JANUARY 2004 Show Reviews

GROOVIE GHOULIES
THE FLIPSIDES
MONDO DIAO
November 23, 2003 @ Chain Reaction (Anaheim, CA)
By Ian Wilkins 420

    Shit, my life is tits right now. I just finished doing an interview with Groovie Ghoulies, and now I am walking into Chain Reaction, where, to my surprise, there are only about 150 people—just enough people to make it nice and cozy, like stepping into a Jacuzzi on a cold winter's eve. (Did I mention that I remembered my flask on this night?) Because of the interview, I missed the first two bands, which always kind of sucks. I did, however, get to see two really great bands and a third that I thought sounded pretty good (although I caught only their last couple of songs, so I wouldn't stake my life on it).

   Mondo Diao was the band that I caught only the last couple of songs of, but the ones I did hear were kind of catchy and sounded fairly cool. One of the things they had going for them was the sound. It was (dare I say?) awesome (I dared). Add to that the kids going nuts, and you have got a cornucopia of delightful fun. The only thing I didn't like about this band was that as soon as their set was done, they packed the merchandise up and hit the door running. "Ladies and gentlemen, kids of all ages, welcome to Chain Reaction."

   Tonight's fourth band is The Flipsides—that's what I heard in my head as The Flipsides took the stage. The Flipsides are a three-piece that should be in your CD player right now...well, maybe in a couple of days. I guess I should give you ample time to go to their Website www.theflipsides.com to order it. The threesome is led by Sabrina Stewart, who plays a sick guitar while screaming out some kick-ass vocals. Mark is on bass, and beating the shit out of the drums is Jim Lindsay. I know all this because they stuck around after their set and were nice enough to say hello and give me their newest album, CLEVER ONE. The best way to describe them would be to use a sundae analogy. You take two scoops of punk, pour on a little pop, then sprinkle some of those funk sprinkles on top. Now, take that cup and smash it on your principal's head—and that would be The Flipsides.

    Can I get a "whoop whoop" in this mutha? Groovie Ghoulies are the last ones to take the stage. They are three crazy kids from Sacramento: Kempi, Roach, and Skampi, the ones with fans who bring them donuts, dolls, and toys. If you don't know who they are, then get your head out of the sand and go experience them. Seeing Groovie Ghoulies live is like going to Disneyland after eating 20 packs of sugar followed by 10 cans of Coke. If you have ever listened to one of their CDs, then you know what they are all about: having fun. Live, they sound a bit more punk than on record, but I think this is mostly because they don't do anything by the book and in the studio they have someone who works out all the details. Groovie Ghoulies started the evening out with a set list, but about three songs into it they started playing the list backwards. The only time they stopped playing was when they decided to get rid of the list entirely and do a free-for-all. Asking the crowd what they wanted to hear only proves that this band has it all. During "King Kong Stomp", they had The Flipsides come on stage and join it. It was a fantastic set, and I feel sorry for all who missed it. When it was finally over, they invited every one to stay and have donuts with them. How cool is that?!
By way of writing for SKRATCH, I have been able to see and hear a ton of music that normally I might not have taken the time to listen to. Groovie Ghoulies started out as one of those bands that I probably would have passed up in the record shop, but now they are probably in my top five for the year. Do yourself a favor and check them out.

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Deja Entendu Tour:
Brand New
Hot Rod Circuit
Straylight Run
Nov. 28, 2003 @ Roseland Ballroom (New York, NY)
By Francis J. Corva III

    Whether you are a fan or not, it would be difficult for one to deny Brand New's charisma and ability to engage an audience. Welcoming a sold-out house of 3500+ fans to the Roseland Ballroom for a home-for-the-holidays show was a profoundly large indicator of the success that this band has been having a of late. For four guys who have been playing music together for barely four years, headlining and selling out a venue that the likes of Radiohead and Foo Fighters have sold out in recent years should be considered quite a feat.

