June 2005 Live Reviews

(scroll down to read all of them)

EISLEY
REGGIE AND THE FULL EFFECT
NEW FOUND GLORY
April 21, 2005 @ the House of Blues, (Anaheim, CA)
By Tim and Todd Markel

Eisley had already played by the time I gained admittance. I assumed a position stage right and near the bar on the lower level just as the lights were dimming for Reggie and the Full Effect. The curtains opened to reveal the band dressed up in big, white bunny outfits. Before they even played a note, I was expecting a funny, poppy, catchy, melodic set from the Kansas City-based band. To my surprise, they played a really hardcore-influenced set with lots of screaming (just the way I like it). The audience seemed to be made up of lots of Reggie fans, and a good portion of the audience was singing every lyric to songs such as "What the Hell Is Stipulation" or "What the Hell Is Contempt". At one point James Dewees told the audience the next would be the last real song, and the band took a short break for a costume change. They came back out on stage half-naked and covered in a brownish red blood-like substance. They played a headbanging cover of Slayer's "Rein in Blood" and introduced a member of Eisley (also covered in blood), who would end up helping them out on the last song, "Dwarf Invasion", which was another hardcore-influenced number that left me battered and bruised by the end of the set. Their latest CD is entitled SONGS NOT TO GET MARRIED TO. I recommend you buy it and then see Reggie and the Full Effect live to get the full effect. After this set, Dewees just had to move his keyboard a little to the right for his gig with New Found Glory.

I had already seen New Found Glory a number times this past year, so I wasn't exactly jumping up and down about seeing them again. The curtain opened and the band immediately went into the first song, "Understatement" (off of 2002's CD STICKS AND STONES). The band was very animated and kept a good rapport with the audience. Bass player Ian didn't hesitate to come out in all his glory-i.e., shirtless, as usual. Lead singer Jordan Pundik was more or less right up against the barricade the entire night sharing the microphone with audience members to sing along with him. This tour was being called the "Back to Basics Tour," and the set was a pretty even split of old songs, new songs, and harder songs, and most all of the singles were played. Joe Escalante (of Kung Fu Records and The Vandals fame) came out and helped the boys by playing bass on one song. I'd have to say that New Found Glory used to be one of my favorite bands, but when the band started playing a lot of songs that I just wasn't familiar with I, it didn't take too much convincing to get me to leave a little early. Call me jaded or just bored. Their latest CD is called CATALYST...and this is pretty much where our story ends.

Anthrax
Supervillain
May 22, 2005 @ Key Club (Los Angeles, CA)
Photos and text by Richie Wu

As I was driving up to the Key Club, I became more and more excited to see Anthrax. I had not seen them play live in many years. Even more exciting was the fact that the original lineup was back together again: Joey Belladonna, Frank Bello, Charlie Benante, Scott Ian, and Dan Spitz-all on the same stage. I definitely did not want to miss this. However, never go to an Anthrax show looking for hot chicks, 'cause they're not there, that's for sure. In fact, you don't even have to shower, because it's a DUDE FEST all the way! All you need is a black T-shirt with a slogan like "Long Live Metal" or "Metal Never Dies," and you're in. This sold-out show was proof of this. Anthrax fans old and new united to let their mullets flow freely and to carry the torch of everlasting metal. ALL JOKING ASIDE, believe me when I say that this show was the REAL DEAL. It was fantastic, superb, and heavy as hell in every way!

Supervillain

Supervillain opened the show and delivered a powerhouse set full of intensity. Songs like "Beyond Possession" and "Empty Hands" were standouts and definitely made everyone take notice. At one point, singer Daniel Clements yelled to the crowd, "Fuck Metallica!"-for what reason, I am not sure, but the swarm of loyal Anthrax fans seemed to appreciate the notion and responded with an unruly roar. They put on a superior show composed of catchy melodies and heavy guitars. Bass player James Morris certainly gave an entertaining performance, with his animated facial expressions and pounding bass riffs. Check them out at www.supervillainrocks.com.

