May 2005 Live Reviews

(scroll down to read all of them)

Motorhead
4/3/05 @ HOB Anaheim
By Larry Lugz

Sorry to say I missed the awesomeness that is Zeke, as the new CD burns eternal in the depths of my psyche. However, in my Guinness inebriation, I did witness the might and glory or Raleigh North Carolina's Corrosion of Conformity. This time out, COC brutally weighs in as the champions of the new south. Hard guitars and southern rawk licks mixed with influences that rest six feet deep in hardcore and metal (heavy as hell and as sweet as a double cherry Slurpee).

Finally, after at least nine pints of Guinness, the legend simply know as Motorhead hits the stage. Opening up the set with the '80s era hit "Dr. Rock", Lemmy, Phill and Mikkey kept the momentum and the mood at a fast and exciting pace. Though I haven't heard many cuts from the recent release INFERNO, I did find myself loving the newer (although a bit slower, Motorhead even did an acoustic number mid-set) material and often being swept away by the hooky guitar riffs. Let us not forget the classics that were in rotation tonight, "Ace of Spades", "Iron Fist", "Killed by Death" and "Another Perfect Day". To top it all off, Lemmy dedicates "R.A.M.O.N.E.S." to our fellow brothers Joey, Dee Dee and Johnny (The Ramones) and keeps the place at a controlled frantic melee. All in all it was a kick ass night of fun, friends and beers (except for the one meat-head brawl that was quickly taken outside). I even spied former Motorhead madman drummer Phil "Filthy Animal" Taylor making the rounds through the crowd, shaking hands and just being cool. Rock n' roll don't get any better than this kids.

VELA
TAKE THE CROWN
CURL UP AND DIE
SAOSIN
April 27, 2005 @ the Glass House, (Pomona, CA)
Photos and text by Tim Markel

The walk to the venue was the normal routine (with the exception of the sour sewer stench that was permeating 2nd St. and being accosted by some people in a passing car). As we approach the box office, I could see a large piece of paper on the window that made it apparent that this show was sold out. I couldn't help but laugh in the faces of those poor fools who were turned away. Shortly after we enter the venue, the show began.

The house lights dimmed, and weird, random images were projected on a big white screen behind the drummer. Occasionally, the word "Vela" would flash sublimely for a second throughout their 45-second intro of ambient sounds. Suddenly, the lights beamed on in accordance with the music. I'd have to describe Vela's style as slow, moody, atmospheric rock, with well-written offbeats, spacey guitar riffs, and unmemorable vocal melodies. If my memory serves me correctly, Vela almost sounds like a cross between Minus the Bear and Radiohead. At one point, the singer put down his guitar and moved to a nearby keyboard, which seemingly slowed the songs down even more. The band finished up after about 30 minutes and left the audience exactly as they were before the set: waiting for Saosin. I spoke to the drummer of Vela and asked where they will be playing next: he gave me the standard reply of, "This is our last show for a while. We're taking a break to write some new material." Keep yourself posted on www.velarock.com.

Take the Crown

As I made my way back down to the photo pit, I could tell the anticipation was high for the next band, Take the Crown. One thing about the Glass House is that no matter what band you're in, you can still make a very impressive entrance at this venue-as Take the Crown did. Their show was very energetic and crowd-pleasing, but in my opinion the singer kept going out of key, which gave me the impression that he was a terrible singer. But after taking a listen to their mp3s on www.purevolume.com, I can tell he has a great voice; he just needs to concentrate on his live vocals a little bit more. The band plays your typical catchy screamo, with hardcore breakdowns and sporadic screams. They definitely have a bit more potential than you would expect from a band that looks like they're barely old enough to drink.

I had seen Curl Up and Die once before, so I thought I knew what I was in for. Boy, was I wrong. The Curl Up and Die that I remember seeing (with Thrice at Chain Reaction in 2002) was the most off-the-wall, energetic band that I've ever laid my eyes on. Any hard-core Curl Up and Die fan would probably tell you that something was off at this show. The band didn't seem to give a shit, as if they felt that the audience was being unresponsive to their style of music (which is usually raw hardcore laid over a fast punk beat with brutal, unintelligible screaming). I was once sitting down and listening to UNFORTUNATELY WE'RE NOT ROBOTS (the band's second release), and even with the lyrics in front of me I got completely lost trying to follow along. But with this band's cult following, Curl Up and Die hardly needs to worry about one unresponsive audience at a show. The hard-core dancing began to show up towards the end of their set, which consisted of a number of new songs that will be on their upcoming release.

Saosin

The tension built as the members of Saosin walked on and off stage setting up their equipment. Around 10 o'clock, most of the lights dimmed, and green laser beams shot off the stage towards the back of the venue, and the band went into the first song, "Lost Symphonies". They announced that they would be playing some new material, and the crowd went nuts. They played a new song that they have been playing instrumentally at recent shows, but this time accompanied with full vocals. The new material has the same dark, melodic feel as the recently-released track "Bury Your Head", with minimal screaming and hardcore breakdowns here and there, as well as some awesome harmonies and back-up vocals. One thing that was absent from some of the new songs (maybe more of a blessing in disguise) was any catchiness or vocal hooks. The band also played old crowd-favorites, such as "Seven Years" and "I Can Tell", ending their set with "They Perched on Their Stilts, Pointing and Daring Me to Break Custom". The band left the stage and the lights went off, while the crowd chanted "SAO-SIN, SAO-SIN." When they returned for an encore, the guys came out dressed up in their finest FUBU outfits, followed by five fetching young ladies dancing to some absurd rap song the bassist recorded a while back (as a side project) called "Show Me Yo' Booty Hole", which was intended as a inside joke for the hardcore Saosin fans. Check out Saosin on select dates on this summer's Vans Warped Tour.

Broken Bones
Total Chaos
Scarred for Life
Creepersin
April 27, 2005 @ the Galaxy Theater (Santa Ana, CA)
By Travis Poole

For this gig, I wanted to show up early. I show up about an hour before the show is supposed to start, and the parking lot is deader than the election polls in Florida a few years back. Bear in mind that the show is on a Wednesday in Santa Ana, so I should have expected this. Who booked this show? Who promoted this show? I've been to a few other shows here at the Galaxy, and I've seen it more filled for lesser bands. Once I'm inside, I find out that two of the opening bands that were supposed to be at this show have cancelled-some kind of scheduling error.

When the opening band, Creepersin, came on, there were less than 50 people in the building. It was kinda lame. Creepersin gave it their all and played a kick-ass show...for no one. The only movement was me and the band's photographer dancing wildly to get shots of the band and not get in each other's way. It was easy, as there was plenty of room.