    Making my way through the sea of super anxious 15- to 17-year-old girls to grab myself a decent spot in the audience was no easy task. Having seen Brand New several time during their constantly-evolving career, being in the presence of this many fans in one room to see them was something stranger than fiction. Nonetheless, by 9 p.m. the house lights went down and ambient electronic music announced the coming of the band. Frontman Jesse Lacey was the first to arrive on stage, heading towards a sample machine near the drums. As he toyed with some scrambled samples, the rest of the band arrived behind him, accompanied by the shrieks of the female adorers in the audience. Opening with the slow, palm-muted chorus of, "Okay I Believe You, but My Tommy Gun Don't", Lacey sang the first verse softly—and was echoed by the voices of almost everyone in attendance. The song's chorus prompted some explosive energy, causing the crowd to pogo up and down in unison. This type of unharnessed youthful ardor would be prominent throughout the set...despite a few awkward moments. During the set's second song, Lacey commanded the band to a halt as the house lights went up. A fight had broken out towards the front of the crowd, and Jesse took notice of it, wanting to make sure that everyone was all right. Stopping in mid-song is something that I might expect to see at a Madball or Most Precious Blood show, but when performing to 3500+ people, it tends to make things a bit awkward in terms of the vibe you are trying to maintain with the crowd; but Brand New pulled it off, heading right back into the song once the situation was resolved. The next obstacle was two songs later, when Garret's and Jesse's guitars and mics went out during "I Will Play My Game Beneath the Spin Light". There was a snap, crackle, and pop, then nothing coming from the speakers. This situation could have been a wreck had their fans not picked up where Lacey left off on vocals duties. The audience sang the second verse as Garret and Jesse stood smiling, seemingly baffled at what they were witnessing. To top off the moment, their instruments kicked back in just in time for the last chorus. In terms of their set as a whole, you know that you have locked down a fairly dedicated fan base when they know all the words to all of your songs and not just radio hits like "Jude Law and the Semester Abroad" and "The Quiet Things that No One Ever Knows". Inviting former guitarist of Taking Back Sunday/frontman of Straylight Run Jon on stage for "Seventy Times 7" prompted a large amount of giddiness amongst the aforementioned sea of teenage girls. The only slightly sour aspect of the show was the experimental nature of Jesse's vocals. He would sing certain parts of songs a few notes higher than the on recorded versions. At some points this method would spice things up, at others it was plain bad. Overall, what I witnessed was a solid, respectable, and entertaining set by a band that still has many creative paths to travel.

    Warming things up for Brand New was the champion of all opening bands in this genre of music, Hot Rod Circuit. Whether it's for Brand New, The Get Up Kids, Dashboard Confessional, etc., you have seen this band in the opening slot, and I don't want to hear different. Playing a healthy mix of songs from their numerous releases, they gradually got the party started. Lead guitarist Casey was easily the most entertaining aspect of this band. Don't get me wrong: they have some catchy tunes, and they are a bunch of fun live—but nothing else about them comes close to Casey's properly-trimmed little-girl hair style repeatedly bouncing up and down along with the rest of his body during the entirety of the band's set. If rock 'n' roll is about being different and standing out, then this man is the definition of it.

    As for Straylight Run, I only heard a faint murmur of their music as I waited for my pass to the show in the lobby. From what I gathered, they were well-received—which is pretty strange for an unsigned band at such a large venue. If you are going to be in England in weeks to come, I would advise in catching a show on the Brand New/Straylight Run tour.

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SMUT PEDDLERS
THE FAKES
THE PUT-ONS
November 29, 2003 @ the Doll Hut (Anaheim CA)
By Marcus Solomon

    The famous and long-standing Doll Hut in Anaheim is still there, and the new owners are putting on some excellent shows. The long-standing (and somewhat wobbly) Doll Hut is appropriately named, as it is very small. Over the years it has hosted countless bands and performers—be they famous or unknown. I much prefer small venues, as they afford a more intimate experience; but sometimes a lack of space can be part of a larger problem. A band like Redondo Beach reprobates Smut Peddlers is always sure to get the audience riled up and thrashing about, and the Doll Hut simply does not have the room to accommodate giant, testosterone-poisoned palookas who crush anyone and anything in their path. AS expected, Smut Peddlers stirred up a ruckus that at times bordered on genuine danger, and the white-power contingent made me rather nervous. Even so, this was a fun show in a historic venue...and the fear factor only added to the excitement, with no one walking away with anything more than minor injuries.

   Opening the evening was The Put-Ons. This is a nice dance band with a bit of a bite. In some ways, I was reminded of Rick Okasek and The Cars blended with softer elements of The Clash. Guitar-oriented and full of hooks that will infect your mind for weeks to come, The Put-Ons do more with less. The solos are generally minimalist but extremely catchy. Lead guitarist Dave Pedroza is a veteran musician quite capable of shredding on the instrument, but he usually composes his songs with an overall sense of the arrangement rather than fixating on his own personal ability. It would be good to see him loosen up (he seemed tense) and bust out more often. There were a few times when the music was bordering on tedium, slowly to be saved by a crescendo or a necessary change in design. Overall, this is a fine band that will make you want to dance and nod your head to the beat. Speaking of beat, that little Mexican guy on the drums is pretty damn amazing. Check out www.theputons.com for more info on The Put-Ons.

