October 2005 Live Reviews

(scroll down to read all of them)

Q AND NOT U
SUPERSYSTEM
September 23, 2005 @ Black Cat (Washington, DC)
By Erika Owens

Two months after I arrived in DC was the final Wilson Center Show. Talk about an introduction to DC! A whole slew of area bands played, including Crispus Attucks, Pg. 99, Strike Anywhere, and (of course) Q and Not U. The diverse array of acts, a history lesson from DANCE OF DAYS' Mark Andersen, and a large, energetic, unified crowd demonstrated what has made the DC scene so strong for the past couple decades. Now another DC institution, Q and Not U, has disbanded-but not before two rousing final shows for all ages in DC.

For the farewell shows and brief final tour, Q asked Supersystem to open. Supersystem (formerly El Guapo) grew from the same fertile DC ground as Q and Not U. Supersystem is on Touch and Go, but they were once labelmates with Q on Dischord. The Dischord connection is palpable in that signature dissonant DC sound. Though their musical roots are similar, Supersystem diverged from the DC tradition of using the stage as a pulpit, instead just sticking to the music. Their jerky, dancey sound proved that good-time DC fun will not end with Q and served as a great warm-up for the crowd. Q lead singer Christopher Richards highlighted this fact by saying, "Supersystem-those guys are the future." It was both comforting to hear that a Q-like sound would continue and energizing to see three more guys pumped up, having fun, and sharing that passion and liveliness with the crowd. Supersystem will be touring Europe this fall behind their first release with a new name and on a new label. From their jazzy performance and the endorsement by Q, it is clear that whatever their name and location, Supersystem will always have the support of the DC scene and its loyalists.

Few bands are as inextricably linked to their town as Q and Not U is to DC. Not only is their sound pure DC pep, but pride, politics, and reverence are everywhere in their music, their stage presence, and even their T-shirts. Tables for accesssudan.org and Positive Force lined the back wall; but, as always, that message was not just relegated to a few pamphlets. Positioned onstage in front of a sold-out crowd the day before a major anti-war march and Operation Cease Fire, Chris took the opportunity to not just slam the president but also to call for involvement and action. The DC flag painted on his face illustrated his DC pride, and his words of love for the city and exhortations for continued political involvement demonstrated just how close those things are to Q's heart. Chris's comments made it clear that if this were not their last show, they would have played Operation Cease Fire (like they had played the Anti Inaugural Ball earlier this year). Though political ranting often can be a distraction at a show, Q would not be Q without it. DC is the political epicenter of the U.S., but it is also the home to a surprising degree of apathy-apathy that Q was able to battle with their music, political involvement, and fun! I will miss Q and Not U most because they were the only band that made me dance. And the beauty, genius, and unique force of Q was that it wasn't mindless rump-shaking but jazzed-up, keyed-out fun with message and meaning. Most of this energy was drawn from POWER this final night. Rather than a retrospective, Q remained focused on where they are going, where we can go politically and not so much where we were before the U.S. political world imploded and Q debuted on Dischord in 2000. The hometown crowd yearning for better days was not entirely forgotten, though, as the set was peppered with songs from DIFFERENT DAMAGE and NO KILL NO BEEP BEEP. After declaring that "George Bush is a motherfucker," they tore into "Tag-Tag". Other highlights included the final pantomime of "Air Conditions" and when Ian MacKaye jumped onstage and took the mic. After over an hour, the set closed with "Fever Sleeves". But, of course, this would not be the end, as the band returned for two encores and finally concluded with "Soft Pyramids", a kiss blown to the crowd, and a bow.

Dancing, politics, and history in the making pervaded this final show. Like the final Wilson Center show, this one was played to a large, diverse crowd of kids in high school, kids who have listened to Q since high school, and even a few people who could have kids in high school. In DC, all types and sounds are welcome. This inviting, vigorous amalgamation is what made Q and Not U grand. Now they are off to solo projects and side gigs-but not before leaving with pizzazz and POWER.

CMJ 2005:
BOY KILL BOY
September 14, 2005 @ Sin-e (New York, NY)
THE VELVETEENS
September 14, 2005 @ the Knitting Factory (New York, NY)
By Aimee Curran

Sin-e is a tiny little venue, dark and with a bar-nothing too different from anything you might find in L.A. Since there were so many shows going on, I stayed for Boy Kill Boy, which was an incredibly good show. BKB had that English rock charm and beat that moved throughout the room. The lead singer had this air about him, and that made every move, every vocal and guitar strum seems effortless. He could have been sitting on a park bench feeding pigeons and still put on an amazing show. But it was super humid, and the air conditioning inside the club wasn't helping the situation too much in the shoulder-to-shoulder crowd, so I left for the Knitting Factory.

When I got there, I was happy that I could walk around without touching anyone and enjoyed a show by The Velveteens...until one audience member thought it would be funny to go up to the front and piss on the band's pedals. This just caused uproar. The lead singer was calling for the crowd to beat the guy up and was talking mad shit into the mic. No one blamed him, because not only was the pissing on the pedals disgusting, it fucked up the rest of their show-although I think they managed to pull it off decently. It wasn't the greatest or most innovative set, but under the circumstances, they worked with what they had.

THE FURY
THIS BLUSH
GIANT DRAG
September 15, 2005 @ Drive In Studio 3 (New York, NY)
By Aimee Curran

Night two was amazing. I went to CBGB for the Militia Group showcase, but unfortunately the place was past capacity and I had to jet to another show over at Drive In Studio 3. It was the Inaugural CMJ Prom, and I got there right before The Fury took the stage. HOLY SHIT. This band is so fucking cool! For not being well known, they managed to grab the attention of everyone in the room. They have amazing style and seem to be dripping with talent. Frontman Jeremy Lublin worked the crowd with some hot-ass shaking and pitch-perfect vocals that made me thankful to be watching. They caused an electric fury of keyboard, guitar, drums, and bass that created an almost manic excitement that wouldn't be matched by any other band that evening. It's the best when the band puts 100% into their show, but they were putting in 930976064652856236% FUCKING AMAZING!

The Fury tore their shit down in an expedient manner so This Blush could set up. This Blush was a moodier band that seemed to be the eye of the party storm going on around me. I watched for a bit before allowing the music to become simple background noise. It was hard to be totally amped on this band after such an amazing show by The Fury; however, a few friends who showed up were really into them and thanked me for getting them on the list.

