NOVEMBER 2003 Show Reviews

SOLID STATE TOUR
NORMA JEAN
BELOVED
THE AGONY SCENE
THE DEATH CAMPAIGN
JOHN G
September 12, 2003 @ Showcase Theatre, Corona, CA
By Tiffany Chow
Photos by Heather Jagger

    On my way to the show, I contemplated just how I would go about writing this review. How do you write about a hardcore show? To me, most hardcore has always sounded suspiciously similar. Luckily, I got to experience performances from some of the best hardcore acts out right now. This review is going to be cake.

    Try to imagine the night: a sold-out show at Showcase Theatre (a venue notorious for the craziest kids and the craziest shows); one of only two Southern California stops of the tour in other than San Diego (so you get a mix of O.C., Riverside County, and L.A. kids); and a music that inspires "crews," fights, and stabbings. Are you getting a clear picture? I guarantee that the night was 10 times more hard-core (excuse the pun) than you are envisioning.

    The show was opened by a local act named John G. Drawing their name from the intellectual and dark movie MEMENTO, you can almost guess their image and sound. For being young and somewhat unknown, the band blew everyone away. With a tight sound, unstoppable energy, and a chemistry that could not be ignored, they performed impressively and seemingly impeccably. Besides their sound and live show, they grabbed attention through their unified appearance: they all sported matching T-shirts with "CASH" printed plainly on the breast to pay homage to the legendary Johnny Cash, who had passed away earlier that day. Despite what many would say because of their status or age, this band belonged on the bill with such huge acts as Norma Jean and Beloved.

    A somewhat last-minute addition to the night was The Death Campaign. Recently switching singers, many kids were anxious to hear the band perform to determine whether the change was for better. Regardless, the band performed well. They are one of the more maverick hardcore bands, utilizing keyboards and a unique sound. They are also different in their appearance, as half of the band seems to be sporting enough heavy-metal-type hair for all six members, obscuring not only faces but sometimes even guitars.
There is not much to say about The Agony Scene. This band is somewhat the representative of the scene that I was anticipating on my way to the show. A bit generic yet loved by the crowd, The Agony Scene did their thing...and that's pretty much it. The crowd definitely got into it, but other than that, there's not much to say.

Agony Scene - photo by Heather Jagger

    Beloved was next. I was obviously not the only person in the crowd who was entirely excited to see this band. Many kids whom I talked to that night had come out solely for them. With three guitars, a singer who actually sings, and a positive attitude, this band sticks out like a sore thumb in the hardcore scene. It is a testament to how good they are that so many hardcore kids have fallen head over heels in love with this band and their music even though they are so unique. Their live performance was flawless, sounding exactly like the album. The band has also perfected the simultaneous head-bang. What a performance!

Beloved - photo by Heather Jagger

    Norma Jean is one of those bands that has rapidly become a hardcore household name. It is insane how many people are so devoted to this band! It was no surprise, then, that the major fight of the night broke out in the middle of their set. The floor was one huge mass of swinging arms and legs as people flew at each other. The place was packed and overflowing, so you were involved in the fight whether you claimed any "crew" or not. (I did hear "Klobber Krew" mentioned.) Anyways, the lights came on, the band stopped, people got kicked out, and then the show went on. Norma Jean performed slightly under par after the fight. I don't blame them, though. As a band that professes love and positivity, I'm sure they might have been a bit bummed after seeing a display like that during their set.

Norma Jean - photo by Heather Jagger

The night ended soon after that. The Showcase had been turned into a moving, breathing oven for yet another night. Kids had their shirts torn and bones broken. Everyone was covered in sweat that was not their own. Music was played. It was your average hardcore show—with unusually exceptional bands. This show just confirmed for me even more the reason I don't get more into hardcore: I just don't have enough energy in me. There was more passion, more emotion, more sweat, blood, and tears at this show than I have seen in a while. At the end of the night, I was exhausted. Sigh. I'm getting old.

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SINAI BEACH
NODES OF RANVIER
SEVENTH STAR
BLEEDING KANSAS
THE SHOTGUN MESSAGE
September 14, 2003 @ Chain Reaction (Anaheim, CA)
By Tiffany Chow
Photos by Heather Jagger

    To be honest, I was not looking forward to this show at all. I had had the worst day of my life and was feeling terribly sick. It's not really my dream for a hardcore show to finish a day like that. To add on to everything else, we had to deal with less-than-accommodating people and a crowd all too proud of their Orange County heritage. I hate to admit that I didn't last through the night, but I ended up going home early. However, I will do my best to relay the night to you.

    The only high point to my night was the first band, The Shotgun Message. At first glance, they appear to be just another group of kids trying to play hardcore in a sea of wannabe bands. There is something totally different and refreshing about them, though. First of all, a ton of kids came out to see this band, singing along, dancing, and rocking out. Second, their sound was impressively tight and professional. What won me over was a combination of their sound—which had a lot of melody for being hardcore—and their energy. They were so fun to watch. No one stayed still, neither on the stage nor in the crowd. There were points when you could not tell the difference from the band and their audience, and the singer jumped into the pit and sang the last song while dancing with the kids.

The Shotgun Message - photo by Heather Jagger

    I had so much fun during the first band that I was pretty positive there was little chance of topping the performance during the remainder of the night. The second band, Bleeding Kansas, was good, but they could not match up to the first. Their sound was darker and heavier. I don't know if this is because they were a bit older, but there was not as much youthful energy or enthusiasm during their set. The crowd was really into them, though. There was a considerable amount of hardcore dancing and people singing along. The appearance and music of Bleeding Kansas was altogether much more metal-influenced.