The Put-Ons - photo by Kathy Dye

    Second on the bill was The Fakes. Apparently this band is gaining in popularity, and it is reported that this seems to have affected the egos of the band members. A member of the Doll Hut staff informed me that he was put off by the band's attitude. Before the show, I asked the ubiquitous Gnat (of Puke 'n' Vomit Records) if The Fakes were any good. He replied, "Pretty good at being rock stars. They sound like so many other bands doing the same thing." Hm. So I gave the band a listen. It is a good band, but I became bored after two or three songs that sounded like The Ramones presented with a slight false British accent. This band also reminded me a bit of The Briefs. Perhaps it was the way the members moved and how a couple of them were dressed. Maybe it was the way the band played Ramones-like riffs with greater tightness. Maybe I just wish The Briefs was playing. The audience was disappointed because the band played a set lasting only 20 minutes or so. Always leave them wanting more...but let 'em get off before you pull out! Judge for yourself at http://artists.iuma.com/IUMA/Bands/THE_FAKES/.

The Fakes - photo by Heather Kime

    Smut Peddlers to the rescue! Or did the Smut Peddlers have to be rescued from the crowd? This set was so intense that the rabid fans often overran and/or were thrown into the band members and their equipment. New guitarist Scott O'Brien got clobbered more than once, and a flying mic stand left a nice "egg" on his forehead. The band cranked through many tunes both old and new, while drunken fans thrashed and flailed in every direction. Even dutiful doorman Daniel was thrown through the air more than once, each time flying over the monitor and landing squarely on his ass. How many security guys will let you get away with that?! While vocalist John Ransom was lost in a musical morass of his own invention, the rest of the band seemed fascinated by the chaos it was creating. It was reminiscent of a child playing with a hypnotizing fire, and the band watched closely as the music they created ignited the fans. Occasional flare-ups flashed in the Smut Peddlers' faces, often knocking them backward onto the floor. Of course, the band kept playing, laughing all the time. Ah, yes, true punk rock the way it is meant to be played: rude, crude, and with a bit of thought…dude. Somehow this group has kept the old school from growing old. Emphasis is placed on tight song construction, timely tempo changes, and strong accompaniment by each band member—all delivered on a steaming platter of psychotic fun. The encore consisted of a new song that was so great that I forgot to write its title down. This was immediately followed by the obligatory "Fuck You, That's Why". Check out www.smutpeddlers.net Thank you to the new Doll Hut crew for keeping a great venue alive.

Smut Peddlers - photo by Heat

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Jagermeister Music Tour
SLAYER
HATEBREED
ARCH ENEMY
November 29, 2003 @ the Universal Amphitheater (Universal City, CA)
Words and photos by Mark A. Whitaker

    I knew this was going to be a great show. It reminded of the old '80s metal shows at which you could see three huge bands on one bill. I was eager to see and hear what Arch Enemy were like at a live show, as I had heard many great things about them. I have always been a big fan of bands with female musicians. It amazes me how the role of women has changed in the music world. Today, women play an equal role in the music scene, with many bands even having a female singer. There aren't many metal bands with a female singer, but Arch Enemy pulls it off just fine with Angela Gossow. So I was excited for the show. Also, it was rumored that Slayer would be playing the entire REIGN IN BLOOD album.

    I was supposed to have press credentials waiting for me, but when I got to the will-call booth, I was informed that I had to go to another line. I love waiting in lines. I went over to the next line and waited, and finally I received a ticket to get into the show—but no photo pass. I asked the guy at the second booth about it, and he informed that I had to go (back) to the first booth. More waiting—no problem. I talked to a guy at the original booth, and HE told me that there was no photo pass for me. Several other photographers were also having trouble getting theirs, so I figured I would wait and that it would get straightened out. By this time, the first band was already playing, and Arch Enemy would be taking the stage next. At this point I was starting to get frustrated, because nobody seemed to be trying to remedy the situation. I was told that I could leave my camera and just go watch the show. I knew that by the time I walked back to my car (which was parked in the parking garage at the other end of City Walk) I would miss Arch Enemy's set. Since nobody seemed to be able to provide any more help, I decided I would go ahead and drop off my camera bag in my car. Unfortunately, I was right: I did miss Arch Enemy. I was really annoyed and frustrated, as the whole reason I was there was to do a show review of Arch Enemy. At this point I almost left, but then I realized that it would be pointless to do so without at least watching Hatebreed and Slayer play. As I was going to the entrance, I recognized Mando from FEAR. We talked for a little bit, and when he heard what happened he offered to get me backstage (a friend of his had gotten him backstage passes for the show). That made things better. We made it backstage—though not without security confiscating my pen. That was stupid. Whatever. It turns out that going backstage was beneficial after all, because, with the help of two very nice employees (namely, Kristen and Lorena), I was FINALLY able to get a photo pass. With some moves that would have made James Bond proud, I got my camera and made it back in. I had missed Hatebreed, so I was disappointed, but I figure I'll catch them next time they play. (From what I have heard, they tour constantly.) I got my camera ready just in time to catch Slayer play the opening of WAR ENSEMBLE.