Creepersin

A few more people filter in to see Scarred for Life. This band is a long-established Long Beach hardcore band. These guys opened up their set on fire and stayed that way the whole set. I was really impressed. They reminded me of The Cro Mags from way back in my old hardcore days. At this point, the crowd hadn't grown, but the band played with the same energy as if there were hundreds of people in the pit. Good to see this attitude despite the attendance.

Total Chaos

Total Chaos come on (to a few more people) and put on a good show, but there's nothing fantastic about this punk/hardcore band. The highlight of their set was some long-hair kid in front of the stage shouting vulgarities at the singer between songs. It got so quiet between songs-because there was no one there-that you could actually hear some of these vulgarities. Good stuff. I like to see audience participation. The set Total Chaos put on seemed abnormally short compared to the first two bands.

Broken Bones

Broken Bones came out and hit the semi-filled hall like a ton of bricks. I wasn't expecting this. Broken Bones comes from back in '83, when Bones, the band's leader and founding member, left the then-huge band Discharge. Broken Bones leap out of the speakers and sucker-punch you around the head with a glorious haze of hardcore mayhem. As old as they are, this band still put a lot of these younger so-called punk/hardcore bands to shame. It's a damn shame that the promotion of this show wasn't as strong as it could have been. Singer Quiv still does everything he can to get those brave enough to be at the front of the stage into the music. There is no border between Quiv and the audience. Broken Bones came out and put on a set that was over an hour long and left me feeling beat down from the non-stop hardcore train that rolled through the Galaxy Theater.

Broken Bones

GOD FORBID
IT DIES TODAY
CALIBAN
FULL BLOWN CHAOS
April 14, 2005 @ Soma (San Diego, CA)
By Thomas Murray

Give me your angry, your sick, your twisted and pissed, and let's put cram them into a back room at Soma, sectioned off my a thick curtain of some kind. Full Blown Chaos, representing New York hardcore, was already commanding the stage when we got there. The vocalist was squat and semi-muscular, although I bet he does not lift. He was adorned with an army hat and an angry demeanor, and he half-scared the hell out of me. FBC had quickly developed a solid relationship with the fans. (Perhaps they were scared of him, too.) The band poured out their provocative nastiness, and the crowd responded in typical mosh-pit fashion. This band is a big believer in pit etiquette, as shouts of encouragement reminded us of the unwritten laws of concert violence. While protecting your face and hiding your nuts from mule kicks, you may have heard the singer yell, "You wanna mosh? Keep the respect and fuck each other up" and "Keep the fights outside. Police your scene!" The climax occurred when FBC split the mosh pit into two sides and let the music build up a frenzy, then vocally cued the two sides to crash into each other like a BRAVEHEART battle scene. This was proudly dedicated to our brothers and sisters in the military.

More East Coast hardcore in Caliban? I heard these guys about a year ago on some random mix CD. I had pictured five ogres in Yankees jerseys roaring and biting each other onstage. Turns out that these guys are from Germany, not New York. When I later found this out, it cleared up a lot of confusion. At the time of the show, I couldn't place the accent. I though it was British, at first. The band was wiry and slightly goth in appearance. I only say this because I thought I saw some eyeliner. They offered a bunch of "new shit" off the album THE OPPOSITE FROM WITHIN. The crowd reacted with polite appreciation, but the general consensus seemed to be: "Get out of the way. Let's see It Dies Today."

Well, this is what we came to see. I got a hold of the latest album, CAITIFF CHOIR, and it's not been out of earshot yet, and I don't plan on letting it out any time soon. I don't know album sales, but as far as underground discussions of metalcore bands, It Dies Today is hotter than a GOLDEN GIRLS rerun. The onstage presence was the most animated of the night. Similar to a Dillinger Escape Plan show I saw, it seemed the band was actually trying to hit audience members with their guitar heads. The crowd responded well, screaming back the lyrics and slapping each other with bony elbows. We got to hear "Severed Ties Yield Severed Heads" (which is my favorite at the moment), "Suffocate", "A Threnody for Modern Romance", and "My Promise" (which was dedicated to the guys in God Forbid).

God Forbid

While awaiting the final band and tending to a pesky trickle of blood from my ear canal, I noticed that "Spit My Rage" by Terror was playing over the house speakers. Various teens with odd hair and face piercings sprawled around the floor like tissue paper at a peepshow. I felt like a fat bullfrog as I hopped amongst them (to avoid snapping a skinny leg) as I made my way to the bathroom. My efforts were returned with dirty looks and ethnic slurs that don't apply to me. Just as I got back from not shaking enough, the "mighty" God Forbid took the stage. I saw Byron Davis, the face of the band and lead vocalist, complete with his large stature and beard. The intro music was downright creepy and vaguely familiar, like something from a bad dream. The Coyle brothers wasted no time into crunching their guitar sound right into our faces. The first part of the set went fast, without much delay between songs, but then there was this long build up, as if all hell was about to erupt from the stage. The climbing music suggested that the floors would burst with lava and demon semen, heads would roll, and children would cry. Not quite. Climax came under Davis's throaty vocals, yet no hoards of screaming demons. As if a cookie-cutter had come down and separated the floor, everyone had their own little designated play area. It seemed that those in the pit were all running in place with their eyes closed and their arms flailing wildly in front of them. It wasn't evil. Maybe the band was, but the reaction wasn't. I could find more evil in a baby-blue minivan going the speed limit in the slow lane on the way back from Bible camp. There is more violence at a slumber party. Maybe we were all just tired. Maybe it was too hot in there.

God Forbid

MUSICIANS FOR PEACE:
VIBRATION ARMY
April 9, 2005 @ Water Canyon Coffee Co. (Yucca Valley, CA)
By Dug

The Southern California desert is better known for golf courses and windmills than for a thriving bohemian arts scene. Yet that is exactly what is happening on the Highway 62 corridor through Yucca Valley, Pioneertown, Joshua Tree, and 29 Palms. On any night of the week, there are at least a dozen live music venues within this burgeoning locale. One of the best of the venues is the Water Canyon Coffee Co. in Yucca Valley. It looks like a hip version of Starbucks, with eclectic art on the walls, two stories of books, musical equipment, and a fine selection of coffee, teas, imported beer, and health-oriented food. Except for the one night a week (which features indie films and theme movie festivals), the Water Canyon hosts live musicians every evening.