    I left soon after this, as my feeling bad was getting worse. I heard from close friends that the last three bands—namely, Seventh Star, Nodes of Ranvier, and Sinai Beach—all put on decent shows. They are all members of the Facedown Records family, which I can honestly say has never shown itself to put out anything less than amazing bands. There was a really good turnout for a Sunday night show, which says a lot about the quality of the bands. And the kids came out not just to watch or listen, but to dance around and get really involved. Hardcore music seems to do that to its fans: it moves them and inspires action and passion. I love that about music.

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BRITISH INVASION:
NEW YORK REL-X
TOTAL CHAOS
DISCHARGE
THE ADICTS
THE EXPLOITED
September 20, 2003 @ the Orange Show Pavilion (San Bernardino, CA)
By Marcus Solomon

    The Adicts eclipsed The Exploited as the crowd favorite on this fun-filled evening. All the bands put on fine performances (well, I missed the Rel-X), but it was clearly The Adicts who stole the show. This is not intended to be disparaging to The Exploited. That band gave one hell of a powerful performance. However, a few converging factors resulted in the show reaching a premature climax: 1) the average age of the concertgoers was 16-19. Younger music fans are more inclined to identify with the silly mirthfulness of The Adicts than with the old-school angst of The Exploited. 2) The Adicts is a band of greater musical versatility. 3) With the current state of world affairs (i.e., terrorist threats, declining economy, our own evil government), I think most people just want to party rather than cultivate further exasperation. Overall, this was a remarkable event successfully brought to us by the same good people who run the Showcase Theatre in Corona, CA. Both concertgoers and security deserve praise for making it possible that this large event occurred without any fights or major problems. To have approximately 3500 people in one place without a single negative incident is amazing.

    $10 to park the car? Ouch! Fortunately, I found a free, secret, and safe parking spot nearby. Once inside, I marveled at the airplane-hangar-like facility. The San Bernardino Orange Show Pavilion is a large building with a high, arched ceiling that looks like it was constructed sometime in the '60s. Total Chaos was tearing it up onstage, but the sound was muddy and distorted due to the bad acoustics of the building. This problem was easily remedied by getting closer to the stage. The direct spray of music from the stage amplifiers eliminated the echo/distortion that afflicted the building. Total Chaos may not be a British Band, but it is definitely the best British-inspired punk assembly ever to originate from shitty Ontario, CA. This band is proudly influenced by the sound and style of The Exploited, but without reducing itself to a shoddy rip-off. Some past performances have been disappointing due to sloppy musicianship, but this recital was tight and on the mark. I wonder if the two new guys had anything to do with it. Joe Bastard is now on bass, with Gearbox taking on the drum duties. The crowd was happily thrashing about, blissfully enjoying the sounds of '80s-style Britcore. The new album from TC is IN GOD WE KILL. Maybe you ought to buy it or something.

    Next up was the illustrious Discharge. Showcase Joe was lamenting the fact that on this evening his favorite band was minus Cal, the original vocalist. Rat from The Varukers is currently employed as songster. The pavilion was then filled with the caustic sounds of early-'80s "metallic-Brit-core." Simple, direct, and powerful, the band's sound was actually enhanced at times by the echo-chamber acoustics. The crowd grew in both size and energy. I estimate that there were 1000+ people in the general stage area, with many more socializing outside. The slam-pit activity had grown from one medium-sized thrash-space to two rather large ones. Whether they knew it or not, the kids were treated to some of the best anti-war punk songs ever. The lyrics were indecipherable (except to the initiated), so the vocals sounded like more of an instrument (unless the listener was right up front). The band's simple, straightforward delivery was enthusiastically received, and the energy of the evening continued to grow.

    Following Discharge were master showmen The Adicts! Backstage, the band members (in full A CLOCKWORK ORANGE attire) were pacing back and forth, alternating between nervousness and offering encouragement to one another. Everyone in the band except Monkey took the stage as Beethoven's NINTH SYMPHONY played, and the crowd went wild. Now there were at least 2000 fans tightly pressed against the barricades, while Monkey nervously paced behind the curtain. Suddenly, Heather approached him and asked for a fan photo. "Sure!" was his smiling reply, and I took the picture of the two of them mere seconds before he went on stage. He ran on stage to tumultuous applause. Monkey looked absolutely dapper in his white tuxedo with matching top hat. Wasting no time, the band commenced with (what else?) "Viva La Revolution". Now the place was really going insane. I saw at least three slam circles going at once, with two or three tiny ones occurring on the outskirts. The crowd was singing in unison, with fists pumping and everyone drenched in sweat by the end of the first number. So many favorites were played, but there is not room to list them all. Among them were "You're All Fools", "Love Sucks", "My Baby Got Run Over by a Steamroller", "How Sad", "Tango", and "Easy Way Out". The band has added to their great sound by bringing back the violin and mandolin. I did not get this musician's name, so forgive me, but his work gave the overall sound a much larger dimension. Heather and I savored our backstage positions (at stage right). The sight of so many Adicts fans was truly amazing. The kids were one huge, undulating mass of adrenaline, sweat, glitter, and glee. The glitter and silly string were flying everywhere. Monkey also pelted the audience with brightly-colored rubber balls that he hit with a tennis racket. He also pulled the string on a huge, mortar-like "party-popper" that shot glitter, string, and a bit of smoke. After a set lasting well over an hour, the band performed a well-deserved encore, a genuine encore. What were the encore numbers? Damn! I wish I had not lost those notes.