Slayer

   It was everything I expected: the lights all crazy, the stage covered with all kinds of blood and pentagrams, and Slayer kicking ass. I have always liked Kerry King's style of playing, and to see him up close and in person was awesome. I shot a few photos of him, then ran to the other side of the stage to shoot photos of Jeff Hanneman, who was also amazing, banging his head in time to the music, his guitar-shredding skills in full effect. The sound was really good, as even above the guitars and Dave Lombardo's pounding drums I could still hear Tom Araya's rage-filled vocals. After the third song, all but a few lucky photographers were given the boot and escorted to the aisles. Most chose to go hang out backstage and socialize and review their photos. I like Slayer, and nobody seemed to mind that I was standing in the aisle watching, so I stayed to watch the show and hear some of my favorite songs. Looking out across the sea of chairs, I could see rows and rows of Slayer fans pumped at seeing their favorite band live. In the end, it was a great show, and I left with a final message from Slayer: Hell awaits!

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BUZZCOCKS
THE REALISTICS
December 4, 2003 @ Irving Plaza (New York, NY)
By Janelle Jones

    As if beholding the strange sights (wacky old-school footage of black-and-white GODZILLA-like B-movies) broadcast on the huge screen in front of the stage and the awesome sounds (The Lurkers' "Shadow", Sham 69's "Borstal Breakout", Black Flag's "TV Party", etc.) transmitted through the sound system wasn't enough to entice us punks to arrive at Irving Plaza promptly when the doors opened, the excitement of knowing we'd soon see the legendary Buzzcocksæpioneers of pop-punk in the U.K.æand NYC's much-talked-about rock 'n' roll revivalists The Realistics sure was

   Case in point: Right from the get-go The Realistics had the ever-growing crowd going, as they opened with an upbeat rocker not unlike most of the songs that comprised their undeniably energetic 40-minute set. The quartet—who play a refreshing brand of new-wave-laced rock 'n' roll with great riffs, lush keyboards, strong vocal harmonies, and oh-so-precise drums—performed some songs off their EP, like "Angie" (which they dedicated to Buzzcocks) and the riotous finale "Stranded in Stereo". About 15 or 20 minutes into their set, the mood was slightly altered when singer/guitarist Dennis went acoustic on us for two songs (keyboardist Will taking over main vocal duties for the latter). They also played some newer fare, including "Episode", which elicited some cheers and screams when Dennis announced the title, leading the vocalist to laughingly point out that we weren't supposed to know it yet; but this local band has quite a following. After experiencing this, the band's second performance at Irving, I don't wonder why.