Giant Drag was next, and from what I remember, they were good. Things were getting fuzzy from a bottomless cup of Red Bull and vodka, but The White Stripe-esque guy/girl duo was a refreshing pick-me-up that had fans swarmed around the stage singing along and moving to catchy left-handed keyboards, drums, and guitar. I left before Supersystem and The Mean Reds took the stage, but apparently they did a bang up job.

LUCERO
LIMBECK
CHRIS MILLS & THE NEW MISERABLE BASTARDS
September 18, 2005 @ the Middle East Club-downstairs (Cambridge, MA)
By Carley Charpentier

The ambiance of the Middle East was perfect for the lineup. These three acoustic folk-rock bands thrive in a dimly-lit, intimate setting like the Middle East. And it doesn't hurt that the bar is serving $2 beers. So, not long after the sparse crowd begins to mosey into the downstairs venue at the Middle East do Chris Mills & the New Miserable Bastards take the stage. Without waiting for the stage lights to brighten the room, they struck a chord and flew from there, only to be joined by the stage lights a minute into their first song, "Escape from New York". The lead singer (Chris Mills, I assume) was beaming like a sixth-grader after his first kiss. While his awkwardly large smile would normally make me uneasy, it was actually refreshing to see a lead singer who looked excited to be doing what he was doing. If it weren't for the fact that he named the band after himself, one might actually suspect this goofy-grinned frontman didn't take himself so seriously. In addition to Mills's boy-next-door stage presence, Chris Mills & the New Miserable Bastards had a way of making the set seem like it was being played out of your garage. The guys all were donning jeans and T-shirts without trying hard to look like rock stars. The cellist was in a world of his own, taking a few opportune chances to stand up and rock with his string instrument. The music was vibrant without being overbearing, giving the audience a chance to really appreciate the talent of the lead singer. While some might see the garage-band appeal in a band like Chris Mills & the New Miserable Bastards, by the last song, "Constellations", the crowd was getting bored-or maybe just progressively more drunk-because the talking of the crowd began to drown out the tunes.

Despite the still relatively meager crowd, the following for Limbeck was noticeably larger than that for Chris Mills & the New Miserable Bastards, perhaps contributing to the increase in crowd energy and movement during their first song, "Home (Is Where the Van Is)". The grungy five-man band sorted from song to song with continuous enthusiasm. They incorporated a female guest singer by the name of Rachel for "Parking Lot". Maybe it was the sudden influx of estrogen on stage or the incessant shaking of the tambourine or the increasing intoxication of crowd, but by the middle of the set the energy in the club was cruising with a comfortable classic-rock feel. The crowd was so comfortable that Ben from Lucero approached me at the bar to chat. After getting a free drink and bobbing along to Limbeck's "Sin City", he was on his way, wandering through the crowd between the merch table and the bar. Limbeck rocked through such tunes as "Watching the Moon" and "Long Way to Go", and even cracked a not-so-funny joke about playing "Immigrant Song" (which I think would have taken the cake). All in all, Limbeck's performance was consistent, and their set list kept the show's energy for the main attraction, Lucero.

Have I mentioned that the crowd is quickly getting more intoxicated? Well let me put it this way: it's not only the "crowd" who's been visiting mister bartender, because by the time Lucero emerges into the spotlight, it's quite apparent that they aren't what one might call a "dry" band. The beginning of their set started out simply enough with songs like "Ain't So Lonely" and "Nights Like These", allowing the crowd to wail between each indie folk-rock ballad while the boys each grabbed their respective drinks, took a swig, and played on. The next few songs continued in this manner, with frontman Ben Nichols tossing out a few questionable comments out there (e.g., "Man, the band before us sucked-the third out of four"). For Nichols, there doesn't seem to be a better place than Boston to get drunk and belligerent on stage. Surely there are a few fans in the crowd who remember Lucero's second-to -last show in Boston, during which Nichols threw up on himself mid-set and had to end the show earlier than anticipated. Luckily for this crowd, Nichols's drunken antics stopped just short of vomit on the T-shirt and was confined to slurring the words that he could remember and making comments like, "Something about Boston just gets me fucking hammered." Regardless, Nichols charmed the inebriated pants off the crowd, and Lucero brought down the house with an amazing set. Even when Nichols told the crowd, "We really would do another [song], but I'm just too drunk," the band managed to squeeze one more out. The lyrics may have been wrong (I'm pretty sure I detected a few "shit"s in place of the actual words), but Lucero made for an awesome end to an incredible show.

FURTHER SEEMS FOREVER
TAKOTA
DEAD LETTER DIARIES
THE COLOR TURNING
September 24, 2005 @ Chain Reaction (Anaheim, CA)
By Jeff Lambert

Another night at Chain Reaction: the sinful, all-ages hipster hangout where 16-year-old kids are free to get wild, smoke cigarettes, and watch their favorite indie rock bands perform. On this particular night, the kids are out in full force to cheer on a few hometown favorites before catching an acoustic set from Further Seems Forever.

The evening opens on a mellow note with an impressive performance from The Color Turning. These five Orange County natives stand out as the most creative band on the bill, with a mature sound reminiscent of '90s indie rockers June of '44. Using an infectious guitar riff and catchy melody to grab your attention, TCT wastes little time impressing the audience with their opener, "This Is How That Feels". Subtle harmonies and smoothly layered guitars co-exist neatly with lead singer Steve Scavo's vocals, as each song builds on the next. While the mellow rock drags a little at times, the music holds up well in a live setting, and the group cruises through their eight-song set. With a new record due out this month, the ANTIDOTE EP is worth a listen at www.thecolorturning.com.

Dead Letter Diaries brings a quick change of pace with their intense rock 'n' roll performance. The youthful quartet plays with a vigor and confidence that instantly connects with the crowd. Drawing on the band's energy, the audience bounces higher and shouts louder with each passing song. Not having the most original sound, DLD relies on their great chemistry to put on a crowd-pleasing performance. The combination of poise, confidence, and boundless energy creates a great rock atmosphere for the kids at Chain Reaction. You can pick up their latest record, SINCE THE REALIST EP, at Tower Records.

Playing only their second live show together, the wildly ambitious rock ensemble Takota attempts to recreate the arena-rock fervor made popular in decades past. Unfortunately, they fall short of their own lofty expectations. There is no denying Takota's collective musical talent and songwriting ability, but there is much room for improvement before they take over the rock world. Never boring, the catchy drumbeats keep your head bobbing as each song expands with every changing harmony. You can't help but think of bands like Journey when listening to "Little Honesty" and "Car Park Conversation", but lead singer Grant Arnow has trouble hitting the high notes in a live setting, and his flamboyant stage presence is almost distracting. All in all, the crowd seems to enjoy the lively show put on by Takota.