The Adicts

    Finally, The Exploited came to the stage. I had not been to an Exploited show since the late '80s, so I was curious about how this was going to compare. That long-ago show at the Olympic Auditorium was awful. It was so loud that the music was lost in a cacophony of distortion, while countless fights erupted everywhere. This show was much better. The sound was greatly improved (if one got close enough), and there were absolutely NO FIGHTS all night (or none that I saw, anyway). Sadly, it was painfully apparent that the crowd had thinned and continued to decrease as The Exploited played. (By the time the show was over, the original crowd has diminished by approximately 60%.) Gone is Wattie's trademark fin-mohawk, long replaced by lengthy dreadlocks. Gone also is the excess fat from Wattie's body. The man is in amazingly good shape...for an aging punk-rock stoner. The bad acoustics were often to this band's advantage, also, as The Exploited's sound is simple, delivered with the audience chorus in mind. However, one problem that plagued the bands all evening was again painfully evident: the stage lights were set too far back, so that when the performers got close to the crowd, they were no longer in the spotlights, thus becoming lost in the darkness. That made it difficult for the performers, as they had to choose between getting close to the fans and allowing themselves to be seen. Most performers simply kept moving to compensate for this problem. Wattie and the boys did not let the diminishing audience faze them at all, as they pounded out the punk-rock classics with everything they could muster. My personal favorite was the grand rendition of "Troops of Tomorrow". It really took me back and made me proud to have been a part of the scene for so long.

fans of The Exploited

   Exploited—Barmy Army" was also great. By this time, the majority of fans still lining the stage were big, buff, bald guys with many tattoos and excessive testosterone. Strangely enough, there was no encore. It may be possible the members of the bad were cognizant of the audience reaction and took it like men. I respect that.

    Overall, this was a fantastic show put on by a group of hard-working, dedicated individuals. Long live the Showcase crew!

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SAVES THE DAY
TAKING BACK SUNDAY
MONEEN
September 27, 2003 @ Clutch Cargo's (Pontiac, MI)
By Dane Jackson

    When I was about 18 or 19, Clutch Cargo's was one of the better places in Michigan outside of Detroit to see bands play. It featured a nice mix of commercial and underground acts. Then, something happened: Clutch Cargo's started to suck. The story goes that someone got hurt after a Pennywise show, so they had to change things around—and since then, security have been dicks, people get patted down upon entering, etc. I have issues with this. But the people who own the place realized they can make more cash off from the club scene, so they cut back on the number of shows they do and turned the place into a dance club. When a show like the one I'm reviewing here does come around and is on a weekend, it always starts early and has to be done by 8 so that they can set up for the drinking and dancing of all the club whores. So the early start time, mixed with the retards I was stuck next to in line, made for a terrible beginning to the evening.

    How retarded were the people in line? Well, here's one shining example: the line was long enough to stretch behind the venue, where the tour buses were parked. When a band member would disembark from one, the retards would scream and shout the band member's name. Then they would top it off by using their cell phones to cal their buddies and tell them they were hanging with Saves the Day. We breed them pretty well here in Michigan, don't we?

    After a few tense moments at the ticket counter, I get into the venue, and Moneen took the stage, to a mediocre reception. Generally speaking, here in Michigan fans couldn't care less about the openers. This is a shame, because Moneen outplayed and outperformed Taking Back Sunday and Saves the Day. Just off their stint opening for Reggie and the Full-Effect, Moneen (playing music off their albums ARE WE REALLY HAPPY WITH WHO WE ARE RIGHT NOW and THEORY OF HARMONIAL VALUE). Moneen sounded extremely crisp and clear, and band members were jumping around and interacting with the crowd. But the crowd just didn't get into them. This is at least partly understandable, because the band's music is highly atmospheric. While they do have sing-along songs and other upbeat material, these crazy Canadians are great musicians, and most of their songs show off their mastery of their craft. If you allow yourself to get into Moneen's music and live show, it's almost hypnotic. Highlights from their set included playing "Are We Really Happy with Who We Are right Now", "Start Angry...and Mad", and "The Passing of America". Before you start to think all Michigan music fans are tools, the audience did finally get into Moneen just before the set ended. Kenny Bridges commented that he expected crazy people, and what he got were polite people. Nothing like calling a crowd's energy into question to get them going. Kenny responded to the shift in energy by climbing on top of the huge amplifiers and playing "Start Angry...and Mad" from there, after which he obliged the crowd's chants to "jump!"

    While Taking Back Sunday couldn't match the intensity of Moneen, they were definitely the crowd-pleasers of the evening. If you're familiar with them, then you can probably guess what they played. "Timberwolves at New Jersey"? Yup. "You Know How I Do"? Check. "Cute Without the E"? What Taking Back Sunday set would be complete without that one? The guys also threw in "You're So Last Summer", for good measures. For most of the people in Michigan, this was their first time seeing the new members of TBS in action. How did they do? Just fine. They didn't miss a beat on the older TBS songs, and the new material didn't compromise the "TBS sound." While I wasn't overly impressed with Taking Back Sunday, there's no denying the lead singer's stage presence. It's almost as if the living souls of Mick Jagger and Iggy Pop have somehow found their way into his body. Adam Lazarra is the perfect frontman (even though I think his band's music is generic and formulaic at best). Of all the people on stage, he seemed to be the only person to be genuinely having a good time. Not only did he jump around and interact with the crowd, but he also went into the crowd. After thanking everyone for not believing the rumors on the Internet about them, Adam then climbed up the wall of amps. I'm not sure if he did this so the opener wouldn't show him up or because he genuinely wanted to on his own, but Adam sang the last song of the set hanging upside down from the rafters. He then threw his microphone down to the stage and climbed up onto the balcony to hang out with the people up there for a bit.

