January 2006 Live Reviews

(scroll down to read all of them)

SAVES THE DAY
SENSES FAIL
November 26, 2005 @ House of Blues Sunset (Los Angeles, CA)
By Jeff Lambert

Los Angeles. What can I say? The traffic is always a nightmare. Parking is even more fun than the drive there. But once you get there, you can't help but have a good time. So when I strolled into the show a few minutes before Senses Fail hit the stage, I couldn't help but be excited for a good evening.

Let me just say that the entrance for Senses Fail was probably the most bombastic thing I have ever been a part of. I couldn't help but laugh as they stretched the opener into a three-minute event; but the crowd loved every second of it. When the two guitarists met at center stage and hammered away on their axes in remarkable style, the audience lost it. There was screaming and yelling and adoration that even Paul McCartney would appreciate. Playing a screamo/hardcore/punk brand of rock music, the five boys from Vagrant Records definitely rocked the House of Blues in impressive fashion. How do I describe their style? Well, if you took the singer from Anti Flag, hopped him up on coke and caffeine, then cloned the guitarist from The Darkness and placed them on either side of the lead singer, you would have Senses Fail. Lead singer Buddy Nelson spent more time doing karate spin kicks and climbing speakers than he did singing-which, if you hadn't already guessed, was just what the House of Blues crowd ordered. My personal favorite moments: (1) when Buddy Nelson abused his First Amendment right and started the "When I say 'fuck,' you say 'fuck'" chant-which really got the crowd rolling; (2) when Buddy Nelson screamed the word "death" over and over for a solid 40 seconds. I felt like I was back in the 1980s at a "Megadeath meets Twisted Sister" concert, just without all the hairspray. Needless to say, Senses Fail rocked the house.

After that performance, we were certainly ripe for a letdown. But I have heard such good things about Saves the Day that I pushed those thoughts out of my head. The emo/indie rockers from Princeton, NJ, formed in 1997 and played with the confidence and professionalism of a band that has been touring for that long. The opened with "Firefly" off the 2001 release STAY WHAT YOU ARE, which many consider their breakthrough album. In fact, they played at least four or five songs off that album-a pleasant surprise, to say the least. From the beginning, I noticed something wrong with lead singer Chris Conley's voice. I couldn't tell if it was high or low or just off-key, and about halfway through the show he apologized to the audience for being "under the weather." The show itself was entertaining, and Saves the Day managed to take songs from the record and make them sound great (aside from the vocals) on stage. Aside from one jackass, the crowd really seemed to enjoy the show; but the ovation for Saves the Day was nothing like the one Senses Fail earned just an hour before. The set itself was maybe 25 minutes long, and after a half-hearted response from the crowd, they came back out to play "At Your Funeral" for an encore.

ROONEY
SIMON DAWES
TAKOTA
December 1, 2005 @ Chain Reaction (Anaheim, CA)
By Simon Cardoza

The crowd in Chain Reaction sported emo haircuts and colorful clothes, as Takota graced the stage with their rock anthems. A five-piece band that took over the small edge of the stage left for the opening band, Takota made the most of it. They looked very comfortable in front of their home crowd, and the reaction of all the screaming young girls is probably why you catch Takota playing here every month. Grant Arnow has all the moves of a singer in love with being the man with the mic. What really caught my eye was the power of axemen Andy Lara and Brett Anderson. Their dynamics and stage presence make you think Takota might not be an opening band for too long. The crowd ate up their straight, modern rock 'n' roll sound; but since they are still a young band (having only formed earlier this year), I'm sure they are still honing it. Look for them when they come back from the U.K. later this year with a more signature sound to tickle you just right.

Takota

Next up was a band I was looking forward to seeing because the band name has my name in it. At first, I assumed Simon Dawes was a singer/songwriter with a backing band, but that is just the band name. No one is named Simon. Simon Dawes were an interesting mix. I could see them opening up for Ben Folds or John Mayer. At the beginning, I could tell the crowd was trying to figure out what to do with themselves, talking in the middle of songs, etc. Eventually, they all decided to actually let the music take them over and move to the beat and enjoy the great show the band was putting on. Guitarist Blake Mills tore up the axe with his ambient sounds, creative effects, and very tasty licks. Some bands can lose the audience with slow songs, but lead singer Taylor Goldsmith's character on the mic pulled everyone in when the full band exploded with energy. Songs like "Laura" and "Behind the Bleachers" showed that Simon Dawes is a great up-and-coming band.

Simon Dawes

All the emo girls got little smiles on their faces when Jason Schwartzman, actor and ex-drummer for Phantom Planet, came strolling in quickly making his way to the back of the room.

Spanish guitar played over the speakers as Rooney came onstage to roaring fans. The band blasted out a set of new songs from their forthcoming album. Most of the Rooney boys sported fresh, new, short haircuts so that you could actually see their faces! The little girls danced around, enjoying the new poppy, fun-inducing beats brought by fan favorite, drummer Ned Brower. They had changed some of the lyrics of the new songs from past performances (e.g., "Enough's Enough"), but the fans didn't seem to mind. Keyboardist Louie Stephens, with his new haircut, didn't look like Louie Stephens but uncannily like '80s actor Eric Stolz's younger brother. Matthew Winters was in his classic bassist pose, but his haircut gave him a nice, preppy look Mom would love. The boys kept their swagger intact with their new groovy tunes and very polished, clean sounds with a little ambience and dirt coming from the creative mind of guitarist Taylor Locke. He was the only one keeping in true Rooney fashion, what with his long, wavy locks of Southern California hair hiding his face. I was very amused at how much fun they all looked to be having. Robert Carmine looked like he's been studying Jon Bon Jovi's stage antics-and it's paying off, as all the emo kids just wanted to grab and pull him into their sweaty abyss of star-craving debauchery. Of course, the kiddies wouldn't be satisfied without a few oldies but goodies sing-alongs, such as "I'm Shakin'" and "Blueside". This Beatlesque/Bon Jovi band pleased all the fans with a great set and a look into the future of Rooney, who are getting ready for their new album to be released in the spring (and a fantastic tour to follow, I'm sure).