With the recurring game of musical chairs seemingly coming to an end last year, singer John Bunch is the latest frontman for Further Seems Forever. Tonight, the former Sense Field vocalist joins his new mates on stage for an acoustic performance that headlines the show. Last year's success of HIDE NOTHING (Tooth & Nail) proves that the band can seamlessly switch lead singers like a mechanic would switch a tire. Sadly, the acoustic set limited the effectiveness of what FSF can bring to the table and ends up boring, at best. Perhaps a complete electric performance would bring the show to life, but the dark emo performance seems dull after only a few songs. Even their best acoustic effort can't recreate the complex and intricate sounds that made HIDE NOTHING an achievement to be proud of.

DIE HUNNS
ANGEL CITY OUTCASTS
PRIMA DONNA
THE WORTHLESS
September 01, 2005 @ the Scene (Glendale, CA)
Words and photos by Mark A. Whitaker

After driving around the streets of Glendale looking like an idiot because I took a wrong turn and ended up getting lost I arrived at the Scene, a small bar that was hosting the start of the Old Scars and Upstarts tour. Headlining would be none other than Die Hunns, who are back after a brief break from touring while Corey had her baby.

San Diego's The Worthless took the stage with good, fast, old-school punk. In between songs, the singer for The Worthless took the time to insult the crowd sitting around the bar for not dancing to the music. Nobody bothered to respond, and Worthless played on for a few more songs.

Up next was a bluesy honky-tonk band known as Prima Donna. This was an interesting change, because as Prima Donna had a keyboard and a saxophone to go along with guitars and drums. Before making a decision on whether or not this constituted "punk," I figured I'd give them a shot. I liked Prima Donna from their opening guitar riffs. The music fit right in with the atmosphere at the Scene, a cool place to hang out with friends, drink a beer, and watch a show. The keyboard was tuned to sound like a piano, which for me made a difference, as if the keyboard sounded electronic, I would have dismissed Prima Donna and not liked the music at all. After the keyboard player switched to sax and rocked the place with a solid groove, I concluded that Prima Donna is punk, and that the band rocks.

I thought Die Hunns were performing next, since that is what the cabinets and bass drum said, but all of a sudden it's Angel City Outcasts onstage with heavy-hitting drums and two dueling guitars. Due to the lack of crowd enthusiasm, the band switched things up a bit and played "Anchors Away". This was a hit with the crowd, especially since it had sounded like a drinking song. Raise your glasses high for Angel City Outcasts.

Die Hunns

Die Hunns took the stage to the accompaniment of Duane Peters on tambourine. I was amazed. Corey looked to be in excellent shape, considering she had recently had a baby. There were a few changes in the lineup since the last time I had seen them play: Rob was still playing guitar, but there was a new drummer and second guitarist. After the first song, Duane was all over the stage singing, dancing, and playing his tambourine. Corey kept the pace with rich bass lines and excellent vocals. She really sounds good when she sings and glad Duane convinced her to do so. Her vocals complement Duane's singing perfectly, with the two of them coming in right on each other's parts like they know what the other one is thinking (which is probably true). The crowd is loving it. People are singing along and having a great time (especially one guy, who was so drunk that he could barely stand on his own two feet and had to be repeatedly dragged upright after stumbling over). The best part for me was getting to hear Die Hunns play "Hate and Love", as well as the opener, "Time Has Come Today", which straight rocks. After a lengthy and well-received set, Die Hunns packed it up and called it a night. The fans yelled for an encore, but Die Hunns were done. After giving it 110%, it's hard to come back and play another song. After the show, Die Hunns stuck around and chatted with fans. Thanks to the Scene and to all the bands for a truly great show.

A Static Lullaby
A Thorn For Every Heart
Veda
To The Kill
September 4, 2005 @ Chain Reaction
Text by: Dwight Sposato

Chain Reaction is a club that I have never been to in California. Arriving here from Chicago a little shy of a year ago I am still new to all the clubs and venues around the Southern California / LA areas. Tonight I lost my CHAIN REACTION virginity to Static Lullaby and Special guests.

Tonight was a packed show with the crowd utilizing every inch of the venue. Even the parking lot was full. After waiting for quite some time finally the show started. First to play was TO THE KILL this five- piece hit the stage pretty well with a pretty good crowd response. TO THE KILL sounds a lot like your average emo-hardcore band and yet they played a really tight set, showing no signs of sloppiness. This band did not excite me but I would not say they not are worth going to. I had a lot of trouble hearing a lot of the instruments because the sound mixer that night was the worst mixer ever. GO back to school mixer guy.

The heat was rising in the place and the next band to grace the stage were a rock'n indie four piece named Veda who are scheduled to appear with THRICE and UNDEROATH this early October. I enjoyed every thrilling moment of Veda's performance. Their lead singer was a cute little girl with a hell of a voice and great guitar playing skills. The bass flew like a river, and yet perfectly adding that bottom layer to the music. The lead guitar player hit every note with grace showing his years of ability. They lit the club a fire with melody. What was important to me was the sole fact of the band keeping my eyes glued to the stage the entire time. I give them two thumbs up. This band will not disappoint.

After the phenomenal performance from VEDA I was anxiously awaiting the arrival of A THORN FOR EVERY HEART this five- piece from Chino Hills just recently got done this years van's warped tour and were ready again to show the people what they were made of. They came out pounding away!!! The guitars always amazing!!! The bass always precise!!! The drums keep only the finest of beats!! Last but not least the lead singer with his stage presence and amazing voice threw the crowd into a frenzy(well at least up front). I have seen this band three times and every time that I have seen them they have never ever disappointed me once. I have always loved every minute of their shows. If you want to get your moneys worth go and check them out. Good music like theirs deserves your money. A THORN FOR EVERY HEART were nothing short of amazing and after their last song the place was hotter then my car in summer with the windows rolled up. After catching my breath and taking notes for about twenty minutes I went back in to see the headliner this evening. A STATIC LULLABY hit the stage and hard to. The crowd was screaming their name the minute they walked on. A STATICE LULLABY kept the same energy up all night not once showing signs of slowing down. The crowd was frantic and repeating every word that was sung into those silver mics. The musicians causing the fray were sweat soaked and only getting louder and harder. Their lead singer sung every word with conviction and power. The guitar players displayed award winning musicianship while never stopping the rock. I was impressed I walked out of the show with a smile on my face. A Static Lullaby was as good as they come and I wasn't surprised that so many people came to see them.