Anthrax

As I anxiously waited for Anthrax to appear, a large projector was lowered from above the stage. To my surprise, footage of vintage porn from the '50s began to play. As I watched the screen, a rather hefty lady ("Big Tubby," as the guy next to me affectionately named her) began to play peek-a-boo with her top. Everyone seemed to get a kick out of the pre-show material chosen to warm up the audience. By the time Anthrax hit the stage, the crowd was ready to release their pent-up angst. They played all of the classic Anthrax songs: "Deathrider", "Madhouse", "Caught in a Mosh", "I Am the Law", "Indians", "Antisocial", "Got the Time"...so many great tunes. It just never stopped. Since there was not a photo pit at the front of the stage, everyone was forced to shoot photos from the back. After the third song, the house publicist asked all photographers to stop shooting. Magically, I managed to find a prime spot next to the stage, where I able to shoot more photos. I spent most of the night watching guitar player Scott Ian tear it up. I have now come to the conclusion that he is by far the best rhythm guitarist the metal genre has seen. The laser-like speed and precision of his right hand was unbelievable. One of the many encores they played, a rambunctious rendition of "I'm the Man ", was my personal favorite. It's so cool to see that even after 20 years of thrashing madness, Anthrax still destroy everything that is lightweight and disposable. Enough said.

Tiger Army
Street Dogs
12 Step Rebels
May 16, 2005 @ SLO Brewing (San Luis Obispo, CA)
Photos and text by Richie Wu

As I entered SLO Brewing, I quickly found a secluded niche to squeeze into on the side of the stage, where I was able to enjoy the show and get some good pictures.

12 Step Rebels

12 Step Rebels shook up Tiger Army fans with their lucid brand of psychobilly. These guys are nuts! With names like Jakob Insane, Hamburglar Nate, and Mad Dog Chad, one would automatically assume that they are capable of electrifying a club. And indeed they are, as everyone in the venue began to mosh, wail, and thrust as if they had just been let out on a day pass from the local insane asylum. Cool tunes, nice guys...in a demented sort of way. They complemented Tiger Army well. I was digging it. You should, too! You can find everything you need right here: www.12steprebels.com.

Street Dogs

Boston band Street Dogs were second up. On tour with Tiger Army, they did not let anybody down. The only beef I have with them is this: What's up with all these lame band names? To me, "Street Dogs" is right up there with "Iron Skull", "Sledgehammer", and "Cobra", destined to go into the lame band name encyclopedia! Now that I have gotten that out of the way, I would like to tell you that despite their name, this is a band completely worthy of your time, and you should check them out immediately. With members from Dropkick Murphy's, Mighty Mighty Bosstones, and Roger Miret and the Disasters, Street Dogs did not let down a soul. At one point the band had to stop and recognize the punk-rock styling of a kid in the audience. Not more than 10 years old and armed with Black Flag patches on his ripped up Levi's jacket, he surfed the crowd until he reached the front of the stage, where he was welcomed by the band. Street Dogs let him rock out on stage for a couple of songs, declaring from the mic that this kid had to be the MOST PUNK ROCK in the building. The audience bellowed back with a huge roar. Armed with a bunch of guitar picks from the band, the kid flew off the stage and back into the open arms of waiting fans in the pit. The performance was fantastic, period. So, I guess Tiger Army (along with Bad Religion and Social D, who they also have been touring with) have overlooked the bad choice of band name to settle for an incredible show from Street Dogs. All pertinent information can be obtained at www.street-dogs.com.

