting was when they played a NEW song called "To Burn Again". It had just as much passion and intensity as any of their previous work. No Innocent Victim is looking to help restore that burning flame of love and respect for God, which has been fading from hardcore and the music scene in general. It will be extremely ear-pleasing to hear brand new material from these guys again. Overall, night one was a complete success, and each band brought something a little different to the table to make it truly a night to remember.

HOMEGROWN
THE KINISON
POWER SERGE
RED ON RADAR
March 5, 2005 @ House of Blues (Anaheim, CA)
By Michael Silver

Four bands, four different sounds, four different crowds. That would be a simple way of describing this show. On a chilly Saturday night at Downtown Disney, a rock show took place with a diverse lineup in front of a skeptical crowd. Red on Radar were first to hit the stage, and they jammed along with some rockabilly/pop tunes to less than a half-full house. I don't know much about the band, but they played a decent set that included numerous bass solos (always a treat), and they were enthusiastic from the start.

As the club started filling up, the lights turned off, the curtains drew back, and five guys stood up facing backwards with fists in the air. Some dynamic horns are heard loudly, and the booties of these rockers start shaking. This is Power Serge. Dressed in glam-rocking attire straight from the '80s, this cover band got the crowd hyped from its opening number with The Scorpions' "Rock You Like a Hurricane". The lead singer talked to the crowd with what appeared to be a fake Swedish accent. He made a joke about the Angels baseball team changing its name by saying, "Welcome to the Los Angeles House of Blues of Anaheim." They went on to play "Panama" by Van Halen and topped that off with the Bon Jovi classic "You Give Love a Bad Name". It was quite a delight to see a band play old hits and get the crowd as pumped up as they did.

The Kinison

Charging on with a full head of steam were local newcomers The Kinison. Hailing from Riverside, this five-piece band was rocking songs from their debut album WHAT ARE YOU LISTENING TO? Starting with "Farm and the Girls", the quickly spit lyrics got the pit moving, and the up-tempo guitar riffs sounded clean. The buzz on this band is about Travis Barker from Blink-182 signing them and producing their album. Furious guitars and vicious dancing erupted during "Oh Boy That Girl Can Move", the lead singer and guitarist shuffling their feet in hipster fashion. There was an awkward moment when the singer let some random girl talk to the crowd. She said the band sucked and that the singer was "ugly." The rest of the crowd seemed to disagree, and they grooved along to another standout track, "Every Genius Has Their Hang-Ups". The constant tempo, dance movement, and high-pitched singing all contributed to an energizing set.

Homegrown

Local veterans Homegrown hit the stage last to an exuberant crowd, and they didn't disappoint. I was not too familiar with their catalogue, but I did recognize some tracks. Performing a punked-out version of Aqua's "I'm a Barbie Girl" was a unique crowd-pleaser, and a new song, "Keep Your Distance", had that pop-punk, fresh feel they like to play. The new EP, WHEN IT ALL COMES DOWN, features "Cross My Heart", which has a message similar to the one found on previous albums: "I cross my heart and hope to die / Stick these needles in my eyes / Inject this air into my veins / If it would bring you back to me."

Homegrown

Darren from Homegrown posted this message a day after the show: "Last night was our 25th consecutive sold-out show at the House of Blues Anaheim, and it was the best crowd we have ever played for there. I couldn't sleep last night it was so amazing." While I do agree that the show was amazing, I must dispute the sold-out status. I've been to many HOB shows in the past, and this was not a full house. Maybe everyone was just outside on the balcony. When the first few chords of "Surfer Girl" began, the place erupted in joy and brought a smile to my face. This was a night full of great energy.

Homegrown

IAN BROWN
ASHBURY
March 14, 2005 @ House of Blues (Anaheim, CA)
Review and photos by Annette Ovanessian

I am one lucky lady. A chance to watch Ian Brown, former singer of The Stone Roses, perform was not only awesome, it was a rare opportunity. And his performance on this night was a spiritual experience for me. His new solo album, SOLARIZED, is on some different shit. It's weird-of course-but it has all the elements of a purely original sound, filled with heart-thumping conga drums and an array of different chimes played by newest band member, Goldfinger. And when you hear the sounds of all the drums, chimes, bass, horns, and Brown's voice, a light bulb pops on in your head, and you think, "Ian Brown's music is the shit and will always be the shit!"