One of the most recent shows was a local tentacle of the worldwide Musicians for Peace weekend. For three days, there were 181 concerts scheduled throughout 26 countries-all focusing on bands singing about peace. The show I saw featured a local duo, Vibration Army, which consists of the alluring Moriah-Melin and Shaggy (of SCOOBY DOO) look-alike John Whoolilurie. I wasn't sure what to expect, but when the venue began to get packed with locals and the stage was covered with instruments of all kinds, I was pretty intrigued. Whoolilurie explained that they always do "looping" concerts and began the first song. It was an intense "scat" session between the two, as they played off each other's vocal riffs and basically sang four minutes of jazz improvisation. From that point on, the show was unbelievable. Whoolilurie used computer-recorded loops of the scat to back up the two, as he proceeded to play bass, lead guitar, saxophone, trumpet, and clarinet; while Moriah-Melin sang, played keyboards, bass, and danced like a snake charmed by a flute. The crowd (mostly dressed-down, desert-artist types) also danced through much of the show, while the band demonstrated an uncanny ability to pull off torch songs, progressive rock, world-beat music, and even a extraordinary flamenco tune. During the flamenco tune, the duo had enough looping effects that they were able to both get up and do some Spanish dancing during the song. As this was a Musicians for Peace benefit, there were several anti-war songs in the set. One of the most touching was a slow ballad, "So Near, Yet So Far", about how the local area was infused with a huge military base and yet the local populace was in no way supportive of a pre-emptive war for conquest. The songs were interspersed with encouragement from the duo for people to become active in their beliefs and make their voices heard.

One of the most interesting things about the musical offerings at the Water Canyon is that they are all free. With the huge influx of L.A.-area musicians to the desert, it's not unusual to catch locals such as Eric Burdon, Victoria Williams, Donovan, Concrete Blonde, and a host of others tossing back beers at the local venues and stepping up to play at open-mic sessions. On this particular balmy Saturday night in Yucca Valley, Vibration Army put on one of the most incredible live shows I've seen. And with the plentiful list of free concerts every night throughout the area, I'll be spending a lot more time drinking in the high desert.

Ignite
Twilight Transmission
Profusion
Gabriel's Fallen
Swagger
April 15, 2005 @ Latitudes (Redondo Beach, CA)
By the Animal Chin

Ignite live at Latitudes? A band with a strong Orange County following playing in the South Bay? I've seen Ignite once before at the Troubadour, and they put on a hell of a show, so I was curious to see what kind of show this big band would do. The evening was presented to us by AMI Productions. AMI has been the key promoter of punk rock and harder music in the South Bay for the last few years. They're constantly looking for bigger and better venues that can accommodate both the all-ages and 21+ crowds.

The night started out with Gabriel's Fallen. I arrived just in time to see the end of their set...which is probably a good thing. Nothing stood out with this band.

Following a brief set change, Profusion played. One of the band members was in Mexico, and between each song the singer and the rest of the band would verbally chastise this missing band member's character to no end. I guess this is band love. Again, nothing with this band stuck out in my mind as being memorable. I see a lot of younger punk and hardcore bands these days, and really, very few of them impress me. These guys were up there playing and doing their best, but I just didn't believe them. That's the problem with a lot of these bands I'm talking about: they're not believable. Their lyrics have hardcore content, but offstage they remind me of a Blink 182 fan-club member. Tattoos and black T-shirts don't make the band: talent makes the band. They could very well be the kid mowing my lawn. I hope the missing band member is the one who holds this band together, because without him, I don't want to see them again.

The last band to play before Ignite was Twilight Transmission. This band was noticeably better than the first two bands, a little more focused and together. They produce a great sound, and I can see how some other bands out there currently draw influence from these guys. One thing I can say good about Latitudes is that the set changes were quick (usually 10-15 minutes). It showed a good working relationship between the promoter and the venue.

Ignite

When Ignite came on, the stage seemed smaller. They're average-sized guys. Was it their egos? Probably not. They started putting on a hell of a show that was interrupted by several factions. First, there were the drunken beach girls who looked like the frequenters of "Lottadudes" (as the local guys call this place). Drunken beach women who look hot are a definite distraction to anyone into the band-and even the band itself. The band started losing focus. Come to think of it, so did I. I think I suffer from ADD when hot drunken chicks are around. After the drunken chicks are herded off the stage like dancing beer zombies, the band gets back to business. Shortly after the energy really gets going, a fight breaks out, and the too-small dance floor becomes a melee of sweaty, tattooed bodies throwing fists and kicks at anyone in sight. It felt like most of the guys there were just waiting for this to happen. Were they into the band? Probably not. They were the typical knuckleheads who show up and couldn't tell me if Ignite was a new lighter company or the band onstage. The security staff at Latitudes was really no match for this type of aggression, and several of the staff were carried outside bleeding and holding their heads. Nice. The business of rock 'n' roll is good. Following the melee, the venue made the band take a 15-minute break. At this point, the steam was blown from this gig. Ignite is a good band that plays tight and sounds good. Latitudes wasn't the place to enjoy this band-or any band for that matter. The area for the bands to perform is too small, and the lighting is horrible. Additionally, the area for the fans to enjoy the music is too small, and there were three times more people there to be in the scene than to see the band. AMI needs to keep looking.

Ignite

Velvet Revolver
Hoobastank
April 16, 2005 @ Arrowhead Pond (Anaheim, CA)
By Richie Wu

As an opening act on a national tour, one would think that Hoobastank would be more entertaining. Quite frankly, I was bored! The band's performance was dull and uninspiring in every way. However, in Hoobastank's defense, they do have many popular songs and considerable airplay on mainstream radio. I didn't realize just how many songs I had heard from them before. Songs like "The Reason", "Crawling in the Dark", and "Same Direction" I had heard many times and were all played at the show. Regardless, they were boring performers. All the stage moves looked really lame...though I would like to mention what a great karate kick guitar player Dan Estrin has! HA! He seemed to utilize this high jump/karate kick several times in each and every song they played. He probably got this spectacular move out of his Arena Rock 101 book under the chapter "Rock Star Stage Moves." Singer Doug Robb stated halfway through their performance: "I'm realistic: I know we're just one big appetizer for tonight's main meal!" Immediately, an unruly roar sounded in the arena from thousands of Velvet Revolver fans. All I can say is that despite having many popular songs, I just feel that if you are going to perform on a mainstream arena-rock national tour, you need to bring more to the table than just your songs! Hoobastank did not!