    After the intensity of Moneen and Taking Back Sunday, I was ready to leave—not because I hated the show, but because I felt fulfilled. While Saves the Day set up, I went to chat with Kenny from Moneen. When's the last time you saw a lead singer manning his band's merch booth? And not only was he doing so, but he spent about five minutes with each person chatting them up and thanking them. You can tell he genuinely cares about his fans. When I got to him, I bought some stuff and reminisced about an interview I did with him. Between Kenny and the band's tour manager, I felt very appreciated. A big thanks to Moneen for making my evening complete.

    In an effort to offer you a complete review, I stayed for Saves the Day. I'm not sure why, because I've never been a huge fan and I'm not familiar with their music. And after listening to them live, I don't think I'll ever be buying one of their CDs. Saves the Day wasn't horrible; in fact, these guys sounded great...but they just had no stage presence. Each song sounded the same, and they all kind of blended together. They were so stiff and rigid that it was as if they were marionettes being moved by a puppet master. They also had a light show to go along with the music, and every once in a while blinding light would suffuse the audience. Their sound is very mellow and relaxing, so the blinding lights really shook things up. I wonder if they went off when the band could sense people were falling asleep....

    If I booked this tour, I would probably have made Saves the Day the opener, because they were the least intense of the three. That way, Saves the Day's set could serve as a warm-up to a crazy night of music. As it was, their set was more like the cool-down of a high-impact workout that was Taking Back Sunday and Moneen.

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PISTOL GRIP
DISFUNCTION
SHIM COME QUICK
September 28, 2003 @ Seaside Park (Ventura, CA)
Words and photos by Mark A. Whitaker

    I was supposed to have done a review of Pistol Grip playing a few weeks ago up in Santa Barbara, when they played at Velvet Jones. As luck would have it, the very next morning I had class for three hours starting at 8:30—so that wasn't going to work, and I missed that show. But things were destined to change, as Pistol Grip—along with two-thirds of the B.Y.O. roster—would be playing at the Board Culture at SeaSide Park in Ventura.

    The doors were supposed to open at 10 a.m., so I figured I'd get there around 11 and things would be starting up. It was a good thing I got there when I did, because as soon as I walked in to the park I could hear Shim Come Quick already getting the fans going with some good old-fashioned, drunken punk rock. It was a funny sight, Shim Come Quick on this huge stage talking trash, drinking beer, and rocking out. My friend Phil was on vocals, screaming and yelling at everyone. The crowd was in a state of shock, not quite understanding the sight before them. After a few songs, Phil grabs a box of donuts, tears the top off the box, and launches the box into the crowd. The fans grabbed the donuts and hurled them right back at Phil—who enjoyed every moment of it. The sound guy quickly rushed on stage asked the crowd to stop throwing donuts because it might mess up his equipment. There were no more donuts to be thrown, so the band resorted to throwing out half-empty cans of beer. It was a crazy show, but very enjoyable (as long as you didn't end up with beer all over you).

    After Shim Come Quick, there were some other bands playing, but I wanted to save my film for later in the evening, so I went to check out the booths and watch the skating. While cruising around, I ran into Randy, the guitar player for a band called Disfunction. He told me that they were going to be playing soon and that I should go and check them out. I remember seeing Disfunction play at the Ventura Theater with Suicidal Tendencies, and Disfunction put on a good show. I wandered around some more, almost missed Disfunction playing, but made it in time to catch most of the set. The band played really well—lots of fast guitar playing with lots of leads and a couple of guitar slides thrown in for good measure. That's one thing I'm seeing a lot of: bands experimenting and playing metal leads in punk music. Of course, everyone loves a nice long guitar slide. The singer Rusty was cool, too. He would run around yelling, run out of air, stop to catch his breath, and then go run and yell some more. That made for a very good performance.

    After Disfunction played, I still had time to kill before Pistol Grip took the stage, so I went back to the mini ramp and watched a few of my friends skating it up and getting yelled at by the ramp monitor about wearing helmets and all that good stuff you usually hear from guys like that. Everybody ignored him, so he got angry and stood in the middle of the ramp and yelled some more, but a few people just skated around him. He eventually gave up, and I went to go see Pistol Grip.
Pistol Grip were really good the first time I saw them, so I expected nothing else. As I'm checking my camera and flash, this guy comes on stage looking like Johnny Thunders with a huge black Mohawk, leather jacket, and bullet belt. Here's Hollywood! Not wanting to blow it and miss Pistol Grip, I asked him if they were Pistol Grip, and he said "yeah" and went to tune up his guitar. While the band wandered on stage and got ready, I checked my camera, turned my flash on, and checked out the little stage for the best angles to shoot. A few minutes later, the band is fired up and ready to go. At first, I wasn't really feeling to the energy, but in no time the band found their groove and started tearing shit up. Hollywood had thrown his jacket down and was jamming away at his guitar. Their second guitarist was also rocking out on his guitar, while the bass player and drummer provided a steady beat for the Stax and guitarists to work with. I was glad that Pistol Grip stuck mostly to songs from SHOTS FROM THE KALICO ROSE, because I haven't had the chance to pick up their latest album, so I don't know any of Pistol Grip's new songs. I was having such a good time watching them play that it didn't matter to me whether they were playing "The Hokey Pokey", because if they were playing it fast, it would have been a good time. I was glad that I got to see Pistol Grip play once again, because they have such a good style that seeing them live is a great experience.