Rooney

JIMMY EAT WORLD
JADE SHADER
December 2, 2005 @ the Glass House (Pomona, CA)
By Lorelei Cota

I had never been to the Glass House before, so I was not too sure what to expect. Despite all of the rain, there was a big crowd outside the venue. I figured it was all the ticketless people wanting to catch a glimpse of the show, but it turns out it was just the makeshift smoking patio. The venue is small, but not claustrophobic and sticky. I missed the performance from Jade Shader due to the rain and traffic. I am assuming it was fantastic, because when the crowd was given one of those "Let's give it up for Jade Shader" things, they went wild.

Although I had just arrived, I didn't need to sit through an opening act in order for the anticipation to build. The lights dimmed, and the sold-out venue fell silent. A single spotlight lit up a microphone at the center of the stage. From out of the shadows came the lead singer of Jimmy Eat World, Jim Adkins. He grabbed the microphone and with a copious amount of confidence belted the words to "For Me This Is Heaven". One by one, each member of the band graced the stage and took up his instrument, never pausing to command applause. Rick Burch accompanied Jim's voice with his bass. Tom Linton came out next and joined up with Jim on guitar. Finally, Zach Lind made himself known on the drums as the final component and the band burst into the first chorus. They continued on for an hour-and-a-half with a three-song encore to top it off. Included was the always popular "The Middle", and from their latest full-length album, FUTURES, "The World You Love" and "Pain". They also played "Ten" and "Goodbye Sky Harbor" from CLARITY. During their performance of "23", I closed my eyes, and for that moment the mass of sweaty, singing kids disappeared, and I was all alone, surrounded by Jim's sweet voice and the flawless music played by the band. The audience was family-like. There was no pushing or shoving to get close. There was no drama or yelling or attitude. It was compiled of individuals straining to soak up all that the band had to give and each person was completely captivated. Every note in every song seemed to be hit perfectly with vocals and projected powerfully through out the crowd. There were even times when Jim would harmonize beautifully with the multitude of fans as they sang along. Achieving musical perfection did not in any way interfere with the band's sense of humor, either. In between songs, Zach felt the need to play the drum intro to Marilyn Manson's "Beautiful People". It took a while for the emo-friendly kids to recognize the beat, but Jim squashed the idea by noting that they were "not tuned to Satan." This later led to another announcement that "A-sharp is the key of the dialtone on telephones." The mood was light, and you could tell that the band was having an excellent time.

After each member left the stage as modestly as they had arrived, the venue cleared out pretty quickly. At the close of their set, my best friend Mark turned to me and asked, "How do you get to be THAT good?" We came to the conclusion that it's not an acquired skill. The talent that Jimmy Eat World displays is in their blood and cannot be matched by any other band. Their music is timeless, and I insist that you get your hands on it. If you are looking in a record store, don't bother searching through the used CDs. Once you grab hold of Jimmy Eat World's CD, you will never let it go.

THE EARLIES
THE LIKE
GIANT DRAG
December 5, 2005 @ Doug Fir Lounge (Portland, OR)
By Chris Miller

There's a general perception that headliner is usually the most prominent act. However, it is becoming more apparent to me that this is no longer the way it has to be. My most recent epiphany came while attending a concert in which Giant Drag opened for two bands I turned out to be much less interested in. The L.A.-based duo (who met because their mothers were co-workers) released their debut album, HEARTS AND UNICORNS, in September; but it was the first EP, LEMONA (released this past summer) that got music critics more excited than teenage girls playing Truth or Dare? at a slumber party. The first show of Giant Drag's West Coast tour began at the Doug Fir Lounge in chilly Portland. I love this place because of its intimacy. It holds just a few hundred people in its basement venue, and upon my arrival there may have been 50. Annie Hardy and Micah Calabrese take the stage. "Hello, we're Giant Drag," Hardy politely says, then introduces the first song: "This one is called 'You Fuck Like My Dad'." The blatant title of the song alone attracts more people towards the stage and brings a few more down from the lounge above. "YFLMD" sounds reminiscent of '90s grunge because of its slower tempo, steady drums, and constant guitar distortions. In-between the end of "YFLMD" and the second song, "This Isn't It", Hardy gives us some witty commentary about rocking on her cat's tail just before the first riffs of the song. "This Isn't It" is the first hit from LEMONA and a fan-favorite. Hardy whines, "Love, love, love / This isn't it / You wouldn't know it if it hit you." The melancholy sound and vocals mix well enough to deliver a precise message and makes for a terrific rock song. With the end of the second song, the mood shifts somewhat, as a screaming cover of Chris Isaak's "Wicked Game" roars by. Now, if you have ever heard this song, you know it's a crooner about heartbreak, in which Isaak sings, "No, I...don't wanna fall in love." However, Hardy makes it her own with wailing vocals and distorted, heavy guitar riffs. This sounds unusual, I know, but if you know anything about Giant Drag, you know that the first song they recorded together was Journey's "Who's Crying Now" and that they even attempted a song off of the Beach Boys' PET SOUNDS. (I say ATTEMPTED only because PET SOUNDS is a musical masterpiece and to do a great cover of "God Only Knows" is damn near impossible. That being said, it was a good cover.) The rest of their set was filled with songs from HEARTS AND UNICORNS. "High Friends in Places", "My Dick Sux", and "Kevin Is Gay" stood out among the rest. The climactic bridges built up by ascending guitars showcase the high points of a good debut album and a great live show.

Unfortunately for the people who showed up late, the next acts were much less extraordinary. An average show was put on by The Like, who played songs from their debut album, ARE YOU THINKING WHAT I'M THINKING. Though seemingly refined and well rehearsed, the show lacked excitement and spontaneity (something Hardy had brought to the stage with her bold covers and humanizing post-song commentary). "What I Say and What I Mean" and "You Bring Me Down" revealed the L.A. threesome at their finest; but "June Gloom", a song sounding like a louder and more mature Ashlee Simpson track (this still isn't a good thing), didn't exactly excite the 21+ crowd who had just witnessed a great opening act. The meat of the show was mediocre, not great. The only thing great about was the lead singer's voice. She's known simply as Z-Berg, and, well, she can flat-out sing. I mean, this girl can wail. Her voice and presence was great enough to make The Like's performance GOOD.

It wasn't the same story for The Earlies, who both looked and sounded like they hadn't rehearsed in weeks. A cluttered stage and offbeat sounds filled the performance and took away from the overall mood of the night. In a room filled with people who wanted to rock to something indie, The Earlies brought a sound that made me want to nap after joining hands with my neighbors while swaying to the live tunes in a Polysymphonic Spree sort of way. Don't get me wrong: I happen to like these guys on record; but live, they just didn't do it for me.