Velvet Revolver began their first tune, "Sucker Train Blues", among a sea of blistering strobe lights. Scott Weiland emerged center stage from within a cloud of smoke. He was decked out in black leather, a German military hat, mirrored glasses, and a bright red tie. Pandemonium consumed the arena. I spent the whole night pushed up against the barricade in the front row-and let me tell you, I experienced an earth-shattering show. It was everything you would expect from an arena-rock concert. Big lights, smoke machines, roaring guitars, and larger than life personalities and performances defined the entire night. And really, I wouldn't expect anything less! Velvet Revolver played several Guns N' Roses songs, including "Mr. Brownstone", "It's So Easy", and "Used to Love Her". I think Scott Weiland pulled off a better "Axl" than Axl Rose EVER did! In addition to that, the band also rocked "Crackerman" and "Sex Type Thing" by Stone Temple Pilots, which were also unbelievable. Being a big Slash fan, it was awesome to be standing a couple feet away from him while he went blazing through some of their new tunes off the album CONTRABAND, such as "Headspace" and "Slither". Moreover, to then turn around and see an entire arena full of heads behind me was pretty overwhelming. However, I would like to address one thing. As previously stated, Weiland was an amazing performer on all levels...except when he spoke! Do you remember that movie that Oliver Stone directed called THE DOORS with Val Kilmer? Kilmer played Jim Morrison and would start rambling about lizard kings and other assorted psychedelic nonsense. That's exactly what it was like when Scott tried to speak. He was talking about some "far out there" shit, which at times was really hard to follow! By no means would I say he was loaded, but...it sure seemed that way! And being so close to the stage, I could see all of the expressions on the rest of the band members' faces. They seemed to be on edge, hoping he would keep it together. I could be totally wrong. But then they would start a song, and he would be 100% perfect! All I can say is that it was one of the best shows I've ever been to! If you're reading this, you should get down to see them play really soon, because you never know: they might spontaneously combust any second!

COPELAND
LOVEDRUG
ACCEPTANCE
April 21, 2005 @ The Troubadour (Los Angeles, CA)
By Aimee Curran

There are shows you find out about and get so excited that you want to be involved as much as possible. You're at the venue early with money in hand for merch and a few cups of easy conversation. You wear your favorite T-shirt or show going converse and have your ID ready so that the second you are face to face with the completely uninterested door guy you can flash it, get your stamp and/or wristband, and go inside. I was feeling that way for the Copeland/Lovedrug/Acceptance show. After a massively disappointing appearance by Lovedrug at Anaheim's Chain Reaction in January, I was feverishly looking forward to being blown away like a giddy 15-year-old. The night seemed a bit electric. I found parking right away and practically skipped my way to will call. Once inside, I was met with a sold-out crowd milling around like pigs in a pen waiting for the meal trough to be set out. Crowds get a bit weird, so I used the VIP lounge pass I was given at the door and went upstairs to watch through the window until Lovedrug went on. I had been hearing from people how awesome they had been the night before at the House of Blues in Anaheim, so I was amped for them to get started. Then, just like firecrackers, Lovedrug exploded. They are fucking fantastic. Vocalist Michael Shepard possesses this moody voice that, from the opener of "Candy", made me feel as though I was in a sweet haze of teasing pleasure leading to a climax of monstrous proportions. They did not disappoint. From "RockNRoll" to "Down Towards the Healing", I watched with my mouth literally hanging open, thinking, "Holy shit, these guys are going to be big." Its just such a treat when a band delivers a CD like PRETEND YOU'RE ALIVE and manages to surpass its radness in a live performance where the music wraps around the room like moss to an old English castle: beautiful, delicate, strong, and possessive. As clichéd as it sounds, all good things must come to an end, and it totally blew to look around and see the crowd come out of their music comas as Lovedrug closed their set. All I could do was turn to the guy next to me and say, "What, that's it?" Fucking fabulous.

As Lovedrug was loading off stage and Acceptance was bringing their shit in, I retreated back up to the VIP lounge and got immersed in conversation about Lovedrug with some dude on the couch. I was so giddy from Lovedrug that I didn't even realize Acceptance had started their show. I didn't care too much, as it just sounded like almost every other wanna-be KROQ band out there, so I found it quite amusing when one of the speakers blew. Well, I'm not sure if a speaker blew or not, but the music from down below went loud to medium. I turned to the guy on the couch and questioned what happened. His response: "Well, either a speaker blew or they realized these guys suck and turned off the music up here. " I just laughed, and Acceptance was done with their set.

I dig it when you get to see bands get on and off stage. It's like dating or changing your nail-polish color. Some you like more than others. I was at the Troubadour to see Lovedrug, but Copeland was kind of like the guy with the "character" face, as opposed to the guy who is just drop-dead gorgeous. The former just as great to look at, but not who you want to hook up with. I had received a copy of IN MOTION and had it in heavy rotation with a few other faves, its being a well-meshed, eclectic mix of rock and sweet melodies that sucks you right in (as opposed to their debut, BENEATH MEDICINE TREE, which sounded too much the same from song to song). This made me eager to see them play, as I had missed their Dec. 8th show at the Henry Fonda and hadn't experienced Copeland live prior to this appearance. The body heat was thick like a sweet Southern grandmother's gravy, making me feel a bit woozy as I leaned against a steel support beam to watch the show. Listening to them move through "Pin Your Wings", "Sleep", and "No One Really Wins", I thought that if their music could be translated into the skill of competitive quilter, they would win in almost every competition. Their precision and timing equals that of someone using their hands to craft fine, even stitches, giving their art an almost seamless and effortless appearance. It was a hot set, literally and figuratively. The passion exuded from Copeland made my mouth water and made small bumps materialize in the middle of my back. It was déjà vu, as I was recalling my thoughts on Lovedrug an hour or so earlier. Copeland managed to create an amazing album and take their live performance to a completely different level of excitement. If Copeland were a nail polish, they would be hot pink, because their music tells a story that is sweet, edgy, shocking, with just a bit of sass, and still looks good even when slightly chipped.

VICTORY SEASON
El PUS
REEL BIG FISH
April 7, 2005 @ the House of Blues (Anaheim, CA)
Photos and text by Todd Markel

There's the occasional show were everything goes poorly, from the long wait in line to the high price of the refreshments to a totally mediocre performance. There are also the rare shows where everything seems to go right. This was one of those shows. Tonight's show was celebrating the release of Reel Big Fish's latest CD, WE'RE NOT HAPPY 'TIL YOU'RE NOT HAPPY. The CD actually came out on April 5th (which just happens to be my birthday), and tonight was the official release show. Everyone in attendance received a free copy of the CD after getting his or her ticket stub punched.

The first band to play, Victory Season, was a pleasant surprise. This was only their fourth show ever, yet they sounded vaguely familiar to me. Fronted by an attractive blonde singer named Stephanie Esparza, they have a classic-rock-inspired sound that I really enjoyed. Victory Season is a collaboration between guitarist Brain Mashburn and Stephanie. Brian was the chief songwriter/guitarist for the band Save Ferris, and his pop sensibilities combined with Esparza's strong beautiful voice make them quite a team. Their power-pop sound is a little reminiscent of Pat Benatar or The Cardigans, and the crowd seemed to enjoy the show, calling out for "one more song" when the band announced what would be their last song. You can take a listen for yourself at www.purevolume.com.