Tiger Army

Well, I, personally, think Tiger Army is ready for WORLD DOMINATION. Did anybody see those multiple nights they recently played at the House of Blues? Unbelievable. The San Luis Obispo show was equally good, if not better. SLO Brewing seemed a bit smaller than the House of Blues, creating a more personal setting. At points, the show got kind of crazy. Singer Nick 13 encouraged everybody to chant "fuck the world!" Over and over again, the people of San Luis Obispo complied, as the group fired into the tune of the same name. Oh, man, so many great songs-too many to actually name off. But if I HAVE to pick a couple, I would say that "Cupid's Victim", "Rose of the Devil's Garden", "Annabel Lee", and "Never Die" (the encore) were my favorites. The guys are touring now in support of their new album III: GHOST TIGERS RISE. If you want to see a killer show, I suggest you go see them. (And if you were one of the many who saw them at the House of Blues recently, you already know what I'm talking about.)

SPOON
May 11, 2005 @ Amoeba Records (Hollywood, CA)
By Jeff Lambert

Ask any record producer, and he'll tell you: records don't sell themselves. It's just the way it is. Even if you're a staple in the indie rock scene or if you've enjoyed some mainstream success, you still need to promote each new record like it's the first one you've put out. This would explain why bands with years of experience are willing to play a free show or two in the name of self-promotion. When you think about it, is there a better way to get kids in a record store than to play for free at a hip music shop in Hollywood? From a booking perspective, it's a no-brainer. Tonight, Spoon takes over Amoeba Records in hopes of boosting sales for their new record, GIMME FICTION (Merge Records).

A 7 p.m. start time seems a little early for the headliner to go on, but when you're the lone act at the mercy of the record store, you don't have much choice. By the time we arrive, it's about five minutes before show time, and most of the crowd has already found their designated spot to stand. To our delight, the four-piece rock group from Texas arrives on stage within minutes of the estimated starting time. Indie hipsters of all ages crowd the aisles of the record store standing on their tiptoes in hopes of getting a glimpse of the tiny Amoeba stage. The stage is so small that those not in the front few aisles have trouble spotting the keyboardist flanked to the right. Singer/guitarist Britt Daniel stands confidently at center stage and opens the show with an unfamiliar tune off their new album. The vocals sound crisp, and drummer Jim Eno locks in with his mates from the opening note. Daniel keeps the band on a torrid pace, jumping from song to song, yet he finds time to crack a few jokes when the band take a quick breather.

These indie rock veterans easily replicate on stage the same sound quality and precision that makes their records a popular buy. While mostly comprised of songs from GIMME FICTION, the set list did save room for favorites like "Someone Something" and "The Way We Get By" from prior releases. These familiar songs make good for comfort food, but the highlight of the show came with the performance of a new gem titled "Turn the Camera On". The track itself is unlike anything the band has done before, shining bright as the most original song Spoon has written to date. They close the 40-minute set by ripping through a classic rendition of "Jonathan Fisk", but not before reminding everyone to check out their latest release, GIMME FICTION.

The new songs sounded great, and Spoon did what they could to keep the listeners involved, but unfortunately most of the crowd stood around in a lifeless daze. Perhaps the layout of the venue is to blame for the lack of energy from the crowd. The warehouse-like feel of Amoeba scatters the audience around the giant store, which makes engaging the audience a dubious task. By and large, Spoon did an admirable job performing in a venue not meant for showcasing music but selling it-but wasn't that what this night was all about?

MELT BANANA
DAS OATH
May 20, 2005 @ the Troubadour (West Hollywood, CA)
Text and photos by Jennifer Swann

9:30 had rolled around as I was slouched down in the balcony of the Troubadour, bored, tired, and hungry, anxiously wondering why I had been sitting there for over an hour-and-a-half without even the slightest sight of a band or a musical instrument. Finally, just before the techno music that was blaring out of the speakers got too overly obnoxious for me to handle, the instruments slowly began to be set up on stage. Toxic Shock and The Flaming Tampons were scheduled to open the show that night, but my concern and confusion about why the show hadn't started until nearly 10 were cleared when I caught the news that Toxic Shock never showed up to play.