It is safe to say that the order of the show should have been reversed. This is why I began talking about Giant Drag first in the review-not because they were the first band to play, but because they played the best show. The lesson learned here is to arrive at a show on time-if not to get a great seat, perhaps to see a great band.

THE DONNAS
BIG CITY ROCK
December 8, 2005 @ El Rey (Hollywood, CA)
By Jasten King

The times they are a'changing. Gas costs more than cigarettes, cigarettes can't be used at concerts and bars, and bars host shows for the A&E channel to support their new reality show of girls who beat the shit out of each other while rollerblading. Some things change for the better, and some don't. Some people have that debate about the headlining band for this tour, The Donnas. I have seen this band many times throughout the years and have been a continuous fan. Back when their American Teenage Rock n' Roll Machine was on tour with the fire-happy, gender-bending Toiletboys to getting skin-tight on Craig Kilborn's show for the nation to watch; from turning 21 on tour with Bratmobile to spending the night on THE TONIGHT SHOW WITH JAY LENO and taking it off on TRL (well, not really-but you know what I mean). Of course, when any band evolves, you get the "sellout" and "back when" conversations that never seem to have an end or final answer. But when it comes to The Donnas, they've busted their ass ever since they started to be one of the only rock bands out there that delivers a consistent impressive live show. I saw this at Soma's side room six years ago, and I saw this tonight at the El Rey.

Kicking things off for the night was Los Angeles locals and Atlantic Records labelmates Big City Rock, playing their pop/rock style that got them quickly received on the radio and on tours with such bands as Phantom Planet and Rooney (both of which had members in attendance tonight). The band went over rather mildly. Playing songs such as "All the Above" and "Human", their sound wasn't necessarily unappealing, but probably not what a crowd of The Donnas' fans came to hear.

Big City Rock

After a quick preview on the big screens of ROLLERGIRLS, the cast for the show came out to rally the crowd. Don't think this really worked, seeing as how no one really knows who these ladies are yet. What did work, though, was their introduction of the mayor of the Sunset Strip, Rodney Bingenheimer, a regular show-opener at The Donnas' shows in Hollywood. With the lights down and the sound of '80s rockers Cinderella blasting through the speakers, the girls came to stage ready to play to their new hometown of Los Angeles (they recently relocated from the Bay Area). Opening with "Friends Like Mine" off their latest release, GOLD MEDAL, the crowd seemed rather calm; yet they delighted to sing and clap along with every song. The band played a set that consisted mostly of songs from the new album, with only a couple of oldies slipped in. (This may have been due to a recent show the band did for their fan club, the Donnaholics (yes, I'm a member), where the set was picked by the fans and mostly consisted of tracks the band's LOOKOUT! days.) "You Make Me Hot", "It's on the Rocks", and "Let's Go Mano!" made it into the set. The crowd may have been rather stiff (as is always the case in Los Angeles), but from bassist Maya Ford's stage banter and jokes to the girls' synchronized kicks to their great ability to get the crowd involved, when all was done and the girls left the stage, all I can say is: they've done it. They've done it and are still doing it. By that I simply mean that they were a fun, exciting band when I first saw them, and they still are. The show was tight in sound and musicianship (especially from guitarist Allison Robertson)-better than that of most bands I've seen. Anyone who dares to doubt this band simply needs to hit up a show-not to pick apart any of the hype, but to see this great band.

The Donnas

Rodney & the Rollergirls

MYSPACE TOUR:
MY AMERICAN HEART
GREELEY ESTATES
A CHANGE OF PACE
THE CONFESSION
AGENT SPARKS
December 9, 2005 @ Chain Reaction
By Michelle Li

Oh the beloved Chain Reaction, where all the Orange County hipsters congregate night after night to share their love for music. After viciously battling Friday night traffic on the 5 North, I arrived just in time for the inception of Agent Spark's set. The Myspace banner on the wall caught my eye right away, Myspace tour, hence the Myspace banner. Myspace is such a guilty pleasure dominating today's youth, everyone and their mothers seem to have a Myspace profile (hell, even I have succumbed to Tom's ingenious creation). Perhaps that was the explanation for the more than usual number of high school kids' attending the show. Back to the point, as the 4-piece band from Calabasas, California stood on stage, I was reminiscent of Straylight Run because of the presence of a female vocalist on the keyboard. But when the sound erupted from their instruments, it was a completely different story. With great harmonies, layered vocal, and an occasional high pitched scream, Agent Sparks won me over as a fan. Ben Ezingiger and Stephanie Elitel's voices blend together impeccably to produce a tone so melodic and unique that it just blew me away. Stephanie's stage presence was particularly amusing, she kept the crowd entertained with animated facial expressions that accompanied her enchanting voice. Agent Sparks definitely brings something new to the mundane table that is screaming of sound alike bands that dictate the underground music scene. I was very much impressed with the set, the crowd seemed to agree when an applause of approval exploded as Agent Sparks left the stage.

Agent Sparks

After the set I managed to escape the rising temperature in the venue by retrieving to my usual spot outside where all the scenesters fill their young lungs with way too much nicotine. I only got a couple breaths of smoke-filled air before the next band summoned me in by beginning their set. Local band The Confession took the stage, declaring that they came to bring the "metal." To be honest, the performance was mediocre. Their set was short but not so sweet. I suppose you could say that they fit into the general stereotype of Orange County hardcore bands, seeing as they are from the O.C.. Lead singer Taylor Armstrong ended the set by announcing "No Angel" as their last song, dedicating it to a slew of birthday people, while simultaneously encouraging the crowd to "fuck this place up." The kids that were two-stepping seemed to enjoy their set much more than I.

By the end of The Confession's set, the heat inside the compacted but intimate venue was pretty unbearable. I decided to wait it out inside so I could get a good spot to watch A Change of Pace's performance. With the lights turned off, a song started to play, it might have been Frank Sinatra or someone of that genre, but I really have no clue. A Change of Pace arrived on stage to a cheer of impatience. The energy they radiated was pretty ridiculous. On stage instruments and hair were flying everywhere. Lead singer Torry Jasper was still able to belch out each note with his hair entirely masking his face as the crowd sang along. They played a decent length set that consisted of songs off their record AN OFFER YOU CAN'T REFUSE. The crowd clapped along to "Every Second" which provided a catchy chorus that even I memorized after the first four times I heard it. The highlight of their set was when Torry took off his guitar, grabbed the microphone, and started his rendition of Beastie Boy's "Fight for Your Right." Jesse Barrera from My American Heart also helped out with one of the band's more intense breakdowns. Yes, all in all, their performance was pretty good, the fans seemed to enjoy it, but the music was nothing too original.