"We are not a rap band, we are a rock band" is how Atlanta's El Pus began their set. They have a sound that blends rock with rap vocal lines-not a new concept, and not really my thing-but the crowd was totally into them. They played a rocking cover of Michael Jackson's "Billie Jean" that had most of the crowd singing: "But the kid is not my son." Among the songs on their set list were "Days of the BK", "Nite Train", and "Slot Machine". They finished with "Suburb Thuggin'" off of their CD, HOODLUM ROCK: VOLUME 1. They got the crowd totally pumped and ready for Reel Big Fish. El Pus will be playing selected dates on the Vans Warped Tour this summer.

Reel Big Fish came on stage to the adoration of the hometown crowd. With a simple "Hi, we're Reel Big Fish," they kicked off the show with the first tune on the new CD, "The Fire", which is a great show-opener: "We've got the fire, but it doesn't mean anything / We've got the fire tonight." The entire Reel Big Fish crew seemed to have the fire tonight, excited to play and on top of their game. The new CD has general theme that could leave you with a feeling that this could be their last album. With song titles like "Don't Start a Band", "Your Guts (I Hate 'Em)", and "The Joke's on Me", Aaron Barrett seems to be trying to say something-and it's not very positive. Tonight's show was a great mix of songs from every RBF album. Among some of the older songs played were "Join the Club", "All I Want Is More", and "Trendy", after which Aaron commented, "We haven't played that in a long time. That was fun." Another show highlight was when the song "S.R." was played in five different styles. After playing the standard version, Aaron asked the crowd, "Was that too fast?" The band then proceeded to play a blues version ("Was that too bluesy?"), a country version ("Was that too country?"), a disco version, a metal version...You get the picture. The new CD features a few cover songs, and tonight they played two of them, a reggae version of Social Distortion's "Story of My Life" and Morrissey's "We Hate It When Our Friends Become Successful". They ended the show with "Sell Out", ran off stage, and returned for an encore of "A-w-e-s-o-m-e" (off the new CD), "She Has a Girlfriend Now", and finished with "Take On Me". The set lasted well over two hours and a total of 28 songs were played, much to the delight of the fans. Reel Big Fish showed the hometown crowd that they still have the fire inside.

A FOR ATTACK
THE HIT MACHINE
April 5, 2005 @ Silverlake Lounge (Los Angeles, CA)
By Jeff Lambert

There's always something inviting about watching an unsigned band perform live. I'm not talking about the dozens of fakers and losers in your college town who blast their unpolished shit-rock to a drunken audience; I'm talking about those who have the drive and talent to (1) land a gig where people who care about music will be present, and (2) one day make some hip indie label proud. It's no secret that up-and-coming bands depend on the word of mouth generated from live shows to make an impression on the scene. Dave Matthews started out like that, and (more recently) so did The Arcade Fire. With a bit of luck, the buzz produced from a sequence of impressive performances can push a deserving band into the spotlight.

The intimate stage sits tucked in the back corner of this cozy little Sunset dive. Blue and white balloons are scattered across the walls, and the word "SALVATION" stands out in bright white lights above the tiny stage. This stage that helped spring the careers of The White Stripes, The Kills, and The Fiery Furnaces sits quietly awaiting the arrival of The Hit Machine. Before long, the five-piece Orange County product grab their lifeless instruments while the 60+ in attendance push their way to the front. The Hit Machine immediately gets the crowd rolling with "Work of the Devil", before treating the crowd to "Move into Another Room". Lead singer/guitarist Dre Perish sings with a range that would make John Lennon proud, skillfully moving from poppy vocals to belly-aching screams. If you close your eyes and listen, you can hear hints of The Pixies and Nirvana laced in their music-which isn't a bad collection of talent to emulate. But once you think you have their style pinpointed, they change directions to something you swear you've heard before but can't quite recognize. Like great musicians of the past, The Hit Machine only touches on the work of their predecessors in building their own unique sound. Utilizing the strengths of three songwriters keeps The Hit Machine's music fresh and appealing. Each has their own distinct style, but when the eclectic group comes together they create a sense of symmetry that separates them from their peers. Lead guitarist/singer Brian Hayter brings a quick change of pace to the show with his fist-pumping performance of "Johnnie from Houston". The fast-paced song has a great hook and a strong rhythm that will keep your head bobbing from beginning to end. Four songs into their already-solid performance, singer/guitarist Grant Saltarelli gets the chance to show his potential with "Unsteady". From the hypnotic opening guitar lick to the infectious chorus, Saltarelli presents a likable track that will have you humming the chorus for days. "I'm a Man" mixes the cool groove and nearly flawless precision of bassist Adam Shah with the unique percussion of drummer Jason Smith to create a lounge-like atmosphere. The diverse sounds of The Hit Machine blend together so seamlessly that, aside from some minor guitar-tuning issues, they barely miss a beat. Maybe the performance they put on tonight is the best they have to offer...but if they can string together a few more shows like this one, it will be impossible for them to go unnoticed.

The Hit Machine will be back at the Silverlake Lounge to rock again on Tuesday, May 17. Until then, you can check them out online at www.myspace.com/hitmachine.

With their brand of distorted electro-rock, A for Attack wastes little time taking over where The Hit Machine left off. Based out of Silverlake, A for Attack remains unsigned and has yet to nail down a formal recording, but that minor detail doesn't keep them from putting on a good show for their hometown crowd. From the opening beats of "Christianity Is Stupid" (a cover of a song by notorious '80s rockers Negativland), their solid stage presence demands the attention of the remaining audience. Lead singer Chris Phillips opens the concert in a crouch, screaming the lyrics of "Watch Your Back" into his microphone while the bassist jams behind him. Without a live drummer, they rely on the an assortment of drum machines and effects processors for the percussion, including the Linn Drum-the same tool used by New Order and Prince in the '80s. All the beats are mixed in the studio and played through a laptop computer during live performances. This works well in the recording studio and also translates nicely while they perform on stage. With a thumping bass and head bobbing guitar riff you might expect from The Faint, "All the Harm" stands out as the best track from their short set. The layers of guitar and electronic percussion slowly build, before the Trent Reznor-like screams of Chris Phillips take over during the chorus: "I'll give you anything you want in the world / And save you from the things that hurt in this world / In my world." This song manages to stand out from the rest, which sometimes sounded so similar they were lost in the mix. With a little growth and more variety to their sound, it shouldn't be long before A for Attack inks a deal. Check them out on the Web: www.myspace.com/aforattack.