Once Das Oath took the stage, my mood had shifted and I wasn't tired anymore, wasn't bored anymore, and I had completely forgotten about my hunger. In fact, I was enthralled with the amount of energy and intensity these guys had. Lead singer Mark McCoy (ex-singer for Charles Bronson) had a voice so incredibly high and shrieking that it made me cringe and grab my own vocal chords in painful anguish. The drums were beaten furiously with an emphasis on the double-bass pedals. Mark went nuts, oftentimes plunging the microphone into the audience for kids to scream into and convulsively throwing himself into spastic tantrums. The band hammered out one high-speed song after another, while Mark climbed onto the metal poles holding up the lights and stabbed his way into the crowd, whole-heartedly giving his soul to the music and the kids in the audience, his face drenched in a goopy sweat. Their set was very short, maybe 10 minutes...but if I did that much screaming, I'd be completely worn out after 10 minutes, too.

The drummer, bassist, and guitarist of Tokyo's infamous Melt Banana were the first to come onstage and start jamming, before riveting lead singer Yasuko made her grand entrance halfway into the song. The screens behind the band displayed a light show of color-soaked kaleidoscopic images, while an insane buzzing, ringing, resonating racket exploded from the stage. Ecstasy to the senses. The entire audience jumped up and down and all over the place in this euphoric haze where everything was blurred and nothing mattered anymore. We were zombies on acid, driven only by noise and noise alone. Colored lights bounced as guitars screeched like chainsaws and blenders and car alarms and thunderstorms and telephone busy signals and glass shattering. The sounds that a spaceship might make just as it abducts a human were similar to the chaotic clamor that filled our hearts that night.

After Melt Banana played at least 10 or 15 songs, they proceeded to play another 15 songs or so, none of which could have been over 15 seconds long. An ungodly amount of energy was released in the shortest amount of time possible, after each of which the crowd went wild. It was like freeze dance: start, stop, start, stop; dance your brains out and jump as hard and as fast as you can in 10 seconds, let it all go, stop abruptly, then do it all over again. It was like heating up in a hot tub and then cannon-balling into an ice-cold pool again and again or puffing on a relaxing marijuana cigarette and then immediately snorting lines of cocaine. After their cover of a Devo song, Melt Banana burst into a robotic state of stagnant immobility, the bassist and guitarist seemingly frozen like wax figurines, while Yasuko inched her head forward into the crowd like a turtle, moving only her dark engaging pupils frantically from side to side, faster and faster, like animatronics, as if her head were about to explode. The amps rang eerily, and the crowd cheered as the band ruptured into yet another fit of ear-splitting madness. This night could have gone on forever. I was drenched in beer, sweat, and who knows what else, and my feet felt like they could have fallen off right then and there. After Melt Banana played their last song and exited the stage quietly, nobody in the crowd moved. It was like everyone completely expected an encore weren't moving until we got one. We just stood there like helpless, panting puppies eagerly awaiting their owner to bring over a leash to go on a walk. A few people started chanting "Melt Banana! Melt Banana!" but the chants died out quickly, as the band re-took the stage. "Okay," Yasuko called in broken English, "we play two more song." We all cheered, as this bizarre, fantastic uproar seduced us once again. As the show ended, the thought of weaning ourselves off this addictive noise seemed outrageous and unfair. Leaving the show, I heard a grown man exclaim to his friend, "Man, I wanna hear that music all night. I'm even gonna be dreaming about it."

Millencolin
Boys Night Out
A Thorn for Every Heart
Roses Are Red
May 20, 2005 @ Soma (San Diego, CA)
By Richie Wu

I rocked out to Roses Are Red like anyone would. This Rochester, NY, outfit played with a fulfilling blend of power and finesse that kept my fist swaying in the air. I particularly liked "Oceans" for its big hooks and catchy melodies. Check them out-you'll thank me: www.rosesareredmusic.com.