The English Beat
The Skeletones
The Culprits
Kandace Brie & HeartsAcrossAtlantis
September 10, 2005 @ the Coach House (San Juan Capistrano, CA)
By Joe Licavoli

I had never been to the Coach House in San Juan Capistrano, Calif. so I was not sure what to expect. When I got to the venue I was surprised that the outside of the building was fairly small and somewhat hidden, however when I walked in the place was much larger. It was filled with tables and people eating dinner as the first act Kandace Brie & HeartsAcrossAtlantis were playing to the packed crowd. The people that worked at the venue were great, the sound and the lighting were amazing, but the fact that servers were walking through trying to get people dinner as I was trying to watch the bands became quite annoying. Well, other than that the show was remarkable.

Seventeen-year-old Kandace Brie and her band HeartsAcrossAtlantis were very impressive. The young singer/songwriter had a great voice and incredible stage presence. Brie explained that she had been writing songs and music since she was 12 years old, which made her well crafted music even more engaging. Switching from guitar to piano Brie belted out melodic rockers such as "Someone Else". I feel that Kandace Brie & HeartsAcrossAtlantis will be making waves in the music industry soon as there was a tremendous buzz surrounding the young talent and her band.

The mood quickly changed gears from the mellow easy listening rock of Kandace Brie to the full-throttle ska-punk of Orange County's The Culprits. The band blasted on stage overflowing with energy as the band's singer asked the crowd, "Ready for some ska?" Well, the audience must have been ready because the band got a very good response from the people in attendance (who looked to me mostly in their 30s to 40s and above.) Combining pulsating upbeat ska and assaulting punk rock The Culprits proved to be a strong new force in the ska-punk music scene.

Blasting onto stage were Southern California third-wave ska originators The Skeletones. . I have not seen the band in a long time but the guys did not let me down. The group contained a full horn section, a couple guitars, bass, keyboards, and drums, so needless to say the Coach House stage was packed. The band ran through a wide range of songs, mostly coming from the band's new album, BUMP, which showed the band can definitely deliver strong harmony driven tunes combining rock, ska, punk and reggae. Vocalist and trumpet player Jonas Cabrera proved he was an incredible front man making sure to keep the audience's attention while delivering pulsation and melodic vocals. The Skeletones jumped from the old stuff with "Your Very Own Paradise" from 1992s self-titled album to the band's 1999 release 2K SOLUTION with the song "She's Alright", and a ton of songs from the new record. I was not completely familiar with the band's set because I have not heard the newer material. However, the band showed their ties to the Southern California music scene playing two incredible Sublime covers with "5446 That's My Number/Ball And Chain" from 40 OUNCES TO FREEDOM and "Seed" from Sublime's self-titled release. The Skeletones put on an amazing set and it was great to see the band. The group have been consistently making creative and innovative music for many years. Do yourself a favor and check out the new album BUMP and the band the next time they play your town. For more information check out theskeletones.com

After a long break the headliner of the night hit the stage-one of the originators of the 80s' ska revival as British bands crashed into America-The English Beat. It was truly a superb experience to see The English Beat. The band played a set chock full of rocking tunes from the classic, "Mirror in the Bathroom" to the danceable "Best Friend". The English Beat have such intensity in their music it's like watching a punk rock band playing a combination of ska and 80s' rock. Front man, Dave Wakeling had an incredible presence on stage chatting with the crowd one minute and jamming out for over five minutes the next as on the song "I Confess". As the band jumped into the cover of Smokey Robinsons' "Tears of a Clown" Wakeling explained that he does not get into politics but he said, "the tears of a mother in London, the tears of a mother in New York, the tears of a mother in New Orleans, the tears of a mother in Baghdad". Although not the most eloquent the statement, this made me think of everything that has happened in the past five years in the world and also in regard to the United States as a country-truly frightening. Outside of the quick political opinion, The English Beat played an extremely energetic blend of songs as a small group of people on the side of the stage danced feverishly. Alongside bands like The Specials, Madness, and The Selector, The Fnglish Beat was a strong force in bringing the sounds of 2tone and British ska to the States and thankfully they did. I would urge anyone to check out the band's live set and pick up a copy of the 2001 release, which was a best of collection, BEAT THIS! THE BEST OF THE ENGLISH BEAT.

GODS & HEROS OPENING:
PERISH
THE CLAMOUR
CATALYST
ODD PROJECT
September 24, 2005 @ Gods & Heros (Costa Mesa, CA)
By Brendan Peveril

When I heard about the party being thrown for the grand opening of Gods & Heros [sic], I had no idea what to expect. The evening was to include a fashion show, photography, catered food and drink, and live music. If anything, though, the mixed message being sent by the party seems to be a good indication of what we can expect from Gods & Heros, a combination hair salon/art gallery/photography studio where they also do fashion and makeup design. They're setting up a recording studio, too, but it wasn't ready for the public at the opening. The 5,500-square-foot facility houses everything spaciously, and the parking lot in the back afforded a comfortable venue for the fashion show and live music. The building is right next to the Lab and Camp; and Alec and Michelle, owners of Gods & Heros, are hoping to be a part of that same creative community.

The festivities got started with the fashion show. The outfits were designed by Michelle from clothes supplied by the stores of the Lab and the Los Angeles designers Black Heart Brigade and The Cinch. We were presented with futuristic avant-garde looks at an eclectic mix of styles, from torn denim and biker boots to acrylic sweaters and mini-skirts. Likewise, the models' hair and makeup had that "seems unlikely today until I see people walking around like that tomorrow" feel. The models (furnished by Next Models, by the way) all seemed well-dressed, -made up, and -hair-styled to me . (That's a dubious vote of confidence, at best-but even people who know more about fashion than I do were impressed.)

The first band to take the stage, Perish, was an enthusiastic punk act with heavy post-death-metal influences. They were energetic, and the crowd-at least the part near the stage-was loving what they brought. Their set was too short, though. While Perish's angry vocals and hard, crunchy guitar lines were a good start (and an interesting foil for what was to come), I would have liked to hear them play all night.