A Change of Pace

Greeley Estates was next on the bill. The lead singer Ryan Zimmerman possesses the ability to scream the highest pitched scream I've ever heard. His singing was somewhat muffled and unclear. Even with that I still preferred his singing to his screaming. They played a couple of songs from their new EP titled CAVEAT EMPTOR which was released a month ago, including the first track "Life is a Garden." I would've liked to hear his singing more but oh well.

Greeley Estates

I have seen My American Heart way too many times, but that's okay, because I enjoy watching them perform. With new bassist Dustin Hook and Larry's maturing voice, My American Heart has reached new heights. Lead singer Larry Soliman is amazingly vivacious during their performances, dancing around and running back and forth on stage. Their fans' excitement peaked when "This Won't Stop" was played (the only song performed not from their new album NO MEANING IN THE MAKEUP). Dustin, the newest member, fits in magnificently with the boys. With a stage dive during "Don't Sleep," his liveliness runs parallel to the rest of the band's. You should expect no less than great things from these San Diego natives, especially since Sal Vilanueva (Thursday, Taking Back Sunday) produced their album.

My American Heart

Naked Aggression
The Eyeliners
The Diffs
All or Nothing HC
Die Young
December 10, 2005 @ the Showcase Theatre (Corona, CA)
By Zach Felmly

How come every time I go see a show at the Showcase, the bands never start on time? Why is that? I hate this venue. Why do I keep coming back? "When will that band play? Hell, I'm tired."

First up to bat was L.A.'s Die Young. I noticed right away that this band refuses to be classified. I think they play a form of hardcore punk/metal that fluctuates between sounding like Limp Wrist and Broken Bones. Good, but not great. But I have to give them credit for the attempt.

All or Nothing HC are one of the most energetic bands I have ever seen. Frontwoman Renae has the uncanny ability and "balls" to dive into the crowd and incite the havoc that was lacking up until that point. They were a blistering onslaught of discordant instrumentation and gaggle vocals in the vein of Antischism and Sick of it All.

While the next band set up, I twiddled my thumbs a little and was engrossed in deep thought while contemplating the notion of leaving my perch and joining the chaos that would ensue when The Diffs came on. This band is what I would call the bastard children of The Germs or any other seminal L.A. area hardcore punk bands of the early '80s. Their cover of "Media Blitz" made the crowd cream their pants, and they went into a ravenous state and pretty much beat the shit out of each other. I enjoyed every second of it. Vocalist Richie puts seems to mimic Darby Crash (with a little Jello Biafra thrown in for good measure) on almost every front. Certainly their playing ability far surpassed that of The Germs. What struck me as kind of funny is that they are all under the age of 18 and don't suck.

Instead of being metallic or even of a hardcore nature, The Eyeliners play catchy, upbeat tunes reminiscent of The Ramones and Buzzcocks, simple and energetic tunes that you just don't hear that much in today's turbulent times. The only fair word I can use as a descriptor is "fun," a great diversion from the usual screaming and violence that has always been associated with punk rock. Pop-punk has never sounded so pure (to me, anyways). They played melodies that contrast with everything else. Crowd reaction was...interesting. I have never seen a crowd stand still in awe and utter excitement at a punk show.

Don't you just hate it when the headliner comes out and puts on a show reminiscent of shit? Fuck, that's like every show I go to nowadays. Fortunately, Naked Aggression doesn't exude that lackluster appeal of shit; in fact, they kick ass. I had seen them once before in Apple Valley and was pleasantly surprised, so my expectations were ridiculous and obscenely high. But Naked Aggression gave the crowd what they wanted with high-energy, politically-charged punk that defies common convention. For a band that's been around for over 15 years, they can still throw down and put on one hell of a show, thrusting metal-tinged hard-core punk down our throats. "Smash the State" lambasted my eardrums and kept the show moving at breakneck speed. "Right Now" had the same effect on both me and the crowd. Anything less than calling them fucking great would be an insult.

Basically, the show had its ups and downs-like every show does. I still don't know why I keep coming back to the Showcase. Maybe it's because they book great bands, or maybe it's because some cosmic, mind-altering radiation-emitting signals keep telling me to.

DEAD BY DAWN TOUR PT. II:
FROM FIRST TO LAST
HASTE THE DAY
HE IS LEGEND
DEAD RECKLESS
December 11, 2005 @ Hawthorne Theatre (Portland, OR)
By Chris Miller

I was unable to get in early enough to see the first two bands; and when I did get in, I was distracted by how poorly-designed the venue is. My view was obstructed by an already FULL standing area by a giant wall stretching from the entrance door to the under-21 area that didn't allow me to see the stage at all. Quickly, I flashed my ID to the bouncer, who let me into the bar area, where I made myself comfortable on a bar stool with a friend named "Jack." This proved to be the best road to take, considering the size of the mosh pit that began shortly after From First to Last took the stage.

I can't tell you how Dead Reckless and He is Legend was; and I am barely able to tell you how Haste the Day was, simply because I only caught their last two songs. They screamed, they played, and they provoked the crowd before the last song by saying to us, "This is our last song, so bang your heads to this!"-and then screamed some more. As the moshers below banged their heads (as they'd been commanded), others seized the opportunity to join in on the circle of excitement below the stage-all the while I'm posted up on my high horse like an intellectual wallflower. (This isn't my normal routine, but tonight I had lost my patience and decided not to get bashed around and beaten while listening to music.) From my vantage point, I was able to see everything. At the very least, you could say From First to Last played a great set. The severe thrashing of guitars and shrieking vocals filled the small Hawthorne Theatre, as well as stimulated the thunderous crowd of underage moshers. It's hard to take your eyes off the stage while watching someone like FFTL (unless there is a GREAT mosh pit, of course), because every song has a chaotic feel to it that never lets down and continues from song to song. It seemed to be a quick set (though my perception of time may have been slightly off due to the tempo of the show and the amount of "Jack" I had consumed in such a short period). No one seemed to want to leave.