A Thorn for Every Heart served up a big cup of emo-rocker delight. Word! This local band (well, Chino Hills is a lot closer than Orebro, Sweden, where the fine lads of Millencolin hail from, that's for sure) delivered a bunch of great tunes and put on a pretty intense live show, to boot. It sucked that I could not take any pictures of the band (photo pass problems); BUT, I was pretty excited that, for once, I got the chance to just KICK IT and ENJOY THE SHOW.

I suddenly became perplexed when Boys Night Out finally took to the stage. I wasn't sure if I liked them or not. Right off the bat, the name Boys Night Out struck me as being a tad odd. Also, the "Tommy Lee" stick twirls that drummer Brian Southall was trying to pull off were not happening AT ALL. However, they eventually won me over, and I quickly started tapping my foot to their steady grooves. The thing is, their sound is reminiscent of Taking Back Day...whom I like and whom I just saw play live, but who are SEVERELY played out. It always seems like whenever a particular style becomes popular, 5 million other bands start copying it. Listen, I dug them, I was into it...they just didn't seem too original after I've heard so many other bands who sound the exact same way. Anyhow, good tunes are good tunes, I guess...even if they're incredibly lacking innovation. See for yourself at www.boysnightout.com.

On the other hand, headliners Millencolin picked up any slack there was on this night. Touring in support of their new record, KINGWOOD, the band titillated the audience with every song. To start the show, drummer Larzon began pounding franticly under a cloud of blue light. Behind him, the KINGWOOD backdrop hung proudly. Due to the fact that most of the people in the front looked like linebackers from pro football teams, crowd-surfers began to get tossed around with ease. I had never seen such effortless people-throwing before in my life. I mean, I know I see this stuff all the time, but I'm telling you, this was different. People were getting catapulted in to the air as if they were the weight of a feather. As with any show Millencolin plays, the venue quickly turned into one humongous pit. Shirts came off, tattoos flowed in abundance, and bodies began moving in a circular direction at once. Millencolin played many songs off of KINGWOOD, such as "Ray", "Biftek Supernova", and "Shut You Out". And don't forget fan favorite "Mr. Clean", which caused a sing-along loud enough to be heard from space. All in all, the show was awesome. It certainty made me go home and reopen my Millencolin collection.

EARLIMART
OKKERVIL RIVER
May 21, 2005 @ the Troubadour (Los Angeles, CA)
By Aimee Curran

I stepped inside the Troubadour to find wall-to-wall Elliot Smith types. This was no surprise, as 90% of Earlimart's last album pays respects to the fallen music hero. However, I had no idea who opening band Okkervil River, was but my god, I wanted to shoot myself within the first two minutes. You would think that in order to grab the audience's attention, a band would open their show with something electric, something really driven and rad. But Okkervil River opened up with a song that made me feel as though I was being dragged through mud. I turned to my friend, and we gave each other the look of "What the fuck is this shit?" She says to me, "God, these guys are a total Bright Eyes rip-off." I'm not a huge Bright Eyes fan, but from what I have heard, I would tend to agree with this statement, as they overextended themselves to show how much angst was inside, how soulful and deep they could get. LAME. I got really annoyed by the keyboardist, because he was lip-synching to every song. He just stood there with his head down, mouthing the words. That's fine, but when you have a mic set up in front of you, why not just sing along? It definitely would have saved the majority of the show, which at times sounded like a cat being swung by its tail into a bucket of cold water. The band was very consistent in not announcing their songs, making the whole show seem somewhat pretentious, as if they were the shit and everyone should know what was being played within the first three notes. However, Okkervil River did bring in the harmonica, which was a delightful addition to a seemingly never-ending mess of melodies. The harmonica gave the music a folksy, country feel, which I think is a more appropriate vein for a band that at times sounded like a lounge act. I skipped out on the last couple songs to sit at the nearby bus stop, while my friend smoked a small fruit.