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SLIGHTLY STOOPID
WYLDE BUNCH
AGENT 51
October 4, 2003 @ House of Blues (Anaheim, CA)
By Annette Ovanessian

    The House of Blues in Anaheim is located directly in the Downtown Disney District at Disneyland. Forget the slogan "The Happiest Place on Earth" and replace it with "The Most Expensive Place on Earth!" I was surprised that it's free to walk the streets! With both Space Mountain and Thunder Mountain closed, Disneyland is so not worth it anymore.

    As my friend and I parked in the Pinocchio parking lot, we took the tram to the District and began walking towards the sold-out Slightly Stoopid show, then stood in this long-ass line to get in. I swear, not even a second goes by before the security asks you to open your bag. When you end up showing them your press credentials, they still enjoy showing a sample of their authority.

    I've never been to the House of Blues in Anaheim before, so I was wondering how it could be compared to the Hollywood location. Well, it was more enhanced and much more prestigious-looking. However, this night was so crowded that you couldn't even move from one place to the other without a struggle, and that sucked.

    Agent 51 was on their last few songs when we got there. I've seen the band before, so I knew what style they represented: not along the lines of Slightly Stoopid's reggae vibes, but more post-'70s punk rock. The audience seemed to be familiar with this San Diego group (who recently won the "best punk band" trophy at the San Diego Music Awards). Fast, loud, and catchy guitar riffs, as well as "shout it all out" lyrics really define Agent 51. They are professional on stage and really capture the full attention of the audience.

    After Agent 51 left the stage well-heated, up next was a 14-piece Los Angeles band called Wylde Bunch. This high-energy hip-hop/rock band crowded the stage with all elements of music—from your basic guitar/bass/drums to a horn section and different vocalists. Both rhythm and blues singers mixed with hip-hop rappers, and they all took part in rock-filled antics, which really separated them from the theme of the night. Although they were not a horrible band at all, I just couldn't see Slightly Stoopid coming on next. Prancing around on stage and taking off their shirts was an interesting/comical performance to follow. Personally, I've heard better hip-hop orchestra bands and seen better live performances by large acts (like 4th Ave Jones' and Burning Star). On a brighter note, Wylde Bunch is not as bad as I made them seem. They are an impressive band with positive music, and they spend much time and practicing delivering their funk-filled set to a wide variety of people. And since they are on tour with Slightly Stoopid all over America, it really gives them the opportunity to expose themselves to as many different people as they can. Signed on to Columbia Records with an album titled FAST TIMES AT WASHINGTON HIGH (due out in early 2004), Wlyde Bunch is doing the right thing by touring before the album drops. After that, I suggest a headlining tour just for them.

    Without hearing any reggae music the whole night, all of a sudden the atmosphere changed, as Slightly Stoopid hit the stage. In a weird sense of relaxation and serenity comes the sweet melodic sound of dub. Totally on a different wavelength from the opening acts, Slightly Stoopid now creates the very mood we all came for: the irie science. Having seen the band a couple times before as an opening act, I noticed that this night was much different. Miles from Slightly Stoopid told me a while ago, "To really feel how we are during a show, you have to go to one of OUR shows." So here was my chance. Not only was the set over two hours long, but the audience still wanted more. Those were the biggest differences: hearing more songs and noticing more people out particularly to see Slightly Stoopid. The band covered almost all the songs from their new album EVERYTHING YOU NEED and also highlighted their greatest hits.

Slightly Stoopid

It's funny, but I'm pretty sure they neglected to sing the song that crossed over to commercial radio, "Sweet Honey". Changing the pace back and forth from acoustic reggae melodies to really short punk rock tracks shaped the spirit of the mosh pit. I love it when I see kids moshing to reggae music. It kind of shows us that punk rock and hardcore are not the only types of genres appreciative of the sport of moshing. The crowd was set on doing just that, and it definitely showed me everyone was enjoying the show fully. While I was up on the balcony, away from the herd of people and the moshing crowds, I could smell the pleasant aroma of some nice fresh herbage filling the air. That's the real sprit of music from the islands. Setting your mind free and away from everyday worries, Slightly Stoopid blessed the stage with creative sounds and lifeless stories of living in this world of curiosity.

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The Sounds
Palo Alto
Lift Off
October 6, 2003 @ the Troubadour (West Hollywood, CA)
By JASTEN KING

    It's always great to go to a show of a band you already love and enjoy, hear the songs you've been playing at home for years in a crowded, sweaty room with everyone singing along. Sometimes, though, the best experience is to go to a show of a band you know nothing about and come out feeling like you've tapped into a little pot of gold. That was my experience down at the Troubadour in West Hollywood seeing The Sounds. Of course I've seen the occasional MTV NEWS clip, magazine photos, and Dave Grohl's T-shirt displaying the faces of the band; but other than that, I knew nothing of the band or opening bands Lift Off and Palo Alto. I even skipped stopping by the Viper Room to see MINI KISS play that night (KISS tribute band of midgets…or, um, dwarves...whatever) for the chance to soak up the latest band everyone's talking about and give me something that's "cool but still not cool enough" to chat about with all my chic friends.