I quickly exited the bar and venue at the end of the show in order to beat the rush. With my head throbbing (I'm not sure if it was because of the music or the liquor) and my ears ringing (this, I'm sure, a product of the loud music), I left satisfied, having heard the one band I really wanted to see.

ANOTHER DAMN DISAPPOINTMENT
THE SUICIDE MACHINES
PENNYWISE
December 14, 2005 @ the House of Blues (Anaheim, CA)
Text by Audiophile

I didn't know Another Damn Disappointment were on the bill for this night; I was under the impression that another band was opening. I was very happy to see them, as they're a great band to witness live. Beer was flowing like water on stage while they pounded out song after song (e.g., "Hooks", "Dick Head", "Pass the Bottle", "I've Got a Problem", "Blinded"). They even threw in a Misfits cover for good measure. And for entertainment's sake, singer Josh Thompson confessed to the audience that his girlfriend slept with his best friend and his father, then retracted the statement with a "just kidding." Not only does this band make great music (similar to Guttermouth and Pennywise), but they have great taste in music. I noticed the drummer (who is a very good drummer and did an amazing drum solo toward the beginning of the set to give his bandmates a chance to tune) was wearing a Lost City Angels shirt. (LCA happens to be one of my FAVORITE bands that I've discovered this year.)Kudos to you, ADD. Be sure to check them out and see when they'll be in your area at www.Addsucks.Com.

Another Damn Disappointment

Wow. Just: wow. I'd never had the pleasure of seeing The Suicide Machines live, and now I regret not seeing them sooner. Singer Jason has the most energetic stage presence I have ever seen. James Brown has nothing on him. He was dancing, jumping, and skanking all over the stage. He even disappeared into the pit during a song and absolutely OWNED the barred-off area. He was leaning off the stage and standing on the barriers singing right into the front rows faces and had them singing back on songs like "Break the Glass". Someone in the crowd yelled for him to bring it, and he damn well brought it on this night. I'm sure I'm not the only newly-devoted The Suicide Machines fan to walk out of the venue this night-not only because of their stage presence, but because their music plain old kicks ass. It's a beautiful blend of ska, punk, and hardcore from the old school (and we all know the old school is the best school). Check The Suicide Machines out at WWW.Suicide-Machines.Com.

Suicide Machines

Pennywise are (in case you didn't know) a band that represents the old punk/skate scene and are still doing an amazing job doing. These guys are no doubt one of Epitaph's top-grossing bands. If you've never seen Pennywise live, you're missing out. I am a fan and listen to their albums when the mood strikes, but their albums NEVER do them justice. They are a live band-there's no other way of putting it. I might not go out and buy the latest album, but I will NEVER pass up a chance to see them live, because I know I will never be disappointed. Tonight they blasted out such classics as "Fuck Authority", "Pennywise", "My Own Way", "Alien", and "Society". They even brought out a special guest, drummer from The Vandals (another extremely amazing band) Josh, to help them out on a song I'm sure we're all familiar with: "Blitzkrieg Bop", an ode to one of their influences, The Ramones. In true Pennywise fashion, they did all they could to disturb the rules of the house. They encouraged stage-diving, crowd-surfing, and people getting up on stage with them. One of the people backstage (who happened to be sporting that oh-so-fashionable hairstyle, the mullet) stage-dived and made it back up onstage WITHOUT getting kicked out. Pennywise even pulled a kid they recognized up on stage with them. That's another great thing about Pennywise: if you're a fan, if you go to their shows, they'll see you, they remember you, they're grateful for your devotion.

Pennywise

AUGUSTANA
STAVESACRE
THE APPEARANCE
THE OUTLINE
December 14, 2005 @ Chain Reaction (Anaheim, CA)
By Tim Posada

Most shows bring a particular style of bands together-hardcore and metalcore, pop-punk with power pop, and indie with experimental electronic. But the Augustana show at Chain Reaction on December 14 brought four bands from varied backgrounds. However, while the differences between The Outline, The Appearance, Stavesacre, and headliners Augustana were blatant, they each represented four different levels of comfort in a live show.

The Outline brought their own blend of Me Without You garage rock with the electronics of At the Drive-In and represented the first level of a live show. Their stage energy was a tribute to latter '90s emocore: raw distortion, a touch of the artistic, and imperfections in instrumentation that gave them an amateur feel. Their songs may have lacked variety in tempo and mood, but each was creative. Drummer Ryan Rabin gave their performance its initial energy with his loud drumming sans dynamics and Medusa-esque eyes that stared wide and long. Lead singer/guitarist Graham Fink bore the spirit of an indie idol, though he and his band's abilities could use more confidence in front of a crowd.

The Outline

Dying Fetus, Demon Hunter, and The Appearance each have one thing in common: they have horrible band names. However, The Appearance are probably the most boring, and it's quite appropriate for this boring pop/rock act that attempted to be defined as punk. The Appearance serve as an example of what not to do in a live show. They gave one of the most awkward performances, with a stage presence that looked more that of like prep-school students who came straight from class and un-tucked their shirts. Their set climaxed when No Use for a Name guitarist Dave Nassie made a cameo performance, though the curse that is The Appearance made its way to Nassie's guitar, causing technical difficulties, continuing the disappointment. The Appearance blindly displayed bland, unoriginal songs of the Foo Fighters persuasion but which sounded more like Stairwell with a monotonous songwriter.

The Appearance

Enjoying the music of Stavesacre has nothing to do with experiencing their live show. These veterans performed with a comfort and a nonchalance that only the 10 years of stage time can bring. Stavesacre's set was a tribute to their former days of glory, with songs from SPEAKEASY like "Minute Man" and "Keep Waiting"; but there was a glimmer of hope for their future with a new song, "It's beautiful (once you're out here)", which was to be on their new album and made into a video a few days after this show. Mark Solomon brought his thick voice and dramatic facial expressions and was backed by the band that has kept him comfortable.

Stavesacre

Many of the older scenesters made way for the teenage girls that quickly engulfed the stage front as Augustana took the stage. While Stavesacre brought years of confidence, Augustana brought their fresh enjoyment of the rock 'n' roll lifestyle. As they began, leader singer Dan Layus lit a stick of incense and played such familiar tunes as "California burning", "Coffee and Cigarettes", and hit single "Stars and Boulevards". Everything about Augustana screamed, "We finally got signed and are loving this rock 'n' roll lifestyle!" They moved with a hint of exhaustion but with a full love for their music. Layus's whiny voice mirrored this enjoyment, as he over-sang to the point of flat notes at the climax of each song. While most bands are becoming more technical, some bands still hold to Nirvana's beauty-through-simplicity style-and Augustana's music relied on this emotional pull more than entrechat instrumentation. As the incense went out, unlike most rock stars, Augustana did not succumb to the cliche of an encore-thus holding themselves to a higher standard than that of the cheap theatrics of boring rock.