    By the time Buzzcocks finally made their way on stage, Irving was packed to capacity (or at least close to it). It's great that these men decided to come back to the States and play some small club shows after completing a stint with Pearl Jam earlier this year. How much better to see the first U.K. punk band to release a record (namely, 1977's essential SPIRAL SCRATCH EP) on their own imprint (New Hormones)—thus truly fortifying the DIY ethic that's now synonymous with the genre—at an intimate venue than at a huge, impersonal stadium? Well, folks, the Manchester quartet—who formed in '76 and still continue to fuse smart, witty, and sometimes quirky lyrics with their signature brand of hook-filled, melody-saturated frenetic pop-punk—kicked things off with a scorcher, the urgent "Boredom"—and just didn't back down. During their incredibly tight and enjoyable one-and-a-half-hour set, they blazed through both old favorites and new, including soon-to-be classics off their exceptional untitled album (which came out in March of this year), with barely a break in between songs. The two remaining original members, vocalists/guitarists Pete Shelley and Steve Diggle, appeared to be having the most fun out of the four. That Steve, though, was a character, oftentimes holding his guitar in the air, flamboyantly slamming on the strings all the while, seeming as enthusiastic as if the band were playing their first gig. It was really something else, an absolutely exhilarating experience. And even though "newer" members bassist Tony Barber and drummer Phil Barker (who've been in the band for 10 years) did their part in a little subtler, less flashy manner, they excelled in laying down the rhythms expertly. So many classics were played: "I Don't Mind", "Just Lust", "Harmony in My Head", "Oh Shit!", "Autonomy" (dedicated to the late great Joe Strummer)...The crowd couldn't stop pogoing and bopping around. None of that violent shit here, my friends, just good-natured, unadulterated fun being had. Another highlight of their set was the playful "Noise Annoys", which led directly into the powerful "I Believe", which had everyoneæand I mean EVERYONEæchanting, "There is no love in this world anymore." A very poignant and timely song, to say the least. Another crowd-pleaser (or rather, reviewer-pleaser) was the wry "Something's Gone Wrong Again". To even the set out, the guys performed about six songs from their latest record on Merge, an album that really harks back to the early days with its energetic, full-on rock sound, including Steve's heavy "Driving You Insane" and "Wake Up Call", as well as Pete's "Jerk", "Keep On", and "Lester Sands", a song that was written by Howard Devoto and actually predates SPIRAL SCRATCH. As if all this wasn't enough, the guys came back for an encore, playing songs like "What Do I Get?" and the crème de la crème, "Orgasm Addict", during which people were going crazy. Thinking this would signal the end of the evening's entertainment but realizing another encore was in the works, we could only guess what material they'd dive into. I heard someone say "Everybody's Happy Nowadays", but it was not to be, as Buzzcocks opted for a beauty, "Ever Fallen in Love?" and, lastly, "Time's Up", an appropriate finale that brought to a close a brilliant set. Surely not much more could have been asked of these Brits. The last vivid image of the night was when Steve, with still more energy to spare, threw down a mic stand and surprisingly jumped off stage, hugging and shaking the hands of people in the front row. It's obvious he and the band appreciate their fans and still get a thrill from playing gigs—which is what it's all about.

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THE ROCKET SUMMER
EVERYBODY ELSE
WATASHI WA
THE LYNDSAY DIARIES
ALL THAT'S LEFT
December 10, 2003 @ Chain Reaction (Anaheim, CA)
By Tiffany Chow

    Shows like this are a bit less nerve-wracking than most. So many other shows, be they hardcore to electro-clash, require so much worrying over your outfit and your dance moves; but not this one. Most of the people at this show were happy-go-lucky and laid back, just there to have fun and feel good. Most of the bands on the bill are the same way, creating music that you cannot help but smile when hearing.

    The only band I was really unfamiliar with was the opener, All That's Left. To be completely honest, I wish I'd have stayed that way. If there had been a rap breakdown in any of their songs, I would have been wholeheartedly convinced that I was watching Sum41. With bleached spikes, an independent beanie, choreographed dances, and jumping up and down in unison, one had to wonder if they knew how much they were ripping off the Canadian pop-punk band. Hailing from Florida, not much excuses this band's blatant copying—or any of their other displays of bad judgment. I have only two complaints about this night: All That's Left, and the girlie screams that began during their set and continued throughout the rest of the night.

    Jumping from one end of the spectrum to the other, the acoustic solo act of Scott Windsor—known as The Lyndsay Diaries—took the stage next. There were quite a few loyal fans in the audience, singing along and suggesting songs. Unfortunately, Windsor was suffering from bronchitis, and therefore he had to remain seated for his entire set. This made it hard to see him, but it did not cut back on the quality of his performance. Despite the fact that he claimed he was drugged up, he played well, although maybe not for long enough. Even though he was one of the earlier bands, I think he could have gotten away with playing a few more songs to please some of his loyal fans.

   After The Lyndsay Diaries' set, Chain Reaction had become pretty packed, especially for a Wednesday-night show smack dab in the middle of many college's finals. The next act, Watashi Wa, played in front of a fairly large crowd full of many devoted followers who sung every word of their songs—including myself! This band has something about them, a sort of self-assuredness. It's not a cockiness, just more a comfortableness being on stage and being watched. You cannot help but smile or want to get involved, even if you do not know the songs. Opening with "All of Me" and continuing to play general favorites off of their new album THE LOVE OF LIFE, as well as mixing in a few older songs, Watashi Wa really pleased their fans—and won over a few new ones. Additionally, it seemed to be a night of covers, what with All That's Left covering "The Sign" by Ace of Base, and then Watashi Wa covering a song by The Police.