Earlimart

Knowing that Earlimart was going to be on soon, I went back inside and managed to beat through the crowd with my camera to the front. After Okkervil River's mess, I was beyond stamped that Earlimart opened their show with a catchy tune, instantly grabbing my interest. They, too, were not very good about announcing their songs, but man, did they made the crowd move! It was as if an underlying energy was flowing, making a gentle wave effect happen. The passion of their music and love for Elliot Smith came shining through in an understated and humble manner that drew me in. This was beautiful and engaging melodies and lyrics that far surpassed my expectations. Intriguing, soulful, and honest, Earlimart proved that it's possible to show off without showing off.

HOUSE OF FOOLS
FACING NEW YORK
STEEL TRAIN
RX BANDITS
April 21, 2005 @ Chain Reaction (Anaheim, CA)
By Todd Markel

Starting off this night of great music at Anaheim's Chain Reaction was House of Fools from Greensboro, NC. Their songs rely heavily on grand piano, acoustic guitars, and catchy retro melodies. Their bio says that they are "music for your ears"; I'd say they have a sound that's pretty unique in today's musical environment. The influences of The Beatles and Electric Light Orchestra are very obvious, and I decided that I would buy one of their CDs at the end of the show. Unfortunately, I was told at the merchandise booth that they didn't have a CD out yet but that they would really appreciate it if I bought a T-shirt. Sorry, guys, I have enough black T-shirts. Most of their songs have strange names that all seem to be in pig Latin, such as "Ixnay on the Egday", "Rubber Deggy", or "Parking Deg". I really like one of their songs, "Deggie Style". House of Fools doesn't have a "proper Website" yet, but you can find them on www.purevolume.com and (of course) at www.myspace.com. I, for one, am looking forward to their return to Orange County and more good, original music from House of Fools.

House of Fools

The next band to grace the stage was from the Bay Area, Facing New York. They describe themselves as "Rhodes-heavy punk-prog art pop that channels Led Zeppelin, The Police, and The Dismemberment Plan." That's really a lofty ambition, but Facing New York does live up to it. They have some heavy jams and a sound that's reminiscent of early '70s Bay Area rock. Look for them to put out a new CD some time this August, but in the meantime check out a song called "Paper Shepherd" on www.myspace.com.

Facing New York

New York City's Steel Train is another band that is a throwback to an earlier era. They combine elements of county, pop, and jam band and make it very exciting. They started their set with the second song on their new CD, "Road Song", with most of the band gathered around a single microphone centerstage and a lot of the audience singing along. This band shows their versatility by playing melodic acoustic ballads one moment and hot, ripping jams the next. Steel Train's new CD is called TWILIGHT TALES FROM THE PRAIRIES OF THE SUN. It's out on Drive-Thru Records and is really unlike anything else out on the label. A highlight of the show for me was the Santana-inspired "The Lee Baby Simms Show Episode 1". I was almost expecting it to work into "Black Magic Woman" at any moment. Another high point was their jamming cover of The Jackson 5's "I Want You Back". Altogether, an incredible set that had me running out buying their new CD two days later (i.e., on its release date).

Steel Train

The stage was all set, the fans were ready...but where are RX Bandits? Finally, after a long delay, Matt Embre comes out and tells the crowd that their drummer, Chris Tsagakis, is real sick with food poisoning and that they are expecting a phone call any moment telling them whether or not he will be able to play. In the meantime, Matt will play a few songs acoustically, as long as we don't mind hearing them again later. After some more delays (direct boxes can be a pain), he grabs his electric guitar and introduces the first song off the original 1969 Woodstock album, Richie Havens's "Freedom", switching back to his acoustic guitar about halfway in. Matt gave a shout out to his dad, who was in the audience, saying that it was he who that taught him to play guitar. It turned out that Chris was too sick to play, so Matt Fazzi, the guitarist from Facing New York, agreed to fill in on drums. Uh-oh, this could be a disaster. But after the first song, they all let out a big "hell yeah!" and give high fives all around. Matt does an amazing job, seems familiar with the material, and with just the occasional look and nod from the rest of the band, he does fine. After a few more songs, RX Bandits' bass player Joe Troy steps to the mic to announce that this is the most amazing thing he's every seen. The heat in the pit and the intensity of the show kept building...until I had to make my exit. I've been a fan of the RX Bandits since they were all still in high school and called The Pharmaceutical Bandits playing shows at Old World in Huntington Beach or the old Mesa Theater in Costa Mesa. They've come along way, as has their music. Their latest CD is called THE RESIGNATION and is out on Drive-Thru Records.