The Clamour sounded like The Rolling Stones might have if The Clash had happened 20 years earlier. Their amped-up '60s Brit-pop vibe was complemented-almost a little too much-by their "Stones on Sullivan" look. They were really good, though. The Clamour is a fantastic band technically in a way that often leaves an audience in the cold, but the crowd fucking loved them. They even managed to lure a few people from the small talk and schmoozing half of the party. With Chris Bradley of The Distraction on guitar and members of The Phantom Surfers, The Fuzztones, and The Checkers, these kids are destined for local-legend status, if not more.

Catalyst was another story altogether. He promised us some "underground hip-hop like we'd never seen," and I guess that's what we got. By the time he got to the stage, though, the party had started to dissolve, and the stragglers weren't interested. Even when Saint Nicholas joined him, there was no way he could rock that set. The beats were good and the rhymes were smooth, but even the best performer's going to come up short in front of a crowd that cold. I'd really want to see Catalyst in front of a real audience before I pass any strong judgment one way or the other. I'm lukewarm about his set-but I'm not sure it's his fault.

Odd Project pulled it out, though. Faced with an imaginary audience (almost everybody had gone home-although this one drunk dude was very enthusiastic about them), they still managed a decent set, and they closed the show with a bang. They played great. Everything was tight and together, sounding kind of like My Chemical Romance with an experimental, less-mainstream, vibe. Their songs weren't all great, but I'm expecting big things from them in the future.

Perish

All told, the party was successful; and any future events at Gods & Heros should be worth checking out. As far as their other offerings go, without seeing the work they turn out, there isn't much to say about photography and recording studios when they open. They looked the business, though. The art gallery was worth a glance. It showcased local painters and had one fixture that Alec was particularly proud of: an interactive wall displaying artwork associated with local musicians that played their music on demand. Gods & Heros reminds me of other attempts at facilities that try to please everyone...and too often end up creating screwed-up little shops that want to be all things to all people, sending mixed messages to the public without ever really being sure about what they are. While that usually makes for an awesome vibe while it lasts, it's almost always very short-lived. Rather than a mixed message, though, they're sending a fuzzy message here. Instead of trying to make Gods & Heros into something that is all things to all people, Alec and Michelle are building a platform from which they can do whatever they want. It's every creative mind's dream, and it's punk rock as fuck.

Perish
Doc Holiday
The Sancitified
Years To Come
As The Blade Falls
13 Killings
Hogue Barmichael's
25 September 2005
by Brittany Zane

Why are all these morbidly obsessed, heartbroken, yet violently angry bands multiplying like catholic rabbits in Orange County? All cynicism aside, this musical movement is pulling quite a lot of serious attention, these kids are quickly finding their niche in OC's already crowded scene. Breakthru Entertainment's Eric Dill has been aiding this phenomenon by putting together local metal core shows that has no problem filling a venue on a Sunday night.

Perish's show at Hogue Barmichael's seemed to be a sort of miniature tour of Orange County's emerging hard rock talent, via bands covering every area. 13 Killings gave us our first taste with mixed representation from the neighboring cities of Santa Ana and Tustin. Their sound indicated obvious talent and energy, but lacked song writing experience. Simplistic, predictably timed breakdowns, combined with done before high pitched screamer paired with a low growling back up vocalist. Although the crowd didn't seem to mind and kept moving through every song. Adding a little more variation, like more of the amazing organ notes and maybe adding in a sing-a-long or monologue, would improve their music greatly. Check out their myspace for MP3s and upcoming shows: Http://www.Myspace.com/13Killings.

I'd love to also be able to say that about the next band, As the Blade Falls, but I really can't bring myself to. At least their name prepared me for their lack of originality. This Huntington Beach based quintet put more attention to looking the part rock stars, than actually being able to play music. Looking like you have rock and roll coursing through your veins doesn't make up for lack of talent. Not even the consciously groomed, yet adequately disheveled lead singer's regulation front man haircut can mask his lack of singing ability. The instruments just kind of went off on their own path. I couldn't even really identify a stable beat at any time. The danceable parts were pointless, as the rhythm changed entirely too quickly to make any full movements. They don't seem to understand that playing music that is simply loud and snippets of cliché hard rock noises appeals mainly to 13 year old boys in desperate need of attention. I'm a fan of hard music; I think that sometimes the tone of a scream can say more than the words. There was no soul in what I heard. Despite all their effort exerted, had no intensity. To have a good hard rock song, it needs to be made from your passions and convey emotion your listener can relate to. They appeared to have some fans, so maybe I'm wrong. There's no way in hell these guys would be without a myspace. (Http://www.myspace.com/AsTheBladeFalls)

To add insult to injury, the next band is probably the most promising hardcore band I've seen in a while. Maybe it's the fact that they're from one of Orange County's less superficial cities, Westminster, that gives them the ability to capture your attention with their powerful sound, yet not really sound like anybody else in particular. More of an old school sound can be found in their music, with passionate, intelligible lyrics, and strong drums. I recommend checking out this band's myspace (Http://www.myspace.com/YearsToCome). If you're into music that gets a positive mood pumping and is driven by conviction, or if you just like stuff that simply "sounds good".

After the first three bands had been so vastly diverse, I was wondering what "The Sanctified" would bring. Of course, with a typically metal sounding name, they played ultra heavy metal music that basically sounds identical to every other hard metal band. I noted it as being good for being drunk and up to no good. With deep growling, shamelessly heavy guitars, and drumming with such senseless force that how a rhythm can be sustained is almost impressive. This band succeeds where As The Blade Falls failed. They are senseless noise, but at least it's obvious that there is emotion fueling the energy. It wasn't until I read their lyrics on their myspace (Http://www.Myspace.com/TheSanctified) that I realized they were a Christian band.

Apparently the next band was Doc Holiday, I unfortunately didn't catch their set... however I was fortunate enough to catch headliner Perish. After all of this nubile flesh, the crowd was obvious more than ready for their main course. Don't take the self proclaimed "boy band of hard rock" lightly. Though diverse in talent and influence, each of Perish's five members is a south county hardcore veteran and has ate, breathed, and lived rock music for years, almost a decade in a couple cases. They are seasoned rockers with the multitasking ability to charm the panties off females and still inspire a sea of thrashing on the dance floor.