   I think many people in the crowd were a little bit curious to find out more about relatively unknown band Everybody Else, myself included, wondering if this mysterious band really deserved the spot right before the headliner. There was something very nostalgic about this three-piece from L.A. Their music was a version of very power-driven pop/rock 'n' roll that hearkened back to the early Beatles. The small number of members on the stage made it seem kind of empty, but their sound was full. The lead singer had a very strong voice, and that, coupled with their poppy sound, surely gained them some fan support that night.

   Chain Reaction was buzzing with excitement. The anticipation for Bryce Avary's The Rocket Summer was so high that an eruption of that uncontrollable (and equally annoying) girlie screaming broke out for the unrolling of his banner—why, I have no idea. Emerging to a Michael Jackson song (who of late has not been the most liked star) playing, Avary showed balls...even though many would argue he is quite girlie himself. Greeting the crowd with a hearty "What's up, my Anaheim gangstas?" his overflowing joy to be back at Chain Reaction was infectious, infusing the entire venue with excitement and smiles. Opening on a mellow note with "That's So You", he began a set of pulling off things that so many other people cannot get away with. What with opening with a slow song, sporting dirty-blonde-slicked-back-parted-down-the-middle hair true to his Texan background, and covering Lisa Loeb's beloved "Stay", I can only feel bad for all the millions of "tough guys" who have to fight this guy for attention from girls. Even they are won over by his charm, as no one can resist his catchy tunes and warm personality. Seriously, I dare you to try. If you don't like him, you are probably a guy who is threatened by his amazing talent (e.g., he plays all instruments on his songs) and his ability to be so winning.

    I am so grateful for nights and bands like these who create music that truly can brighten the worst of days and bring a smile to the grumpiest of faces. :)

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THE VANDALS
FAIRVIEW
MATT COSTA
December 16, 2003 @ Chain Reaction (Anaheim, CA.)
By Ian Wilkins 420

    Shhh. Come closer—I have a secret. Don't tell anyone, but I just saw The Vandals play a practice show at Chain Reaction. Keep it on the down-low, because it was supposed to be like this real hush-hush type thing. To my joy and your dismay, The Vandals decided to do a run-through of all their Christmas songs before they played the HOB on the following Sunday. A practice show means that they played all of their stuff, all one-and-a-half hours of it. I think maybe (and I am just saying maybe) that the HOB crowd might not receive the quantity of songs that we were to receive. Oh, well—more joy to me, then. And since I am in such a joyful mood, I think I might just share some of my evening with you lucky, fine folks.

   Batting first for The Vandals is none other than one-man band Matt Costa, a young man sitting with only a harmonica and a guitar in hand. Obviously not afraid to stand alone on the empty stage, Matt started the night off with some type of bluesy harmonica-blowing shit. Since it is somewhat hard to sing and play the harmonica at the same time, Matt switched up to just playing the guitar after the first song. I didn't catch the names of the songs, but he did play "Hurricane" by a man I think he called Bob Dylan or something. Matt was fun to watch, and if you get the chance and want to hear some cool shit, check him out or go to his Website at www.mattcosta.com.

Matt Costa

    I played a quick game of Monopoly while waiting for Fairview to set up and go through sound check. Two okay songs into it, some chick passed out (obviously from excitement of seeing me), and I helped her out of the club, so I missed a couple of Fairview's songs. You know what makes a good band? I'll tell ya: a female playing keyboard. (Delete that if I am going to get sued, Greggory.) Sure, the other members played their instruments well; and sure, the singer sounded great; and yes, I did like Fairview a lot; but, to be honest, I was about to pee in my pants waiting for The Vandals.

Fairview

   Okay, check this out: when I was 12, this girl with purple hair and more piercings than two porcupines doing the nasty asked me to walk her home. Obliging, I took her books and proceeded to learn all about a band called The Vandals. Since I had just fallen in love for the first time, I decided to take a stroll over to the local music shop. Laying out my $8.50, I bought VANDALS PEACE THROUGH VANDALISM and have since been a punk. So thanks, bitch.

The Vandals

    Like oh my god, oh my god, oh my god—it's Warren...it's Joe...it's The motherfucking Vandals! If you haven't seen The Vandals live, well, then you're an idiot. But if you have, then you know what I am talking about when I say that they are the shit. Between the 22 Christmas carols, Dave chatted with the crowd, asking questions like, "Which one did you like more: '4320-1' or 'Pizza Tran'?" (The crowd responded with "Anarchy Burger". The sound at Chain Reaction has been really good lately, and for The Vandals it was near perfect. (Kudos to you, soundman, wherever you are.) The place was packed, but because of the minute size of the venue, you were close even if you were eating at the Denny's next door. After the show, the band were whisked away through the side door, leaving the fans wanting more. Did they do an encore? What was it? It was what the audience asked for, of course: "Anarchy Burger". Have they ever let us down? No way—and tonight's practice show was no exception! I have seen The Vandals at least 20 times, and this show is now tied with the rest at number one.