    After a late arrival and bit of a mess up at the door (advice: don't ever use your rock 'n' roll name on the guest list), I made my way into the legendary Troubadour. Lift Off had already started playing to a small crowd of unenthusiastic teeny-boppers in backpacks, and we all were a bit confused to what exactly was happening on stage. Is that post-black-shag-turned-butch-fag Joan Jett? No, wait, is that Gina Schock from The Go-Go's in a muscle shirt playing guitar? No, it's just another lesbian doing lesbian things, like dressing a couple of fat guys in coveralls and trying to mix a synthesizer into her sounds of Liz Phair rip-offs. I don't really want to be mean, but all I can say is: if you can't remember something good, it wasn't that memorable. Next!

    After taking for-ev-er to set up a stage of equipment covered in floodlights and a backdrop consisting of random ugly mug shots, Palo Alto finally took the stage. Is that Radiohead I'm hearing? Did someone forget to turn down the set-up music and turn up the band? No, wait—is that Vincent Gallo? When did he start a band that lip-synched Radiohead? No, wait—it's just another shaggy-haired, scruffy-faced scenester wielding an acoustic guitar and complaining how the light man is messing up his stage presence. I have to give them some credit, though, for having quite a tight set. Rarely talking between songs gave the show an almost movie-like feel. But on the other hand, with every song sounding the same and drifting into the next, the crowd didn't seem to care—and neither did I. Hurry up and bring on The Sounds before the buzz of my $10 shot goes away, damn it!

    Out of nowhere the place filled up like an episode of TRL with kids in braces and buttons yelling for Carson Daly (no, really, that bitch was there!). The crowd finally arrived, and so did the time for The Sounds to take on Los Angeles. Is that Debbie Harry? No, wait—did the boredom of the opening bands send me into some strange time warp back to 1980? I don't know what happened, but whatever it was, I don't care, thank goodness! Most people think imitations or recreations of bands from the past are rather lame, but if you're stealing from the best of them, you can't go wrong; and here the Blonde similarity is simply uncanny. It's not just the poppy, synth-filled resemblance to their songs, but the feathered blond hair and Ramones cut-off shirt of the lead singer, Maja Ivarsson, damn near makes her West Hollywood's new Debbie Harry drag-queen act for the night. Tossing out an almost sarcastic attitude to balance out her tiny, girlie appearance, Maja worked the crowd from side to side, kept hands clapping along and even started crowd-surfing early in the set. "Are you ready to rock tonight? 'Cause I know I am, motherfuckers!" Whether she was standing on the drums or singing while lying on the stage, she kept the audience's energy up at all times. Though the Blondie of the past may have consisted mostly of some overshadowed guys, the Blondie of tonight seems to have guys that aren't so faceless. Though their girlish figures and new-wave hairdos might easily blend into the mix of Gay Town just a few blocks away, guitarist Felix Rodriguez and keyboardist Jesper Anderberg kept rocking whichever side of the crowd Maja wasn't. Playing everything off their current CD, LIVING IN AMERICA, I must have been the only person in the room who didn't already own it. The audience loved every minute, singing along with tracks like "Rock 'n' Roll", "Hit Me!", and current radio fave "Seven Days a Week". Whether any of those kids in the place own a single Blondie record or see the resemblance, I'm not sure, but I just hope everyone appreciated this impressive band, which will hopefully bring us as many great albums as the original band did.

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MATES OF STATE
I AM THE WORLD TRADE CENTER
THE THERMALS
October 11, 2003 @ the Troubadour (Los Angeles, CA)
Text and Photos By Annette Ovanessian

    Every time I head out to the Troubadour for a show, I get to drive down Santa Monica Blvd. and take a quick peek inside the club Rage. It's interesting to see what kind of gay porn you can see on the big screens. I guess this particular Saturday night wasn't so popular. However, at the Troubadour the night was fully packed. As I got to the show around 9:30, I figured out that I missed the first band, The Thermals. Having heard that they were superb, I was bummed out, but then quickly concluded that I was only "the fashionably late journalist!" I guess you could just visit the band's Website at: www.thethermals.com to figure them out for yourself.

    Lounging in the VIP loft room, I bought myself a drink while I was waiting for I Am the World Trade Center to reach the stage. From the loft area you can perfectly scope out the whole audience. The show was completely crammed and full of Hollywood heads anxiously waiting for a band to play. By this time, I had quickly gulped down my drink, and I headed downstairs, forcing my way to the front of the stage.

    I Am the World Trade Center certainly blew me away. Blasting from Athens, GA, this two-piece indie-rock/electronica band is a cross between freestyle dance music and a touch of the old-school Zapp and Rodger sound effects. The members consist of Dan (sampler, mini module, theremin, etc.) and his girlfriend, Amy (vocals and d-beam). Using extremely creative instruments really helps enhance the originality of their sound. I wouldn't dare label the music punk rock—although on their Website they label themselves as the "punk rock Sonny and Cher." Hm. Maybe a little more creative, but a lot less spunk! Wonderful vocals and brilliant songs make for a great first impression. When they covered Berlin's "The Metro", it didn't surprise me at all. That song really gives you a sense of what genre to place them in. Touring around the U.S. to promote their sophomore album, THE TIGHT CONNECTION, these two towers are successfully building themselves up from the bottom. The only thing that's missing is a light show behind them and glow sticks in the audience.