A unique feature of the group, and one of its biggest draws, is the fact that their heavy riffs, pissed off screams and rock showmanship are contrasted by actually singing raw emotional lyrics and melodic notes rarely seen in this male dominated scene. Davey Lin is working double duty to keep the melody stable, backing up Schwede's lead vocals and playing lead guitar. Joining Lin on rhythm guitar is Tyrone. Bassist Justin Jolley, with musical influences ranging from unlikely groups like Murder City Devils to hardcore legends Converge, is the heart of their harder edge. That would make David Harvey, a.k.a. "Harvey", its soul. Without over powering the intense emotion in the lyrics and melody, the baseline adds rock and roll. Despite the downer subject matter of the music, these two keep the crowd rocking to the infectious beat.

This night, the boys took stage as their haunting intro reeled in the crowd and then exploded into the romantically titled "Voir Voir", followed by "Our Sin". Mid-way through the set, Perish threw in their wildly popular "Sounds of Trains". Probably the best example of their ability to fuse emotionally charge lyrics fans can relate to with a rock beat they can move to, to keep the subject matter from getting too heavy. If that isn't enough, the song's catchy chorus is easy to sing to and keeps the crowd involved. The next song was new and untitled as of yet, seemed to mellow everyone out, with little else to do but listen, much of the crowd hung on every unfamiliar note. The short set was ended with the appropriately titled, "Till We Say Good Bye". Although not quite as popular with the crowd as Sounds of Trains, most of the crowd still seemed to give their all for the last song of the evening.

Perish's music isn't quite comparable to other bands, as their sound is a unique blending of styles. No matter your taste, these guys put on an intense show and give 110% of their energy for the crowd. For now, check their myspace (my computer has been giving me problems using the internet and I couldn't get to it... can you please get the URL?) for band pics, mp3s, and tour dates. In the near future, PerishRock.com will service all your Perish needs.

AS CITIES BURN
GYM CLASS HEROS
GATSBYS AMERICAN DREAM
EMERY
September 25th 2005 @ Troubadour (Hollywood, Ca)
By Ian Wilkins

I wonder about Sunday night shows? Weren't Sunday nights invented to sit at home and relax? Taking a break after a long weekend of binge drinking and sleep depravation? Those thoughts don't seem to be the case tonight. In fact as I lay my throbbing head on the glass of the Troubadours VIP loft all I see is a packed show. Damn all you non-alcoholics...damn you to hell.

Due to the fact that yes, I am a raging drunk, I couldn't seem to make it to the show in time to see the first band. So I am sad to say I cannot make a fair judgment whether As Cities Burn was a good or bad band. In the future I promise I will only review shows wasted and never hung over.

I can however say that Gym Class Heros made my head hurt more than the ride down Laurel Canyon (It's a really curvy road leading into Hollywouldn't). Was it music or just another poetic fool who decided his soap box needed a beat? I'm voting for the box one on this. The drums were the same from rambling to rambling and Mr. Guitarist had big eyes but little skill playing the stringed instrument. They did have a bassist...I think. He just kind of plucked away in the corner looking kind of sad. Maybe it was because he was stuck in the shitty ass group. So, sorry to all the fans of Gym Class Heros your messiah is just another mess in my opinion. I might have taken more of what he said seriously if he didn't grab his cock every two seconds.

The rest of my review will be written to the tempo of the Vandals "Pat Brown". (Bum-Ta-Bum-Ta) Gatsbys American Dream is (Bum-Ta-Bum-Ta) just another half way there band. They make me want to scream "What has happened to originality". I'll be happy to tell you. It's the fucking Troubadour on a Sunday night. Anybody that might be original is more than likely in the emergency room after a major drug overdose. That doesn't mean Gatsbys American Dream was a horrible band I'm just saying they could definitely use some room for improvement. The lead singer with his "fraternity" looking white polo shirt did dance around the stage awfully well and they did play a song called "Fable" that I took notice to. A little bit heavier that your normal Los Angeles rock band but definitely no Minor Threat. I'm sure you can find out all about them on there Website or at their Myspace page.

It seems that my favorite band of the night was Emery and from the looks of the a million screaming kids it was theirs too. 23 minutes after the band before them left the stage the lights dim. Then POW Emery takes the stage like a convict takes another in the shower. Emery is six guys who unlike the other bands before them look like they might have actually done this before. Adorned in western clothing that was way to small for them Emery had the "style". More importantly they could play those damn instruments and play them they did. Each member of Emery could have quite possibly been born with their instruments. I can't remember the last show where you have that many members and if you lost just one then the whole band would turn to shit. The Mad Caddies come to mind but then again when don't they. It's hard to describe the type of music Emery played but if I had to put them in a category then I might say old Red Hot Chili Peppers with a bit of Tijuana donkey fucking. Emery's set lasted more that 45 minutes and each song had more punch then the previous one. It was almost good enough to make me forget my poopy feeling...almost. Put Emery on a better bill and you might have the makings of a great show.

I might be a little disgruntled about the evening due to the fact that I was incredibly hung-over and it was a fucking Sunday. But, to be totally honest I am so completely wasted as I write this that I don't really care what you people think. Thanks and have a great day.

Tail Dragger
Societies Paradise
13 Dead End Drive
Viernes 13
Left Alone
September 13, 2005 @ The Troubadour
By: Audiophile

This was my first time to The Troubadour, why? Well...I was always told it was 21+ so I never bothered to try and get in, only recently (well okay...this very night) did I find out that it was only 21+ for re-entries. Don't I have egg on my face? Not that I'm UNDER 21, it's just that most of my friends that like ska are. In fact I spent most of this night at the bar, drinking. Alcohol is my friend.

Anyway, the first band to hit the stage was Tail Dragger, and from what I heard, was an average friend-of-a-friend's band you go to see when you have nothing better to do. Actually, Societies Paradise was about the same. To each their own though, I could be totally wrong in your opinion, so give them a listen for yourself, I wasn't able to find anything for Societies Paradise but I did find a myspace for Tail Dragger, www. myspace.com/taildragger.

Next up was 13 Dead End Drive, named after a board game I believe. I don't really remember playing it but perhaps you do...? Oh well, anyway, I enjoyed them for the most part, nothing really stuck out in my mind as I was listening to their music (from the bar with a drink), but you should check them out none the less. Where would you check them out? I'm not really sure, I searched the web AND myspace for them and all I got was a board game and some metal band from Indiana. I don't think these guys were from Indiana. Then came Viernes 13, which I also semi-enjoyed. Half of their songs were in Spanish though...and I don't really SPEAK Spanish so...I didn't know what they were saying. Not that you can usually understand what a singer is singing live, at least not at the concerts I go to, so it really doesn't make a difference now, does it? So if you enjoy rockabilly sung in Spanish...check these guys out at www.myspace.com/Viernes13. NO I am NOT a myspace freak, it's just easier to find bands on there than it is on the whole of the internet.