The crowd broke into smiles as Brown opened his show with "Tell Me", a classic jam from The Stone Roses. Perfectly in tune, Brown sounded so pleasant...but, at the same time, he began to get frustrated. Basically, his sound guy sucked and ruined it for everyone. Brown was not quite centered on his performance: too much of his patience was drained by the technical difficulties. However, this did not stop me from enjoying every minute of what he had to offer. When he began talking to us, I remember not being able to make out what he was saying, due to his heavy accent. I was unable to retain any sarcastic words he said to a male audience member who was blowing kisses at him. It's so funny to see Brown just pop off on somebody in the audience. He didn't care if you came all the way to Disneyland to see him-he was just there to talk some shit, sing some songs, and get the hell out...and that was just fine with me. Mostly singing songs off his new record, he did play a few more of The Stone Roses songs. There was no encore, but to end the show with a laugh, he did run back on stage to yell out, "Fuck Mickey Mouse!" Definitely pick up Brown's new album, and The Stone Roses album. I guarantee you'll fall in love.

To open the show, new indie band Ashbury quickly set a welcoming mood. A cross between The Killers and The Faint, these five young gentlemen will be the next HOT indie/electronica band. Talented vocalist Jesse uses his dynamic and clear voice to trap everyone in a world of wonder. "I wonder how awesome the next song will be?" said my friend Ryan. Ashbury is not just another band, they are a band that focuses on the correct elements of making good songs. Each song sucked me deeper into the next. The instrumentation was filled with sounds of the electric synthesizer, pounding drumbeats, electric guitar, and hard bass. Visit Ashbury's Website www.ashburymusic.com, where you can hear songs off their self-titled EP, and then you'll just see how good their music is for yourself. And make sure you add them as your friend on Myspace.

This night was yet another great concert to add to my many thousands, a concert that introduced me to a great new band and re-introduced me to an old favorite.

DURAN DURAN
March 28, 2005 @ Veterans Memorial Auditorium (Columbus, OH)
Review and photos by Chip Midnight

Can we all agree that Paris Hilton is an attractive female? Even if she isn't your type, she has stunning aesthetic qualities that many men fantasize about. In fraternity houses across America, the phrase "I'd do anything to sleep with Paris Hilton" is as common as "Who's turn is it to make a beer run?" So it came as quite a crushing blow when the Paris Hilton video hit the Internet and she proved to be an extreme bore in bed, more interested in looking good for the camera than getting into the act of passionate lovemaking with her then-boyfriend.

In many ways, the Duran Duran concert that I recently attended left me with the same empty feeling as watching the Paris Hilton video did. Sure, the guys all still look good, and the music holds up surprisingly well in light of the fact that some of material played during the 19-song set is over 20 years old; but the overall lack of action on stage was a major disappointment. Of course, that didn't matter to the throng of 30-something females who paid upwards of $45 per ticket to see the classic lineup of Duran Duran play together for the first time since 1985.

Duran Duran

When the recently-reunited band-Simon LeBon (vocals), John Taylor (bass), Andy Taylor (guitar), Nick Rhodes (keyboards), and Roger Taylor (drums)-walked out on the darkened stage to start the show, you would have thought it was 1963 and The Beatles had just taken the stage. Having been an avid concertgoer since the age of 16 (I'll be 34 this year), I can say without a doubt that I've never, ever heard an audience react with as much gusto as this one did.

While Duran Duran has always been style over substance, the band has enough memorable hits to fill a double-CD; and, unlike other bands that have recently reunited and hit the road (e.g., Mo¨tley Cru¨e, Pixies), Duran Duran is touring to support its latest release, ASTRONAUT, as much as it is to play the nostalgia card and just stick to the classics. This turned out to be both a blessing and a curse during the band's set in Columbus. The new disco/pop-flavored songs-seemingly tailor-made for the South Beach club scene-resonated well with the Midwest audience, though for each new song that was played, an older song was left off the set list. Notably absent from the nearly two-hour performance were "Come Undone", "New Moon on Monday", and "The Reflex". I mean, how can the classic lineup of Duran Duran tour and leave "The Reflex" out of the show? For shame! That being said, the band did treat the audience to songs like "Hungry Like the Wolf", "Union of the Snake", "The Chauffeur", "Is There Something I Should Know?", and "Ordinary World"; as well as new tracks from ASTRONAUT, like "(Reach Up for the) Sunrise", "Want You More!", and "Astronaut" (which featured Andy Taylor's guitar drowning out the rest of the band in the mix). The first real sign of life by the band came during its 13th song, "Notorious", which saw the previously comatose LeBon dancing and prancing around the stage. To LeBon's credit, it appeared (based on the many times between songs that he disappeared behind the drum riser to blow his nose) that he was suffering from a cold, so it's excusable that he was saving up his energy for a rousing finale. Duran Duran closed with "Wild Boys", much to the delight of the audience, who sang along with LeBon, who then departed for the mandatory wait-in-the-wings-until-you're-called-back-out moment. Re-emerging from backstage, LeBon asked keyboardist Rhodes if he was "ready to take some pictures," and then the familiar intro to "Girls on Film" began, as images of models flashed on the giant video screen behind the stage. The second and last song of the encore was an extended version of one of the band's earliest hits, "Rio", which, like most of the songs performed during the evening, resulted in a massive crowd sing-along.