Even a smaller show on a Wednesday night can give some of the history indie rock offers. The Outline represented the potential of a young band; The Appearance served as an example of what not to do; Stavesacre brought their history; and Augustana portrayed a band about to peak.

Augustana

CIRCA SURVIVE
INTERNATIONAL NOISE CONSPIRACY
NIGHTMARE OF YOU
DECEMBER 14, 2005 @ Rock Island (Denver, CO)
By Brian Kenney

Each of these bands are worthy of a headlining gig but only Denver's Soda Jerk Presents could have put such an eclectic mix together. And although the venue was late in opening its doors on a night when the wind chill was close to 5 degrees, Rock Island is a fan-friendly club with capacity of 400-500, a large merchandise area, and a decent sound system. I did notice that the vocals were hard to hear all night. (Even perching myself directly behind the sound board-normally the best place to hear a show-didn't help. I walked the entire performance space looking for the best place to hear the vocals before realizing that it's probably a problem with the venue's system.

Long Island's Nightmare of You opened the evening with some extremely polished songs which sounded well rehearsed and eerily familiar. We have seen this band before: this year it was Hot Hot Heat, last year it was The Killers, and yesteryear it was Modern English. But anything familiar is usually successful, and so it won't be long until MTV gets its meathooks into this act and they'll be stepping into opening slots for bubblegum faves Click Five or Simple Plan and will jockey for position in the factory of ghosts of years past that are turning out replicas of The Cure and The Smiths. Lead singer Brandon Reilley (ex-Movielife) even copped a pseudo British accent before leading into "I Want to be Buried in your Backyard" off their self-titled debut. NOY's tunes are well-scripted and lyrically-driven, as evident in such tunes as opener "The Days Go By Oh So Slow" and later with "Thumbelina" and "My Name is Trouble". At present, NOY is at a juncture, and there are two ways they can go: they can add an edgier side to their sound (similar to Dismemberment Plan) for any kind of credibility in the world of punk rock, or they can sell out and end up as The Wonders from THAT THING YOU DO.

International Noise Conspiracy took the stage next. To be honest, with their matching outfits of red shirts with stitched in zippers circa THRILLER-era Michael Jackson, I wasn't sure what to think. (After all, they ARE European.) I was going to only give them three songs and tune out, but I got hooked on their enthusiasm. They just seem to enjoy what they are doing more than most bands. Lead singer Dennis Lyxzen and company brought a high energy and an extremely theatrical show all the way from Sweden, where their honest attempt at arena rock probably conquers stadiums all over Scandinavia. INC's show does come with a price to pay: their angle is protest rock. Opening the show with "Black Mask" off of the recent release, ARMED LOVE, they continued with liberal, self-absorbed banter all night. "We'd like to welcome ourselves back to Denver," Lyxzen humbly shouts, "to bring you 100% Scandinavian communist propaganda!" and they launched into "Let's Make History". At times, INC's show became a caricature of itself. "We're gonna sing a song for all those people who work eight to 10 hours a day just to be broke for the rest of their lives!"-this coming from a band from Sweden, one of the wealthiest nations in Europe. "A Small Demand" spewed more liberal slogans from the soapbox, and I headed over to INC's merch area, which read like a who's who of protest literature. Not only did INC market their message in their songs and on their T-shirts, they brought a proverbial library of radical literature, from Noam Chomsky to Ward Churchill. I expected to see an IDIOTS GUIDE TO COUP D'?TATS or COMMUNIST TAKEOVERS FOR DUMMIES.

Fresh off a tour with My Chemical Romance, Circa Survive took the stage in an unassuming manner, going from a quick soundcheck into their opening number-no fanfare, no introduction, no greeting whatsoever. Circa Survive was the antithesis of INC-which makes this a curious co-headlining tour. There was very little bantering with the audience from lyricist Anthony Green or from any of the members. If you're a wallflower afraid to get called out by an act onstage, Circa Survive and their heavy emo, foot-staring nod rock is just up your alley. Apparently, the Denver audience demanded more of the band, because after INC, the audience had noticeably decreased, thinning out by half. Touring in support of JUTURNA may be taking its toll, as they appeared uninspired and tired on searing tracks such as "Act Appalled" and "The Great Golden Baby". They looked more like hungover college students, which didn't complement the songwriting capabilities of guitarist Colin Frangicetto and Green (not to mention the dynamic range of Green's pipes could never be fully appreciated in the muffled acoustics of Rock Island). It was a Sisyphean experience with Circa Survive, as their energy was trying to be there but exhaustion impeded it, leaving much of the show nothing different than what's heard on the disc.

Unwritten Law
Whitestarr
December 17, 2005 @ the Roxy (Hollywood, CA)
By Joe Licavoli

I have seen Unwritten Law a couple times, but never at a venue as intimate as the Roxy. The band played two nights at the theatre, giving fans a chance to see the guys up close and personal (as they can't do at the larger venues the band usually plays). I was expecting a unique experience, and Unwritten Law definitely delivered.

Regretfully, I saw only the end of one song from the opening band; and I can't recall the group's name, so I can't really write too much about them. I apologize to the band. What I did hear sounded good.

I did get a chance to check out the strange musical experience called Whitestarr. This Los Angeles-based band puts on a great live set from start to finish. Whitestarr blasted on stage with the song, "Luv [sic] Machine", showing that they were definitely something different bringing the rock 'n' roll of the '70s back to life. I am not really a huge fan of '70s rock, but for some reason Whitestarr really impressed me. The band has a carefree attitude that is often absent in many current rock bands. Whitestarr's sound has a classic-rock feel but with a punch. The band members are a mix of characters, with the standout member being guitarist Rainbow Jeremy, who sports a huge 'fro. He definitely shows that this is not your typical L.A. band. Another distinguishing factor is dancer named Tony Potato, who dances ferociously at the back of the stage as the band plays. Vocalist Cisco Adler is an amazing frontman, getting the crowd involved in the songs and chatting with the audience. Whitestarr had a ton of charisma on stage and really knew how to get the crowd hyped, with some of the audience clapping their hands and bouncing along to the songs. It was strange to see a band like Whitestarr open for rockers Unwritten Law (rather than playing it safe with a straight-up rock or punk band warming up the crowd), but I thought it worked well. I would definitely like to see Whitestarr again, and I suggest you check them out at whitestarr.com.