    After taking a few flicks of the band, I headed over to the bar for my second round of drink. Taking my time with this one, I sat back to enjoy the rest of the performance away from the heavy crowd. A little while later I walked over to the Mates of State merchandise area, where I sat and talked to their merch guy. As he was telling me about the band's history, loads of people were buying CDs, vinyl, T-shirts, posters, and buttons of the band. Having never heard the music before and witnessing their super-packed mini-music store, I knew I was in for a complete surprise...and I would be deeply impressed, indeed. I came to the show not knowing who any of the performers were and I was a bit skeptical, but immediately after I heard the first song by the headliners, I knew the rest of the night was going to be pure entertainment. Again we have another band consisting of a couple to bless the stage. Mates of State are an exceptionally captivating duo, with an imaginative sense of floetry through both, vocals and beat. Both husband Jason (drums, vocals) and wife Kori (Yamaha electone organ, vocals) electrify the stage with their Victorian essence, filling all the songs with loads of harmony intertwined with catchy and dark melodies and owning the spotlight. Having successfully fashioned a new sound, they have exposed a unique separation between the normality of everyday bands. They break away from the typical music settings by eliminating the use of a guitar player and a bass player, yet while maintaining the same bass-heavy tones. In the middle of playing the instruments, both Kori and Jason belch out striking songs about love and despair. Their voices work together in perfect unison, without any confusion or off-beat goofs. The audience was singing along with all the songs. Mates of State are from San Francisco, and they are currently on tour with Death Cab for Cutie and Palomar for the remainder of the year, traveling throughout the United States. Beyond touring the United States, they have toured all over Europe and Japan. With their third full-length album, TEAM BOO, they hope to achieve all the recognition they need to gain a much broader fan base. I'm not sure if you will ever hear Mates of State on the radio, but you should definitely check out their Website, www.matesofstate.com, and buy their records on vinyl.

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EASTERN YOUTH
HEARTS TO HANDGUNS
LIMOUSINE
THE POP NARCOTIC
October 15, 2003 @ Chain Reaction, Anaheim, CA
Text By Tiffany Chow
Photos by Matt Fisher

    It was obvious when arriving at the show who everyone had come to see. My fellow Asians made it astonishingly clear that the majority of indie rock mongers was there for the the headliner, Japanese band Eastern Youth, who churned out many hits from their new release, WHAT CAN YOU SEE FROM YOUR PLACE. Conversations were leaded with anxious anticipation for their performance. Much hype was circulating over the supposedly incredibly live show Eastern Youth was known for. Thankfully, no one was disappointed...not with the 3-piece Eastern Youth, who engulfed with smears and trickles of sweat played their hearts out (physically and mentally) so much that you could feel the energy. And we can't forget the great opening act, The Pop Narcotic.

    The Pop Narcotic jump-started the evening. They put on nothing short of an amazing show, playing a skilled integration of punk and hardcore. The lead singer had an impeccable and indescribable ability to get the initially uninterested crowd involved. With his conversational and friendly personality, he motivated the kids to move closer and stand up. Between songs, he engaged in conversation with the crowd, establishing that his band was determined despite rumors that they were just a joke.

    Unfortunately, the performance of the second band Limousine did not quite meet the standards set by The Pop Narcotic. Although their music was good, their live show was mediocre. Their indie rock sound carries a lot of potential, although it has yet to be completely fulfilled. A good amount of close-knit friends were there to support the band, though not a lot of fans. Memorable-not by a long-shot.

    The crowd had filled out by the time the third band began their set. Hearts to Handguns, a screamo band made up of young high school aged boys, has received a lot of hype lately. One of Orange County's quickest rising acts, they have been developing a strong fanbase. Their growing popularity could be due to their music as well as their youthful energy. At this particular show, this enthusiasm infused the crowd with energy as well, inspiring a wannabe pit. The band moved around the stage, utilizing the entire space.

    Hearts to Handguns motivated the crowd to movement, getting the blood circulating and heartbeats pounding, perfect preparation for the highly anticipated headliner's set. Eastern Youth came onstage to greet a crowd ready to hear them perform. It is amazing how a band that speaks a bit of broken English can travel halfway around the world to a completely foreign nation and fit in perfectly. Their unquenchable energy and strong stage presence wiped away any doubt on anybody's mind that they might be completely out of place. Even though the crowd could not understand the lyrics, it was easy to relate to the emotion the singer poured out in his vocals. The three-piece movied about the stage, getting the crowd pumped up and dancing along. If you were not already one of the many fans that had come out to see them play, they made a supporter out of you.
As unequally yoked as the line up of the night's show might have seemed to an outsider, it would have only taken you a few moments inside to understand that all good music is universal.

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The Energy
Hearts to Handguns
Misplaced Trust
Oct. 17, 2003 @ the Hub Café (Fullerton CA)
By Adam Hudson

    By the time you read this review, the Hub in Fullerton will no longer be standing. As of October 30th, their doors will be closed forever—to be re-opened under a new name with a new look as a bar. That means that the only free all-ages venue in Orange County will be gone forever, and a unique and original coffeehouse long home to punks, vagrants, and many good friends will be gone with it. I sincerely hope you got the chance to catch a show there at least once.