A FAMILY AFFAIR TOUR:
UMBRELLAS
CARTEL
THE ROCKET SUMMER
BRANDTSON
April 25, 2005 @ Chain Reaction (Anaheim, CA)
By Aimee Curran

I hate Chain Reaction. Well, hate is a strong word, so how about if I say I don't have much tolerance for an all-ages armpit that left a bad taste in my mouth from being unsavory and emitting too much testosterone from underage, hoodie-clad boys. However, I traveled the 30-something miles to check out four of the Militia Group bands that had been on the road promoting their full-length EP or soon-to-be-released material. Now, this is what is so great about Militia Group bands: they all possess REAL talent. This is not manufactured, corporate pop/rock being shoved in your face to fill the money-grubbing executives' pockets. The Militia Group takes care of their bands, and it is evident the bands don't turn their noses up at the hands that feed them. They give back by putting on heartfelt shows that show an amazing camaraderie between themselves, the fans, and those who work behind the scenes to make it all happen. A Family Affair proved to be just that.

Umbrellas

I got to Chain Reaction just as Umbrellas was sinking into "The City Lights". Umbrellas possess an amazingly soft sound that reverberates a kind of mystical, spiritual feel. It was a beautifully soft opener to an amazing show. The self-titled debut is an exceptional album that doesn't sound like everything else out in the indie circuit. Keeping true to what the Militia Group proudly presents, Umbrellas sounded just as good as their CD. "Emergency" and "Black Dress" floated throughout the room and put the audience in a sticky web of dreamy melodies. What Umbrellas delivered cause my thought process to go from how many stickers did I want on my coffee table to "WTF! How do they do that?"

Cartel

When it was announced that Cartel would be up next, I sighed inside. I had seen them at the Troubadour last November and wasn't too impressed. They seemed inexperienced in dealing with a crowd and didn't really know what to say in between songs. It was kind of annoying. I was curious to see what they had to offer since they now had five more months of touring behind them. The best way to describe Cartel is Simple Plan meets The All American Rejects. They are fresh-faced kids from Georgia who are clearly excited to be where they are and have that "I can take you home to mom" look. Vocalist Will Pugh wasn't shy in announcing that he was mistaken for Aaron Carter on almost a daily basis. Months of touring, writing, and rehearsal proved to benefit the quintet, who stamped their music into the ears of the audience like a passport. "Last Chance", "Luckie St.", and "Honestly" all stood out as head-bobbing, radio-friendly tunes that kept people looking around, smiling and content. The break commentary was entertaining and Pugh even included the all-important water-bottle spray across the crowd. (Tantalizing...if you wanted his germs on your head.)

The Rocket Summer

The Rocket Summer has been a mystery to me for almost a year. I had heard about them and gotten CALENDAR DAYS but never really took much interest. HOLY SHIT. Can we say Tiger Beat material? So pin-up worthy. I stood in disbelief as the entire room started pulsating and throbbing to the music like blood through a runner's veins. I was amazed how these poppy, Disney-style tunes were captivating some kids who looked like they carried nails in their pockets and who screamed and chanted to every song. It was captivating to see the fans so hardcore that they knew the words to songs that haven't been released yet. From the guitar to keyboard to drums, the confetti gun and a thousand-watt smile really couldn't stop anyone there from enjoying the show. It was too fucking good. The Rocket Summer was like a gobstopper with their multiple layers, colors, and flavor, the end leaving a tangy little zip making you smack your lips in a satisfied smile.

The Rocket Summer

Since The Rocket Summer was the star of the evening, most kids left after they finished. The Militia Group street team was so cute outside begging people to stay for Brandtson. I kept hearing, "I have school tomorrow." But the girls did manage to keep a few people inside, and Brandtson took the stage in calm stride. I had heard the Brandtson album before and thought it was all right. Well, talk about confusing. They cut into their set, and I couldn't figure out who the hell was singing. It took me a minute to figure out that it was the drummer. Every song they played from their album was so different...and I enjoyed them so much more. I could have been whipped around Dorothy-style in a hurricane but calmed by Brandtson's consistency of smooth transitions and warm thanks for those of us who stuck around for their set.

It was an exceptionally good show for Chain Reaction. It was like swimming around the chocolate pond in CHARLIE AND THE CHOCOLATE FACTORY: you shouldn't like it so much, but you can't help but dive right in because it was that good. So sweet.

DEAD KENNEDYS
NARCOLEPTIC YOUTH
THE SKULLS
BANG SUGAR BANG
April 13, 2005 @ House of Blues (Anaheim, CA)
By Marcus Solomon

No matter what position you take in the now-waning "Jello Biafra vs. the rest of the band" drama, at least the music is still there. Anyone who has ever enjoyed this band's music still has the opportunity to immerse the self in the powerful, spine-tingling, rhythmic truth that emanates from this seasoned assemblage. Logically, valid arguments can easily be made for or against this current incarnation, but one fact eclipses all others: East Bay Ray created the band. In my opinion, he should therefore have the final say.

As I desperately searched for a pen, the DK merch guy took off in a hurry so that he could check out Bang Sugar Bang. I temporarily stole his black Sharpie and stood on the upper level outside balcony, from where I could see Bang Sugar Bang on a big screen, and I listened to the affable trio crunching away with almost flawless glee. BSB is making quite a stir around the Southland lately, so if you enjoy beer-soaked musical happiness with bounce and crunch, then check 'em out at www.bangsugarbang.com.

I guess Narcoleptic Youth is coming up in the world, because punk legend Billy Bones and his band The Skulls played before those five goofballs from Riverside. The set was strangely short, and despite a few misplaced notes, it was a ripping set. The new guys, Monster Matt on drums and Skot Snot on guitar, gave it everything they had, and it won't be long before the revamped Skulls is performing at 100%. Skot later explained that he has played more live shows with The Skulls than rehearsals; but now that Monster Matt has moved to L.A., things will continue to get better. Crowd-favorites on this evening included "Can Punk Rock Pay the Bills?", "Monet", and oldie but goodie "On Target".

Narcoleptic Youth was the next E-ticket ride on the agenda. (How's that for an anachronistic reference?) Joey Bondage appeared with his trademark plaid bondage pants, no shirt, his standard smeared black lipstick, and the big black Xs over his eyes. It was a real pleasant surprise to see so many people respond strongly and positively to this group. From the first song ("Vicious Killers") to the last ("Practicing for Suicide"), Narc fans all over the room sang along, did the fist-pumping thing, and kept their bodies moving for a set that seemed to last well over an hour. I literally scratched my head in wonder as I realized the audience was reacting stronger for NY than it did for The Skulls. The power levels for both band and listeners remained high throughout their entire set, but things really skyrocketed twice: first during the popular "86 the Crap", and again with "Barbi in Bondage". Very impressive and quite a ride.