Finally, it was time for Left Alone, I've loved this band for a total of four months now, ever since I got my hands on their newest release, LONELY STARTS & BROKEN HEARTS on Hellcat Records. I only wish I had discovered them sooner, they're one of the best new punk/ska bands I've heard, hell, I'm not even a big ska fan and I still love them. They played a great show, singing two of my favorite songs off of the album of theirs that I own, "Another Feeling" and "Dead Red Roses". They also looked very sexy that night, especially Rick the bass player and the horn/synth player Noe, he got a new due just for the show, at least...I'd like to think he did. He didn't have anime hair the last time I saw him. Not that Elvis and RamRod aren't hot shit either, really, they are. I just told Rick and Noe I'd say something about them being sexy in this review, so don't be hurt guys. The crowd really got into the show, one drunk guy who knew all the words to their songs (or at least thought he did) hopped up on stage on two or three different occasions to help them out vocally adding some much needed drunken stumbling to Left Alone's set. Everyone, and I do mean EVERYONE, that has read this review must now go check this band out at www.leftalone.net. Do it! Do it now!

SHONEN KNIFE
NU-TRA
THE IDAHO FALLS
THE DOLLYROTS
September 3, 2005 @ the Troubadour (West Hollywood, CA)
By Jeff Penalty

12 years ago, I, like many of you, fell in love with Shonen Knife's album LET'S KNIFE, but in all this time I never managed to catch the band live. When I heard about this show, I found myself thinking that it would be fun but wondering if the band's novelty would hold up after all this time. Short answer: no. For the long answer, read on.

I'm a little disappointed in myself for arriving late and missing The Dollyrots. Having seen them numerous times, I feel confident in saying that I missed an infectious, Peeps-sweet pop-punk set from the recent Panic Button Records signees. In attitude and sound, they were the perfect choice to open for Shonen Knife, so I credit them with sufficiently warming up the crowd. Good job, guys!

I missed The Idaho Falls, too, but mostly because I was talking to Ian and Paige and Colin outside. I heard them through the doors, and they really didn't sound like my bag, so I figured I'd stay outside and give them a pass rather than go inside, not like them, and then talk shit about them in this review. I'm nice that way.

Nu-Tra, however, was as much the main attraction of the night as Shonen Knife (both for me and for their sizable local following), so I was front and center for them. If you're upset that Devo doesn't play a local club gig every other week, cry no more, for there is Nu-Tra. Giving the word "devotees" an entirely new meaning, Nu-Tra (short for "New Traditionalists") presents the most grandiose synth-punk show in town, complete with keytars, cheerleaders, screen projections, and matching spiffy jumpsuits. Go see them and you'll swear that you've entered a time warp and traveled back to 1981...or forward into 2181. Despite a handful of technical hiccups-an inevitability when you have a veritable mountain of circuitry on stage-Nu-Tra easily won over the crowd with their high-energy (yet completely deadpan) new-wave cry of resistance to stupidity. They wrapped up their set with the lead singer donning a cycloptic George Bush mask and cowboy hat and the band's cheerleaders squirting soap bubbles and tossing inflatable globes into the crowd-all while performing an upbeat number called "The World's Got Problems". At that point, I think every member of the audience would have agreed that they'd gotten their 15 bucks worth.

Especially since Shonen Knife would soon prove that Nu-Tra had completely shown them up. Shonen Knife's songs were performed with undoubted earnestness and genuine smiles-but relatively little showmanship. The hardcore fans seemed to eat it up, but most of the crowd was unmoved. I had hoped that I would be pleasantly surprised by their performance, but my prediction was accurate: the novelty had worn off years ago. It was fun to hear four or five songs from LET'S KNIFE again, but I found myself wondering, "Do they still speak in such obviously broken English after 12 years of touring the world?" If so, that's strange; if not, then they must realize how silly they sound and are just faking it. That kinda sucked the fun out of a lot of their material.

Not the best show in the world, but at least Nu-Tra played a great set; and at least my curiosity about Shonen Knife is finally put to bed.

CITIZEN COPE
COURTNEY DOWE
September 21, 2005 @ the Paradise (Boston, MA)
By Carley Charpentier

Just about an hour after the doors open, piles of fans are still filing into this sold-out show, while loud top-40 music strums through the speakers. While sifting through the crowd of mostly Boston University undergrads and the few random 50-something men who claimed to be "Citizen Cope's oldest fans," I was surprised to look up at the stage and see that Courtney Dowe had already begun playing. I had no idea what to expect from Dowe and was surprised by her live sound being so clear. Initially, I mistook it for a recording. She followed her opening song "On the Rise" with a soulful rendition of America's "A Horse with No Name". About midway through her set, the crowd suddenly woke up. Perhaps the extra hundred people who arrived during her set had something to do with it. Before you knew it, fans were dancing and heads were bobbing. This one-woman guitar dynamo stood in front of a finicky audience in a pair of khakis and a pink "got love" T-shirt, pouring energy and effort into each of her songs. While her tunes were very mellow and feminine, the liveliness of the crowd and the jazzy sound she was producing complemented each other well.

The crowd is amped, the mood is relaxed, and the show is running right on time...until the hour-long break between Dowe's set and Citizen Cope's entrance. In a few cases-when there are other attractions for the crowd, when the show is so intense that an hour is almost necessary-a break that long only seems like a 10-minute breather; but in the case of a mellow show like this one, such a break turned into nap time. If the hairy guy behind me (who was obviously there in an effort to impress his lady friend) yawned on my neck one more time, I might have asked him if he needed a pillow and a blanket. Just before I made a beeline for the exit, Citizen Cope emerged onto a blue-lit stage, his hair pulled into a bun and donning simple blue pants and a grey shirt. Given the recent tragedy of Hurricane Katrina and her sister Rita, Cope symbolically began the set with his song "Hurricane Waters", during which the crowd carried the tune. The song was appropriate and quickly had me forgetting that I just spent an hour of my time with a mouth-breather behind me. It was during this song that I was able to actually sit and appreciate the true musicianship that Cope has to offer. It's really amazing when you see a show and the vocalist is just as great live as the polished final version. Song after song, the crowd swayed or thumped with the music, especially once Cope reached "Bullet and a Target". After playing a few of his better-known songs, the crowd's attitude and liveliness began to change. During songs like "If There's Love", the clanking bottles and chatty groups of friends slowly began to drown out the tune. At one point, Cope was singing a song with very little instrumental accompaniment, and the words were next to inaudible over the drunken audience. Only during songs with a bit more energy and movement did they seem to acknowledge that they were at a concert and not at a club. But there wasn't a face in the crowd looking away from the stage when Cope broke into "Son's Gonna Rise". The intensive instrumentals blared through the speakers, shocking each person into automatic awe and moving the crowd together in a mysterious way. As if to lull the crowd back to the near-comatose state they'd been in before his set, Cope finished with a few mellow tracks, thanked the crowd, and sent the sleeping babies on their way.