Whitestarr

After the rocking set from Whitestarr, I figured it would be some time before Unwritten Law took the stage, so I decided to hit the bar. After getting some typically high-priced L.A. drinks that were somewhat strong, I was ready to work my way through the packed audience. The crowd was eagerly awaiting the guys from San Diego to take the stage, as Unwritten Law was tuning up behind the velvet curtain. Soon enough, vocalist Scott Russo and the gang were on stage blasting through a nice mix of new and old songs. The sold-out show was packed with a crowd that seemed to just want to have a good time, and the band definitely made sure that this happened. UL pounded out a majority of the songs from their new album, HERE'S TO THE MOURNING, such as "She Says", "Celebration Song", and the hit single, "Save Me (Wake Up Call)", which Russo explained is the story of Unwritten Law's life-which seems to be true, with the new album marking a change in record labels from Interscope to Lava Records, as well as the departure of longtime drummer Wade Youman. It was sad to see Youman leave the band, but new drummer Tony Palermo was great playing older UL songs perfectly. Speaking of their older songs, the band rocked through "Teenage Suicide" and "Lonesome" from their 1998 self-titled album. The group switched gears in the middle of the set, as acoustic guitars came out for a couple songs, such as another single, "Caitlin" (about Russo's daughter) and the full-throttle rocker "California Sky" (which sounded a bit diluted in an acoustic version). It was nice to see the band playing some acoustic songs and mixing up the set, but after a few tunes the acoustic numbers got a bit dull, so I was glad to see the electric guitars come back. The band rocked through "Mean Girl", "Blame It on Me", the party anthem "Up All Night", and the band's biggest single, the incredible "Seeing Red" (all from 2002's ELVA). Unwritten Law delivered an incredible set. Russo thanked the crowd repeatedly for coming out and spending their Saturday night with the band. During one of the last songs, the singer gave high-fives to fans in the front of the stage. Unwritten Law have gone though a lot of tough times in their 15 years of existence, but they never stop making innovative music that cannot be pigeonholed. It was an incredible experience to see them in such a small venue, and I am sure the crowd felt the same.

Unwritten Law

WAKING ASHLAND
BEVERLY
NEW ATLANTIC
THE FOLD
HOPEFIELD
December 17, 2005 @ Chain Reaction (Anaheim, CA)
By Michelle Li

There was a noticeable disparity in the number of each gender tonight at Chain: the testosterone was definitely outnumbered by the estrogen. For some reason, the venue was filled with that smoky, smog-like stuff (as if it wasn't hard enough to breathe in the already unventilated venue).

Hopefield, a four-piece who looked young enough to blend in perfectly with the high-schooler-ridden audience, was first on the bill. With very little energy, these Irvine inhabitants neither control the stage nor the crowd. The one thing the audience did seem to agree with is when bassist Mark Mikin busted out the xylophone to accommodate the melody played by lead singer Andrew Capra's guitar. His onstage demeanor was better than his bandmates'. But Hopefield music was extremely captivating. Andrew's mature voice is easy on the ears, and the rest of the band play their instruments commendably. Even though their performance wasn't very exciting, their placating melodies put me into a tranquil state of mind. Hopefield will be dropping their new album in May 2006. (Until then, they have many months to perfect their onstage charisma.)

I'd never heard of The Fold before tonight. These four boys from Chicago will have their full-length album out in February produced by Steven Haigler (Brand New) and Zach Hodges (Terminal) on Tooth & Nail Records. With all that background, I expected something much more. With Chicago producing such likeable bands (e.g., Fall Out Boy, The Academy Is), great producers who have produced great bands, and a record label that can do no wrong, The Fold is definitely an aberration. Daniel Castady has a high voice that my ears just don't like. He plays the guitar oddly, with all five fingers spread out and with an awkward, broad strumming pattern while rising to his toes every other second during each song. These characteristics made me cringe. The Fold produce a sound a little louder and poppier than Hopefield. Title track "This Too Shall Pass" consists of strong bass fragments that even I can distinguish with my instrument-challenged ears. The Fold seem to be struggling with the road lifestyle, as they announced their need for a shower and a place to sleep (since parking lots are cold at night). I couldn't help but feel sympathy for this band that I just couldn't get into. I could've enjoyed The Fold if another voice accompanied their instrumental ability; but the crowd seemed to disagree, as cheering exploded as they exited the stage.

Even less to my liking was New Atlantic. Lead singer Giovanni Gianni has no stage presence at all. With passionate facial expressions while lip-synching, guitarists Matthew Steven and Christopher Michael were much more into the singing than he. Bassist Dave Carlson was the worst with stage presence. He looked uncomfortable and bored stuck in that 4' x 4' square he did not dare step out of. I found myself dozing off not because of the pacifying sounds but because I was bored out of my mind. It was New Atlantic's first time on the West Coast, and they certainly left a lasting impression-a bad one.

With Christmas lights and stockings decorated on their amps, a drum set wrapped in tinsel, and candy canes for the audience, Beverly is ready for the holidays. The first thing I noticed about these Orange County boys was that they all had matching hair. Their image is more stereotypical, sporting black shirts and blue jeans. Beverly differed from the rest of the lineup by bringing a more alternative-type rock to a room ready for indie. They definitely get an A for stage presence, but not for their music. Their sound is unoriginal. They reminded me of an edgier, less candy-coated, and less-polished Acceptance. With the mic cord wrapped around his hand, Jon Staph belched out sharp, crisp vocals to "Hello" and "Runaway". Beverly was the most entertaining to watch out of the other bands...but they still have room for improvement.

Waking Ashland played a great show, proving that they will continue to push forward with their two new band members. With the lights dimmed, Jonathon Jones doesn't miss a note on his keyboard or his vocals. With his boyish good looks and appealing voice, there is no question why the spotlight is regularly focused on him. Jonathon's energy resonates through his keyboard as he serenades the audience. All songs performed were off COMPOSURE, with the exception of a new song, "Tortoise and the Hare". "Hands on Deck" was a crowd-pleaser, as the entire venue seemed to sing along to the heartfelt lyrics. My only complaint is that the vocals were sometimes drowned out by the instruments. Other then that, if you're looking to get into polished, keyboard-fronted indie rock, Waking Ashland is your band.