Dead Kennedys

Soon, the huge, patchwork curtain parted to the deep, slow bass notes of Mr. Klaus Flouride, and there, in the center, stood this skinny kid. He was wearing a T-shirt with the image of a pistol-packing Mickey Mouse and had taped the words "Our President" on it. It was Jeff Penalty, the current vocalist for Dead Kennedys (and occasional contributor to SKRATCH MAGAZINE). Have you ever jumped around and pretended to be the singer for one of your favorite bands? We all have. It seems like one day Jeff was bouncing on his bed singing along to FRESH FRUIT FOR ROTTING VEGETABLES, when he somehow entered a magical vortex and landed onstage with the band. My tentative skepticism was erased upon hearing about 20 seconds of the first number, "Forward to Death". My only criticism of Jeff is that the youthfulness of his voice sometimes causes a "huh?" response; other than that, he is a real, intense, and sincere burst of new energy. We were treated to a whole slew of old DK favorites, such as "Winnebago Warrior", "Police Truck", "Kill the Poor", "Government Flu", "Nazi Punks-Fuck Off", "Holiday in Cambodia", and my personal DK favorite, "Moon Over Marin". Temporary drummer Steve Wilson did a damn fine job while D.H. Peligro was away for a short stint in rehab. I believe East Bay Ray's sister recently died, but there he was, smiling and playing his new, red guitar with what seemed to be an increased appreciation for his own short time on this Earth. He actually sat on the edge of the stage and touched hands with dozens of excited fans with this "Oh wow!" look on his face. The encore consisted of "Viva Las Vegas", "MTV Get off the Air", and "Chemical Warfare". That was fun. The end.

Dead Kennedys

SUBURBAN LEGENDS
A BILLION ERNIES
SKA SHANK REDEMPTION
3RD PARTY
April 1, 2005 @ the Knitting Factory (Los Angeles, CA)
Text and photos by Richie Wu

The sold-out Suburban Legends show at the Knitting Factory was a surplus of good times, sweat, and ska. Before I start, let me just say this: anytime you get a chance to see Suburban Legends, go do it!

I arrived at the Knitting Factory around 8 p.m. on Friday night. Three other bands were on the bill that evening: 3rd Party, Ska Shank Redemption, and A Billion Ernies. I hadn't heard about any of them. 3rd Party was the first band up. They had already taken the stage when I got there. Their 30-minute set was filled with high-energy ska. Their sound reminded me of Reel Big Fish minus horns. The already capacity crowd was moving and skanking when I tried (to no avail) to push my way to the front. I finally found a place on the side of the stage. 3rd Party is a three-piece ska band, with all of its members in their mid-teens. For a relatively young band, 3rd Party got the crowd moving. They even covered "Beer" by Reel Big Fish.

Now, let me tell you about Ska Shank Redemption. Other than Suburban Legends, they were my favorite band of the night. This Manhattan Beach-based seven-piece band rocked the crowd from the second of their first song, "Johnny Asshole". The music was infectious, and the live show was very creative. Ska Shank Redemption's 30-minute set was very strong, and people should be looking out for them soon. Their music reminded me of The Aquabats, as it was tight, catchy, and upbeat. At this point, I would like to reveal that there was a gorilla on stage for most of Ska Shank Redemption's set. As the band went into their second song, a guy in gorilla suit jumped on stage from out of NOWHERE. The gorilla danced and played the tambourine, working the crowd into a total frenzy. It was crazy! The gorilla was dishing up his own brand of gorilla skank! And for what it's worth, I believe that any band with a gorilla on stage knows how to party, PERIOD. Frontman Sam Broido really took it to the next level when he offered to show the crowd his boobs. Their rocking tunes-combined with the gorilla-just did it for me. Ska Shank Redemption oozes personality, and their music is uplifting and positive. They even threw in a cover of Pixies' "Where Is My Mind?" that was great. I enjoyed this band a lot. You should check them out at MySpace.com/Ska Shank Redemption.

A Billion Ernies, a hardcore/ska band from Hemet, CA, was third on the bill. The majority of the tunes were, well...HARD CORE. I don't know why they were on this bill. Yeah, sure, the band has a horn section and some traces of ska, but none of the tunes had any melody, and the set was not that exciting. However, lead singer Ryan Leavelle did do a good job of bringing the ROCK; but the other members were just not that exciting. The interesting thing about A Billion Ernies is that they are a Christian band. All of their tunes are based around a Christian theme. You can check them out at www.abillionernies.com.

Suburban Legends

Now it was time for what we had all been waiting for: Suburban Legends. I must say that, as many times as I have seen Suburban Legends, I have never been disappointed! The good thing about their shows is that the audience is as much a part of the show as the band...or at least it feels that way! Everyone in the band has a larger-than-life persona, both on stage and off! Their choreography, facial expressions, and energy are second to none, and I am personally waiting for world domination from Suburban Legends. The band burned through many of their songs, such as "High fives", "Powerful Game", "Blingety Bling", and the ever-popular "Up All Night". The great thing about this band is that every tune is riddled with melody and hooks. When you go to one of their shows, you can expect to sing along-even if you don't know the words. The music is just that catchy! That night, it was trumpeter Aaron Bertram's birthday, and the band made sure that the audience knew it. There is not a weak link in the band. Some of the highlights included lead singer Tim Maurer's quick wit and onstage banter, guitarist Bryan Klem showing his heavy-metal roots by cranking it up to 11 on every solo, horn players Dallas Cook and Bryan Robertson running around on each other's shoulders and then chicken-fighting with the rest of the guys, and the rhythm section's Derek Lee Rock and Mike Hachey laying down everything from funk to ragtime. They put on a great show, and I'm so glad I went. Suburban Legends is about to go on tour across the States, so anybody who has a chance to see these guys should definitely do so! For a list of tour dates and other assorted info, check them out at www.suburbenlegends.com.