U.S. FAT WRECK TOUR:
THE EPOXIES
September 27, 2005@ the Metro (Chicago, IL)
By J. Wallace

A shit sound system, plus 20 rows of motionless, befuddled zombies glaring away behind four rows of energetic Epoxies fans, plus a band that grew increasingly irritated at the lackluster response by Chicago cretins. All this SHOULD add up to a lousy show; fortunately for those who love Portland's The Epoxies, the experience was anything but.

Singer Roxy Epoxy is probably destined for a solo album in the next two to three years. In spite of malfunctioning monitors and badly-mixed vocals, her performance had what many of her peers lack: a large amount of frenzy coupled with the iron control and discipline of David Bowie or Peter Murphy. The group plays at being sloppy on stage, but if you ignore the cheesy-on-purpose antics of keyboardist FM Static and company, you'll hear tightly-wound songs that start and stop on a dime and drumming that rivals old Chicago favorites Naked Raygun for precision and speed.

The night was full of instant Epoxies classics, such as "Bathroom Stall", "Need More Time", and "Synthesized". Guitarist Viz Spectrum and bassist Shock Diode hammed it up in striped pants and great, cornball hair-metal poses. The best part of the show was something nobody really noticed: the absolute professionalism of a band that presents itself as a "Fuck you-we're new wave/punk" outfit. Some mixed-gender bands end up degenerating into some kind of sex showoff onstage. Somebody is always getting dry-humped from behind, or the Madonna-style burlesque poses come trotting out midway through the show. The Epoxies never went there. Instead of relying on sex clichés, the band concentrates on new-wave style, complete with wrap-around shades, guitar-mounted lasers, and MAD MAX clothes. It's a real blast of fresh air to see a group that uses its collective imagination instead of the tired old sex fun and games to get pulses pounding. Roxy Epoxy needed no help keeping all eyes glued on her. Her onstage contortions looked almost tribal at times. She was all rolling eyes and flying elbows up and down the footlights. But a real problem with the set was something the band had little control of: sound levels. The Metro has audio difficulties in the pas (including some nasty feedback during Peter Murphy's summer concert). The Epoxies had the same trouble in nearly the same spots on stage, only for this show there was no feedback, just a big, empty hole where the vocals ought to have been. The band was irritated by both the technical problems and the lack of response from much of the crowd; but they delivered the goods, anyway. Those who knew the songs ignored the on-again, off-again microphone, and Roxy Epoxy turned up the volume on her physical presence. Overall, an excellent presentation with high-energy songs that reproduce well in concert.

Chicago was just one stop in The Epoxies' ambitious tour. They are scheduled for a slew of dates with The Soviettes, Smoke or Fire, and headliners Against Me! that take them all the way to Fargo, ND, and back down to San Antonio before heading to Canada. If you live along the Fat Wreck tour route, do NOT pass on seeing this show.

CITIZEN COPE
COURTNEY DOWE
September 21, 2005 @ the Paradise (Boston, MA)
By Carley Charpentier

Just about an hour after the doors open, piles of fans are still filing into this sold-out show, while loud top-40 music strums through the speakers. While sifting through the crowd of mostly Boston University undergrads and the few random 50-something men who claimed to be "Citizen Cope's oldest fans," I was surprised to look up at the stage and see that Courtney Dowe had already begun playing. I had no idea what to expect from Dowe and was surprised by her live sound being so clear. Initially, I mistook it for a recording. She followed her opening song "On the Rise" with a soulful rendition of America's "A Horse with No Name". About midway through her set, the crowd suddenly woke up. Perhaps the extra hundred people who arrived during her set had something to do with it. Before you knew it, fans were dancing and heads were bobbing. This one-woman guitar dynamo stood in front of a finicky audience in a pair of khakis and a pink "got love" T-shirt, pouring energy and effort into each of her songs. While her tunes were very mellow and feminine, the liveliness of the crowd and the jazzy sound she was producing complemented each other well.

The crowd is amped, the mood is relaxed, and the show is running right on time…until the hour-long break between Dowe's set and Citizen Cope's entrance. In a few cases-when there are other attractions for the crowd, when the show is so intense that an hour is almost necessary-a break that long only seems like a 10-minute breather; but in the case of a mellow show like this one, such a break turned into nap time. If the hairy guy behind me (who was obviously there in an effort to impress his lady friend) yawned on my neck one more time, I might have asked him if he needed a pillow and a blanket. Just before I made a beeline for the exit, Citizen Cope emerged onto a blue-lit stage, his hair pulled into a bun and donning simple blue pants and a grey shirt. Given the recent tragedy of Hurricane Katrina and her sister Rita, Cope symbolically began the set with his song "Hurricane Waters", during which the crowd carried the tune. The song was appropriate and quickly had me forgetting that I just spent an hour of my time with a mouth-breather behind me. It was during this song that I was able to actually sit and appreciate the true musicianship that Cope has to offer. It's really amazing when you see a show and the vocalist is just as great live as the polished final version. Song after song, the crowd swayed or thumped with the music, especially once Cope reached "Bullet and a Target". After playing a few of his better-known songs, the crowd's attitude and liveliness began to change. During songs like "If There's Love", the clanking bottles and chatty groups of friends slowly began to drown out the tune. At one point, Cope was singing a song with very little instrumental accompaniment, and the words were next to inaudible over the drunken audience. Only during songs with a bit more energy and movement did they seem to acknowledge that they were at a concert and not at a club. But there wasn't a face in the crowd looking away from the stage when Cope broke into "Son's Gonna Rise". The intensive instrumentals blared through the speakers, shocking each person into automatic awe and moving the crowd together in a mysterious way. As if to lull the crowd back to the near-comatose state they'd been in before his set, Cope finished with a few mellow tracks, thanked the crowd, and sent the sleeping babies on their way.

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