    Misplaced Trust opened up the night with their brand of bland, nondescript rock. Do you remember that band your buddy had in high school? You went to all their shows not because the band was any good, but because it was your buddy's band. Well, you know that band that opened for them, the one that sucked harder than your friend's shitty pop-punk outfit? That's Misplaced Trust. I tried to get into their set, but there was no movement nor emotion at all, the four-piece standing rooted to their individual spots. Generic lyrics backed by generic music made for a band that certainly left something to be desired. I asked my friend Toby (who works at the Hub) his opinion, hoping it was just me that thought so poorly of MT, but he gave them four middle fingers out of five (five being the worst on the Toby scale of music).

    Hearts for Handguns I enjoyed. Think Thursday in jr. high. H4H is a really talented group that put on a good show. They had an awesome crowd who sang along to most of the set, which is impressive for a "Hub" band. The singer was a very short guy with lots of blond hair in his face and an excellent voice. Even Toby, who hates everything, gave them only two middle fingers up. (On a sidenote, the singer asked me to mention that "everyone in the band are alcoholics."

    Finally, The Energy set up to play. I've had the pleasure of catching them several times at the Hub, and they never disappoint. No one minds paying for a show when good rock 'n' roll is involved, but great rock 'n' roll for free has got to be illegal. The Energy had the Hub patio packed to the point of people standing on chairs and benches to watch the show. The band went all out and lived up to their name. Vocalists Cris and Tyson (also playing guitar and bass, respectively) mesh well together, especially on "Cold Concrete". They played a full set and even a short encore after some vigorous coaxing from the audience. A unique sound and plenty of fun to watch, I highly recommend checking out The Energy as soon as you can. It won't be long before small shows at the Hub turn into sold-out shows headlining the Glass House...and you'll be left outside wishing for a ticket.

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The Slackers
Maxeen
The Aggrolites
October 18, 2003 @ the Troubadour (Hollywood, CA)
By Luke Skywalker

    After driving on the 5 freeway with John for about an hour, we finally arrived at the Troubadour. This being my first visit to this old Hollywood venue, I hoped it would be special. On arrival, I was surprised to see that it was sold out, but I was happy to get into the exclusive show. As I stepped up on the curb of the venue, a few black-suited gentlemen rode up on Vespas, and I knew this would be a fun night.

    From the door being opened, I got a strong whiff of beer and strong alcohol, which reminded me of my childhood...but I also realized that I was missing The Aggrolites. "Pop the Trunk" and I was missing it. After precautionary measures of pat-downs, strip-searches and urine samples by security, I finally got in. I caught the end of The Aggrolites' set, and they were their usual great selves. The quintet pumped out smooth reggae/ska, and the crowd skanked to every beat. It brings me joy to hear great music. As the band finished their set, I overheard the girls behind me comment: "The drummer is so hot". I've never that considered before, but he is a fine-looking specimen.

Aggrolites - Photo by John Woods

    The audience was mostly made up of rude boys, geeks, and a few fans of Maxeen. A good combination of music styles, Maxeen is made up of young, clean-cut lads who play some decent pop/rock. Bassist/singer Tom Bailey appeared to be having an aneurysm while singing his lyrical poems, but it came out all right. During "Strangers", guitarist Shannon Mcmurray deliberately began playing in the ear of one of the kids leaning on the stage with his back turned to the band. Unaware of Mcmurray's intentions, I think it resulted only in pissing off the kid. Guess you're down a fan, guys. Not to worry, because more fans will likely relate to their catchy tunes. With a new album out Nov. 18, Maxeen is preparing to go on tour with Yellowcard, Mad Caddies, and Tsunami Bomb, playing all over the U.S. for the next few months.

    The long-awaited headliners came to prepare the stage, and the audience excitedly cheered them on. Not many groups get such a welcome for just bring their instruments to the stage, but The Slackers have a strong following. As soon as the stage was properly set up to their liking, the seven-piece ska band ran back upstairs for further preparation—much to the audience's disappointment. Shortly after, they all returned one by one and started off by just playing an instrumental, during which frontman Q-Max marched to the beat. Once completed, the crowd was made fully aware of what was to be expected for the rest of the evening. On a whole new tour, The Slackers promise to play two sets every show, featuring the music from their new album CLOSE MY EYES, as well as music they've created over the past 12 years. The first set included fan favorites "Runaway", "Donde Fue", and "Fried Chicken", and also three covers: "Twist and Shout", "Should I Stay or Should I Go?", and a Skatalites song that I didn't recognize. I mingled with the crowd and even skanked my way to the front of the stage. Unfortunately, some fat girl kept pushing me, so I couldn't get a sufficient groove on. Playing for over an hour, the ska veterans needed to rest before their second set.

The Slackers - photo by John Woods

Waiting for nearly 30 minutes in the back of the club, I became very impatient. Not interested in talking to the promiscuous girl that makes out with everyone at ska shows or buying an overpriced drink, I leaned up against the back wall and grew wearier with every passing moment. I was tempted to leave before The Slackers even came back on, but as I was complaining to John, all seven members ran down the stairs and began an eight-minute instrumental ska song dedicated to The Skatalites. This was the highlight of the night, as each member took advantage of the time to do solos. Nearing the end of this fantastic portrayal of 2-Tone magic, four girls came up on stage—which resulted in 15 more kids pouring onto the stage to dance with the band. Some band geek from the audience even got the opportunity to borrow a saxophone and perform his own solo. After this song, my mind was blown, and I was spent. John and I called it a night and made the long trek home to Orange.

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