RX Bandits

Agnostic Front
No Innocent Victim
All Shall Perish
Death Before Dishonor
May 3, 2005 @ El Rey Theatre (Los Angeles, CA)
By Richie Wu

The brutal assault that was brought to the El Rey Theatre by New York-based hardcore group Agnostic Front was overwhelming in intensity. Three other groups played in support of Agnostic Front: Death Before Dishonor, All Shall Perish, and No Innocent Victim. All were hardcore bands, all violently good, which made for an incredible night. The only problem was that the El Rey seemed a little too big for Agnostic Front to play. Let's be honest: the place was empty. Agnostic Front would have been much better fit playing the Roxy or another venue of that capacity. Regardless, the show was awesome. While I was there, I noticed H2O frontman Toby Morse and Evan Seinfeld from Biohazard fame cruising around the theatre.

Fresh off of a nearly fatal vehicle mishap from the night before, Death Before Dishonor took the stage first. Lead singer Bryan Harris encouraged the audience to come up to the front. I'm sure the band love to play regardless of how many people are at the show, but I'm sure it would have been nice if more people had shown up earlier. Death Before Dishonor has been on the road with Agnostic Front for three months playing in support of the their new album, FRIENDS, FAMILY, FOREVER. The band was a riveting force to be reckoned with...but the lack people, not to mention the mishaps with the stage lighting, did not make for a great show.

Agnostic Front labelmates All Shall Perish were second on the bill. Hailing from Oakland, they were everything a hardcore band should be: full of fierce aggression. Again, hardly anyone was in the venue when they went on stage, so it didn't make for the best show one could see. However, by the time they went on, the lighting guys figured out how to work the stage lights, so that was a plus. The two songs I dug the most were "Deconstruction" and "Laid to Rest". All Shall Perish played a 30-minute set that never slowed down. Hopefully I'll get to see them play to full house next time their in Los Angeles.

Christian band No Innocent Victim took the third slot. Now, if you're into that whole "Christian movement" type of thing, then rock on with your bad self! But really, they were like the equivalent of Stryper, just hardcore style. When singer Jason Moody made some "Christian"-like comments from the stage, the moshing stopped and a look of confusion came over many people's faces. People seemed to ask themselves, "Why is this guy talking about the 'Christian way'?" I wasn't into the whole "music with a message" thing, either, but to their credit, they were extremely heavy, extremely hardcore. And Agnostic Front seems to like them, so that counts for something.

By the time they started playing, the crowd did seem to be considerably bigger-but it was still not at capacity by any means, but I was ready to experience the incredible power that is Agnostic Front. The thing that I like about them the most is that even though they're brutally hardcore, they seem to be more about groove and less about hardcore. Some of these other bands tend to be hardcore just for the sake of being hardcore. With Agnostic Front, even though their tunes are incredibly bone-crushing, you can still tap your foot to the music and sing some of the "larger than life" hooks that make up the choruses. These other bands do not have hooks or any type of melody at all. The band was incredibly tight and ferociously intense-so intense that I could see the veins bulging out the side of singer Roger Miret's neck. They must have played an hour, but it seemed like five minutes. "Peace" had to have been my favorite song. Regardless, I was there, and I'm incredibly pleased that I was able to witness the New York hardcore legends knock down the El Rey.

Agnostic Front's Another Voice Tour (which is in support of the group's new album of the same name) has been pillaging through the States since the middle of April and will continue to annihilate venues until June. Then, a month after that, the Age of Violence South American tour begins with Hatebreed, which will prove to be crushing as well!

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