    I couldn't have asked for a better show to get me in the Christmas spirit—so Merry Christmas everybody, and I hope you find some of that peace shit you keep asking for. (Hey, man, watch out—I think you almost just stepped in some.)

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Stendhal
Tubring
Mindless Self Indulgence
December 18, 2003 @ the Trocadero (Philadelphia, PA)
By Pham Wolfe

    Ah, Philly, the land of Brotherly Love...though apparently not for the ones who need press passes to do their job. There may have been a mix-up, and the powers that be got crossed and didn't give us clearance to photograph the bands. Hmmm, what is a girl to do? After tracking down the tour manager for Mindless Self Indulgence and blowing him in the bathroom, did we finally get clearance to photograph this show? Okay, I'm lying: the MSI tour manager happens to be female, and—although she is attractive—she lacks the proper equipment for said gift. Actually, all it took was to explain to her who we were. It wasn't hard at all, but unfortunately it was time-consuming. Therefore, we missed half of the first band's set. While we were waiting, I was able to listen to them. What I heard I liked; and when I finally saw them, what I glimpsed blew me away. Stendhal is a Philly-based band whose music is somewhat ethereal in nature, but with an edge. Think The Blue Man Group bred with The Jesus and Mary Chain. Their lyrics are haunting, and their music uniqueness (caused by effect pedals on their bass and guitar). What makes them stand out are their use of everyday items for their drum set: kerosene tanks, water bottles, an oil drum. Drummer Darren Morze is an absolute genius. At one point during their set, each person abandoned their instruments to join him in an intense drum session. Unfortunately, the pure brilliance of Stendhal was lost on this crowd: they weren't "loud" or "hard" enough for this crowd of young punks (who were probably missing their curfew to be there)

   What do you get when you cross synchronized '70s dance movements and periods of death metal with an energetic, acrobatic keyboardist? Why, Tubring, of course. This band has been touring the country for a while now, but you wouldn't know it from their high-power performance. They didn't show an iota of tiredness. They first began playing songs with a circus-/lounge-type beat, then went directly into bad-ass rock. I asked vocalist Kevin Gibson how he would classify his band, and he said "hard rock, with some pop mixed in." Okay, I can understand that—but this is also coming from the boy who said that Justin Timberlake is one of Tubring's main influences. Maybe their choreography is influenced by him (those white boys sure can bust a move!), but musically, I'm thinking no. Keyboardist Rob Kleiner puts on an extraordinary acrobatic performance, jumping onto his keyboard and up in the air without missing a note. Tubring performed a rocking rendition of Outkast's "Hey Ya", which bought many people in the audience to pure bliss. Watching Tubring is like going to the circus: you have acrobats, clowns, and the Ringmaster. The only thing lacking are the dancing dogs. But who knows with these boys? Maybe that will be their next addition to their show.

   "Anal sex! Anal sex!" the crowd chanted (complete with hand gestures) while awaiting the arrival of Mindless Self Indulgence. Finally, after a campfire rendition of Whitney Houston's "I Will Always Love You" by the audience, MSI took the stage—and mayhem ensued. I have never seen such idol worship since I saw James Gandolfini at a bar. This crowd reveres a guy who resembles Yahoo Serious—not just in appearance, but also in his spastic, comedic stage antics. When you watch Little Jimmie Urine on stage, you can see in his eyes that he is just there to entertain himself—and if he entertains you in the process, then that's fine, too. The female rockers of MSI especially impressed me.; and it was nice to see that the males in the audience could actually look pass their hotness and realize that these girls f*ckin' rock hard! With their blend of hip-hop and punk rock, MSI has to be one of the best live acts that I have seen in a long time. Their songs are short and sung with such vivacity that I can understand why the crowd worships this deranged lunatic and his bandmates. If you want mindless entertainment, you should go see this band perform. Dildos fly on stage, money gets chucked at the band members, tampons are placed in Jimmie's nose...but beware of the spit. If you like to stay sanitary, do not watch from up front. Steve Right? just might spit on you.