As I walked out to my car following the concert, I couldn't help but think that what I just witnessed was a modeling show put on by guys who just happened to be able to play instruments. The hits may have been there, the guys may have looked good, but the money shot left much to be desired. I wonder how Men at Work is in concert?

HOW TOUR USED TO BE TOUR 2005:
HELLO GOODBYE
STEEL TRAIN
LIMBECK
LONDON COLOURS
REUBENS ACCOMPLICE
March 9, 2005 @ Madlin's Coffee House (Temecula, CA)
By Joe Licavoli

It has been a while since I have been to a show that was filled with energy from the moment I walked in the door, but this show definitely had this incredible vibe. I was a little late for the show, so unfortunately I missed Reubens Accomplice. This was a band I really wanted to check out, because I found out online that they worked with Jim Adkins (vocalist of phenomenal rockers Jimmy Eat World)-and I thought that if Jim Adkins likes the band, they must be fairly good. Well, I guess I will have to check them out next time.

A ton of people in the crowd were geared up for a band I had never heard of, London Colours. London Colours fused together a strong brand of punk and hardcore layered with melodic lead vocals. Vocalist Billy Joe was overly self-confident and somewhat pompous, asking the crowd if they had ever heard the band before. When some hands went up he said, "Yes, you have: we just played two songs." London Colours may have a rather enlarged ego for a bunch of local musicians, but the band had amazing musicianship. Billy Joe rocked back and forth on the small stage, showing excellent stage presence, reminding me of Bert McCracken from The Used. The musical potential of London Colours is overwhelming. It will be interesting to see if the band does not self-destruct.

Limbeck and Steel Train were supposed to be co-headlining the tour, yet Limbeck played third and Steel Train followed them. Words can't describe the incredible set that Limbeck played, rocking out on a Wednesday night, but I will try. The tour is called "How Tour Used to Be," and that definitely seemed to be the case with Limbeck's set. Kicking off its set with "Gamblin' Man" (off 2003's Doghouse Records release, HI EVERYTHING'S GREAT), Limbeck was packed with energy, and the crowd was clapping, bobbing their heads, and-believe it or not-dancing at a rock show! Wow. I have not seen that for about eight years. The entire band seemed to be having a good time throughout the unfortunately short set. Smiling and bobbing his head to the music, guitarist Patrick Carrie embodied the spirit of good times. Busting out the tambourine on the country-tinged "Brand New Orange", singer/guitarist Robb MacLean captivated the crowd with his laid-back persona. The band stated to play the song "In Ohio on Some Steps" (from its aforementioned release), and the crowd seemed to sing along word for word with MacLean. The band will be releasing its next album this summer, so make sure to check it out. It was nice to see a great crowd reaction to an incredible rock set.

It seems a musically eclectic show can go either of three ways: fans leaving after the band they like leaves the stage, fans ridiculing the other bands, or fans embracing the different areas of music and having a good time. The last was definitely the case for this show, as the smooth jam-band sound of Steel Train flowed through the venue. Steel Train has excellent musicianship and definitely did not give the crowd a moment to rest. The band's five+-minute intro, a cover of The Talking Heads' "Psycho Killer", had fans clapping and dancing around as the band grooved along. Vocalist Jack M. Antonoff had a lot of energy on stage and had a great way of transitioning from soft ballads to rocking tunes. Steel Train makes great original music, but they can really nail a cover song. The highlight of the set was The Jackson Five's "I Want You Back", bringing out a fun and carefree vibe. Steel Train will be releasing a new album in the next couple months on Drive-Thru Records, so be sure to check it out and catch the band the next time they play. You won't be disappointed.

Power-pop rockers Hello Goodbye took the stage with a quiet rock vibe, which was interesting, because most of the music I heard from the band online was upbeat, infectious, and rocked. Well, the band did not stay mellow for long, transitioning into keyboard-heavy power pop. Hello Goodbye reminded me a bit of Weezer with a lot of keyboards thrown in. My impression of the band was split: on one hand, I really thought the rock songs were infectious and creative; but the softer songs seemed a bit dull. In just a few years, Hello Goodbye have really made a name for themselves, and with time the band's musical cohesiveness will most likely fall into place.

The show really made me have a positive view of bands and shows again. It seems some shows are filled with jaded music fans who are too worried about letting go to have a good time-what music should be about. Madlin's Coffee House is a great place to see a show. It is small, but the sound and lighting is great. Check out Madlin's Coffee House at WWW.MADLINSCOFFEEHOUSE.INFO.

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