Suburban Legends

The Chop Tops
The Rocketz
The Southerners
April 29, 2005 @ the Doll Hut (Anaheim, CA)
By Richie Wu

The night started off with The Southerners, who are a relatively new band from the Orange County area. With their rockabilly roots and Johnny Cash style, The Southerners were not hard to like. Before lead singer Celeste leaped on stage, the band offered up some instrumental twang to warm up the host of people that had shown up early. Celeste held her own with her lively persona and her soulful vocals. The crazy thing about The Southerners is that they do not have a drummer. "WHAT?" you ask? That's right: they don't have a drummer! They rely on bass player Justin Williams to keep time with his mad, thumping bass lines. Another thing cool about The Southerners is that they played some covers, including The Misfits' "American Nightmare". Check them out at www.myspace.com/thesoutherners

The Southerners

The Rocketz were set up and ready to jam! This was the band I had been sent to review, so I was eagerly anticipating their performance. The Rocketz, a psychobilly band from in and around the Orange County area, have been playing for a little over a year. Already creating a buzz with the tremendous number of gigs that they have played, they were ready to give the Doll Hut a full-throttle show! And indeed they did! Singer/guitarist Tony "Slash" Red-Horse was an exciting performer and never slowed down once during their entire 45-minute set. The whole band (including bassist Tony Macias and drummer Andrew Martinez) slammed around the tiny stage playing tunes such as "My Girlfriend" and "K.i.l.l.i.n.g", which you should definitely check out. However, their last number, "Rise of the Undead", was my favorite and kept me grooving even after they stopped playing it. I also want to mention that RISE OF THE UNDEAD is the name of their new album. I heard it, and it's awesome! The Rocketz have been touring as of late, so there is a good chance you can catch them when they play your town. Go to www.therocketz.com for more info.

The Rocketz

I stuck around to check out The Chop Tops, and I wasn't disappointed. Being that they are from Santa Cruz, CA, I wasn't too familiar with them. However, they quickly showed the audience and myself what they were all about. Let's just say that tattoos, hot rods, and rockabilly riffs are their mantra! Their rockabilly style, sound, and stage show reminded me of The Stray Cats. Later, I found out that they were the opening act for Brian Setzer on a recent tour of his. Like The Southerners, The Chop Tops also played a cover of The Misfits' "American Nightmare". It's always a little strange to hear two different bands playing the exact same songs, especially at the same gig. But, I look at it this way: it is such a cool tune that I don't think anybody minded hearing it again. Also, hearing it interpreted differently is always cool! I enjoyed The Chop Tops performance and look forward to seeing them again.

The Chop Tops

THE VACATION
THE HIGH SPEED SCENE
THE BINGES
April 26, 2005 @ Silverlake Lounge (Silverlake, CA)
By Richie Wu

The whole night dripped of sick and dirty rock 'n' roll. It felt like all the bands on the bill tonight were locked up in an old, grungy garage cranking out sounds of ferocious noise. I loved it! I had never been to Silverlake Lounge. The venue reminded me of the Doll Hut in Anaheim, minus the carpet. Silverlake Lounge has a cool, low-key vibe and is great for churning out scuzzy jams. Tonight, it was all about catchy, three-chord garage rock cranked to 11.

When I arrived, The Binges had just taken the stage. The first thing you notice about The Binges-other than the raspy vocals and thundering guitars-is that they have a Japanese, female guitar player. I glanced over and saw this petite little girl on stage ready for her moment, and then I quickly realized that she was no little girl! Not only could she play but, she had some big balls and was a force to be reckoned with! All four members reeked of attitude and practically blew up Silverlake Lounge with their own brand of AC/DC-meets-T-Rex-style of rock. Even though they are a relatively new band, The Binges are a group you should definitely watch out for! Check them out at www.myspace.com/thebinges.

Another cool band on the bill was The High Speed Scene (currently on Interscope Records). When I asked singer Max, "How would you describe your music?" he said: "Power-pop with a futuristic edge!" Futuristic edge is right, FOR SURE! There is certainly more futuristic edge than power-pop in The High Speed Scene's music. Of course, all of the catchy choruses and memorable hooks kept me humming along, but it was the post-modern, offbeat riffs that set these guys apart from a lot of the new music out right now. The tunes that stood out the most were "For the Kids" and "In the Know". Check them out at www.thehighspeedscene.com.

The Vacation

Sweat, beer, bad attitudes, sex, powerful, dirty, vintage, captivating rock 'n' roll, and girls girls girls are all the things that come to mind when you witness The Vacation live. The Vacation's new album BAND FROM WORLD WAR ZERO was released today. Tonight marks the first of three nights that The Vacation will be playing in support of their new record at Silverlake Lounge. As they were setting up their gear, Silverlake Lounge quickly became standing-room only. The lights went down, and The Vacation unleashed their fury upon the swarm of Silverlake locals. The band supplied a healthy dose of dirty rock 'n' roll that reminded me of AC/DC, with a little Stones thrown in for flavor. They jammed through their 45-minute set with such gems as "White Noise", "Destitute Prostitutes", and "Spiders". Standing in the front, I could not take my eyes off the band-partly because I was afraid I was going to get smashed in the head with a mic, but also because The Vacation puts on a performance that keeps you watching and waiting to see what happens next. Singer Ben Tegel was constantly jumping into the crowd, and even at one point on the back of a friend, who then lugged him around the mob of people in front. The Silverlake crowd was dancing and grooving to the music just as much as the band was. An interesting fact about The Vacation is that Ben Tegel and guitarist Steve Tegel are twin brothers. I did not realize this until after the show. They mentioned to me that they definitely do not use this fact as a selling point or hook for the band; they would prefer to let the music and performance speak for itself. It does! Check these guys out when they come to your town or online at www.thevacationmusic.com.

The Vacation

The Shore
Something For Rockets
Sexy Magazines
April 28th 2005 The troubadour (Santa Monica, CA)
By Travis Poole

I show up to The Troubadour to cover the band The Shore for Skratch magazine not knowing what I'm getting into. I like that. I like to poke bee hives with long sticks and irritate the bees as well. I'd like to do one more than the other. Guess which one that is? I get there just in time to see the Sexy Magazines from New York hit the stage. I did a good once over when I walked in and judging by the crowd I could tell that I wasn't going to be kicked in the head by some kid with a Mohawk and a leather studded jacket. I was somewhat relieved that the worst part of the evening would be having to push my way through well mannered twenty something hot chicks to get good photos of the band. Not bad 'eh? Little did I know that when the sexy magazines hit the stage these well mannered ladies lost most of their sober composure and went ape shit to the music. Now I was havin fun. The Sexy Magazines grabbed my attention right away with the edgy music and one fire energy that they threw out. For a genre of music that I really didn't like I was thourghly impressed. With a White Stripes / Rolling stones sound and feel I think that this band is gonna show up some where big. The whole set was powerhouse energy that didn't stop until the singer climbed the trellis a the side of the stage and did a Jim Morrison thing the ended up with him gyrating and grinding the floor. Great band. If you get a chance to see these guys don't pass it up. The next band up was Something for Rockets. They were defiantly from a different school of thought. Their vibe brought the house down to a low rumble and got people dancing and feeling good. By the time that The Shore came on the house had been brought up to the very top and then back down to the mellow low and they were just right to see The Shore. The shore reminded me of a new found Oasis. They impressed me. Listening to their music I could tell that these guys were a well rehearsed tight unit of musicians. Plus the women loved them. That was my favorite part. Did I mention that the music was good?

The Shore

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