   Now, what did we learn from this review, my loyal readers? 1) Stendhal rocks, and you should check out their Website, www.stendhalnoise.com; 2) be prepared to get spit on during an MSI show; and, most importantly, 3) you do not need to perform sexual favors to get what you want—you only need to be polite and mind your manners. (Thanks to the MSI tour manager for teaching us that important lesson.)

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MUGSHOT
JAMISON PARKER
ALLISTER
HOME GROWN
December 21, 2003 @ the Glasshouse (Pomona, CA)
By Todd Markel

    I just love a cold night in Pomona, especially when it's spent at the Glasshouse. The band to start the evening's festivities, Mugshot, might have felt at home in the chilly Pomona night, being that they are from the small town of Orillia in Ontario, Canada. Mugshot's sound has been called zany, catchy power-punk with a dash of ska. My first impression was that they sounded a lot like MxPx, but with some metal beats. Bass player/lead singer Nickie Malibu was entertaining to watch. (Maybe he was given some pointers by Darrin Pfeiffer of Goldfinger, who produced their latest, three-song demo CD.) The band played an assortment of songs off of GET WELL SOON, among them "Magnetic", "Spit Right Back", and "Bail Out". Mugshot had what it took to get the crowd warmed up for the bands to come, finishing their set with "Letting Go". After the show, the band drove 48 hours straight to get home in time for Christmas. Check out Mugshot's website.

    The dynamic duo of Jamison Parker were back in town, but this time with no back-up band, just their powerful and heartfelt acoustic set. Unplugged performances tend to strip down songs to their essence, in which case the lyrics have to stand on their own and tend to take on a lot more importance. I saw Jamison Parker back in November with the full back-up band, but I appreciated them a lot more at this show. When they played "Home", they had all the girls in the front row screaming and singing along. Their EP NOTES & PHOTOGRAPHS has been out only since October, but already they have been able to build a loyal fan base. Jamison Covington reminded the crowd that they've only been a band for about a year—and what a crazy year it's been. He thanked the fans for making it happen. The pair finished their set "Paper, Rock, Scissors", followed by the heartbreaker "Dead to the World". They will be playing a few dates in January with Coheed and Cambria, then they head back into the studio to begin work on their first full-length album. For more info, go to www.jamisonparker.com

Jamison Parker

   Returning from the Drive-Thru Records Invasion Tour were Chicago pop-punk heroes Allister. Once Allister started playing, the pit really went wild, with many crowd-surfers coming over the barricade and landing on me. Guitarist/vocalist/band namesake Tim Allister led the band in playing hits off their latest CD, LAST STOP SUBURBIA, such as "Somewhere on Fullerton", as well as older favorites, like "Fraggle Rawk". Allister is always a blast to watch, especially on a larger stage like the Glasshouse's, which gives them plenty of room to run around performing their antics. Bassist Scott Murphy pointed out to the crowd that "Every time you start to mosh, security shines a flashlight on you and you stop. Well, the light can't hurt you." They finished the set with the crowd-pleaser "Radio Player". Allister tours all January in the U.K. with Home Grown. Go to www.allisterrock.com to stay informed.

Allister

   Local Orange County boys Home Grown were making one of their triumphant hometown stops before the Christmas break. Their set list was made up of songs voted for by the fans on Home Grown's Website. They ended up playing almost the entire KINGS OF POP CD (Drive-Thru Records), with an occasional oldie thrown in for good measure. They started the show off with one of my favorites from 2002's KINGS OF POP, "You're Not Alone". Then, Johnny Tran sang his ode to non-committal love, "I Love You Not". Vocalist/bassist Adam Lohrbach introduced two new songs that we can expect to see on their next CD, "Temucula Sunrise" and "Hold on Z", both of which sounded like typical Home Grown. It was a nice surprise to see former Home Grown drummer Bob Herco there cheering his friends on from the side of the stage as they played "Face in the Crowd", a song that Bob himself recorded with Home Grown years ago on THAT'S BUSINESS. Then Adam took charge of the show, singing most of the crowd-pleasers, such as "Tomorrow" and "Give It Up"—though Johnny did have his moments, such as "Last Night Regrets" (from 1998s ACT YOUR AGE) and the recent "Kiss Me Diss Me". They finished the show with an encore of "Surfer Girl", then "Disaster" (from KINGS OF POP). Unfortunately, the only disappointment for me was that they didn't play their love song to Santa Claus, "Christmas Crush", which had been a yearly ritual. After the show, Adam explained to me that they just didn't have time to rehearse the song this year. Home Grown starts recording a new CD in April, which should be out in October 2004. Join the Home Grown Online Forum at http://www.homegrownonline.com.

Home Grown

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