T.S.O.L.
SWINGIN UTTERS
MANIC HISPANIC
TIME AGAIN
December 18, 2005 @ the Majestic Ventura Theater (Ventura, CA)
Review and photos by Mark A. Whitaker

Sunday, Sunday, Sunday. No, there wasn't a monster truck rally scheduled, but an amazing punk show. It has been a few years since T.S.O.L. played at the Ventura Theater, and figuring how entertaining Jack can be, I figured no self-respecting punk in his right mind would miss the show. Unfortunately, I guess they were too busy buying "punk" gear at Hot Topic to attend, but for those who came, the night was looking to be quite good. Touring with T.S.O.L. were Swingin Utters and those crazy homies from Orange County, Manic Hispanic.

Starting things off for the evening was a band called Time Again. I don't know much about them, but the music was definitely punk and definitely good. Even though the majority of the crowd was there to see one of the other three bands on the bill, they still gave Time Again respect and pitted for them.

Time Again

The lights dimmed, and seven shadowy figures came onstage. Manic Hispanic's music is really entertaining. They take every Mexican stereotype you've heard growing up and write hilarious cover songs dealing with those, writing silly songs that deal with very emotional issues affecting Chicano culture. It's been a while, but one of the more famous songs is a take on Offspring's radio hit, " Keep 'Em Separated". Manic Hispanic take that song to a new level, changing it to "Gotta Get Em Immigrated". Where Offspring have a guitar chorus in the song, Manic Hispanic shows their true creativity by having a horn section. Man, it's too funny. I didn't hear a lot of older songs (Manic Hispanic have several albums worth of material to choose from), but the crowd loved it. The lead singer would often do some crazy little dance during the songs. It was funny. He reminds me of Jeff Grosso from Black Label Skateboards. Those guys should hang out; it would be hilarious. Manic Hispanic was quite entertaining.

Manic Hispanic

Judging by the number of people wearing Swingin Utters jackets, the band definitely have a good following; but I didn't like them too much that night. It seemed to me the singer was really drunk and didn't have it together. He would sing, then violently storm to the other side of the stage. It could be just his style, but I wasn't really into the music. It seemed too forced. I liked Time Again more. I had seen Swingin Utters a long time ago and thought they were really good. Who knows? Times change.

T.S.O.L. set up, and in no time Jack was pacing around the stage surveying the scene in his trademark coat and with a big smile on his face. This is one man who really enjoys what he does. After a few songs, he decided that they were going to do away with the set list and instead take requests from the crowd, with two conditions: they had to be songs that the band knew how to play (they had a fill-in drummer, and he wasn't familiar with all the songs yet), and the crowd couldn't request "Code Blue", since the band was going to close the show with that one. After a few requests, Jack paused to harass drummer Tiny about not being competent. Jack decided that right then and there, in the middle of the show, that he was going to replace Tiny. Jack asked the crowd if anyone played drums, and when several fans raised their hands, Jack selected this young kid Andrew and brought him onstage. Andrew got behind the drums did a quick drum roll to warm up. When asked by Jack if he knew any of T.S.O.L.'s songs, Andrew raised three fingers overhead-so the next song was "World War Three". Andrew just tore into the song. It was so fun seeing this young kid playing his heart out. Jack was impressed. Tiny came back and lifted Andrew off his seat and held him up so that everyone could see him, which showed that Tiny was a good sport. Bass player Mr. Roche said something smart to Jack, and Jack cautioned that he would replace him next. Roche laughed and with a sly smile said, "Replace me, then." Jack decided one replacement for the evening was enough, and the show went on. They ended the set with "Code Blue", which was a huge success.

T.S.O.L.

AS I LAY DYING
NORMA JEAN
MADBALL
A LIFE ONCE LOST
December 20, 2005 @ H.O.B. (Anaheim, CA)
By Brett Powell

One of the most anticipated tours of the season hit California right as school got out this year. What a way to kick off winter vacation by going to check out A Life Once Lost, MADBALL, Norma Jean, and As I Lay Dying. This touring package managed to sell out the House of Blues in Anaheim two nights in a row! I was lucky enough to catch the second evening.

A Life Once Lost kicked off the show with animal-like screams, heavy grooves, and odd time signatures, leaving the crowd in a pitting frenzy and not knowing when or how to swing their arms. This was my first time seeing this band, and I was very impressed. Their set kept me entertained the whole way through and was led by a werewolf-like beast of a frontman. This band has been opening up on some amazing tours lately, playing with bands like Unearth, Zao, Dillinger Escape Plan, Everytime I Die, Haste the Day, and It Dies Today. I expect them to be headlining tours in the next few years. Norma Jean vocalist Corey Brandan joined A Life Once Lost to close out their set by screaming along to the chorus of their first single off of HUNTER, "vulture". I'm sure many new ALOL fans were born on this night-and every other night of this tour.

Unfortunately, I missed MADBALL's set, but when I re-entered the venue to see Norma Jean, I saw many tired, sweaty faces, showing how intense the old-school HXC band's set was.

Norma Jean played stronger than ever on this night. Corey Brandan performed with more intensity and sharpness than I had ever seen from him. The band's overall performance and musicianship held the crowd from start to finish. This band is famous for playing sloppily, but they played absolutely perfectly on this night and dominated the audience. They played select songs off of their cult classic BLESS THE MARTYR, KISS THE CHILD and got the crowd singing along to all their new hits on O' GOD THE AFTERMATH. Norma Jean definitely stole the show.

One of the biggest explosions of 2005 took the stage next. Their fan base has spread like wildfire over the last two years, and it's great to see what they have accomplished in such a short amount of time. As I Lay Dying have inspired many to want to grow up to be just like them. Tim Lambesis is one of the greatest frontmen on the scene today, and he single-handedly owned the crowd, which was packed full of As I Lay Dying supporters. They played flawlessly throughout their set. Unless you're familiar with every song by listening to their albums constantly, your attention wanders while listening to their monotonous sound, repeating breakdown riffs, and two-step beats.

This show was definitely one to be remembered. Every band on this tour will continue to make their mark in 2006.

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