September 2004 Live Reviews (scroll down to read all of them)

Piebald
The Jealous Sound
Northstar
June 16, 2004 @ Chain Reaction (Anaheim, CA)
By Jessica Rihal

Once I made my way through the half-full venue and forked out two bucks for a generic orange slurpee, I realized that I had already missed the first band, Down to Earth Approach. Sorry, guys. I'm sure you rocked.

When I arrived, I was expecting to see a few mediocre bands before the main act, Piebald, so I was caught off guard when I arrived to see most of the young crowd engulfed in Northstar. Northstar is a band consisting of four talented young men who call Huntsville, AL, home. They play a poppy, upbeat rock that will be sure to satisfy anyone's harmonious cravings. Northstar played a tight set unfazed by the lack of audience participation. The fact that the audience was even watching instead of outside smoking designer cloves was a miracle. Northstar played several songs off their sophomore release, POLLYANNA (on Triple Crown Records).

The Jealous Sound took the stage as more kids started to fill the small venue, raising the temperature at a steady rate. Standing towards the back of the crowd, I could see that this band had a few loyal fans singing along to every word and dancing in place. Hailing from Los Angeles, The Jealous Sound is what I call a CD band. They're great musicians and sound awesome on CD, but when you get to see them live, you can't help but be a little disappointed. They play very well live and everything sounds great, but they are boring. I wanted them to be good, I really did, but the truth is that they put me to sleep. Despite the relentless touring that TJS has done with a plethora of amazing bands, there is always something that is amiss when I see them perform. Regardless, check them out for yourself.

After what seemed like an eternity, Piebald finally graced the anxious crowd with their permeating presence. The first song was "Long Nights" off of their WE ARE THE ONLY FRIENDS WE HAVE full-length. As soon as the opening chords were played, the audience yelled out the lyrics "Long nights, hard times / Everything that makes you feel tired" in unison. Singer Travis Shettle's slightly unusual singing voice translates the emotion and comedy of the music that is Piebald perfectly. Piebald played a perfect blend of old songs and new ones off of their latest effort, ALL EARS ALL EYES ALL THE TIME. Once Travis broke out the keyboard, the band played an extremely satisfying and memorable rendition of "Haven't Tried It" (complete with kids from the audience on stage dancing around and singing). Piebald's 14-song set seemed to come effortlessly. As an encore, the band took requests, and as a result, "Grace Kelly with Wings" was played, to the audience's delight.

If you get a chance to see this amazing band, I suggest that you run, jump, skip, or whatever you need to do to get to the show. Trust me, you will not be disappointed.

7 SECONDS
PIPEDOWN
RED TAPE
June 20, 2004 @ Chain Reaction (Anaheim, CA)
By the Jeff Penalty

With all the killer shows I've been to lately, I keep thinking that eventually my luck will run out and I'll go to a show where I'm totally bored and nothing good happens. Not tonight, though. Not by a fucking long shot.

I'm sad to say I missed Red Tape's entire set due to a guest-list snafu, so I offer my apologies. From outside, they sounded okay. Fast, loud, hardcore stuff. My friend Jenny said they were "fine," which is a pretty big compliment coming from her. Then again, we disagree on a lot of things where music is concerned, so who knows?

Pipedown opened for Anti-Flag at the last amazing show I went to, so I was looking forward to seeing them again. At that show, it took them a little while to get warmed up, but at this show they hit terminal velocity the moment they hit the stage. I have but one complaint about this band, and that is the singer's lack of inventiveness when it comes to stage banter. A lot of "Is everyone having a good time?" and "How's everybody doing tonight?" kind of comments. Other than that, the guy has an undeniable stage presence, and the band gives a good name to new school hardcore. If I had to offer some constructive criticism, I'd say work on the between-song speeches. Just trying to help!

The crowd packed in tight as 7 Seconds prepared to take the stage. I figured most of the crowd would be a bit older, and that it would be smaller, considering the band hasn't put out any new material in a long time; but I was pleasantly surprised to see that the band still gets the respect it deserves from the kids, who filled the place and knew every word. I got as close to the stage as I could, desperate for a chance to "whoa-oh-oh" along with the band. I was slightly skeptical about what kind of performance they'd be able to deliver, not having toured in over three years and being, well, kinda old (I mean, let's just be honest); but my skepticism was pulverized out of existence by the end of the first song. The set was full of classics from THE CREW and WALK TOGETHER, ROCK TOGETHER, as well as scattered tunes from other albums (including their newest, which is slated for release this fall). For longtime fans of the band, the new stuff sounds very promising, a return to the sound that made them great in the first place. Where the hell do they get the energy? Maybe it's all that coffee Kevin's been brewing lately.

Chain Reaction has a well known "no stage-diving" policy, but tonight it was resoundingly ignored by crowd and the staff alike. The place just went off, plain and simple. I think everyone in attendance was equally blown away by the power of the performance. At the end of the night, the band treated us to a hard and fast two-song encore, for which I could barely stand. But I figured that if the band has the energy to dish it out, I'd better find the energy to take it. So back to the front I went with my fist in the air and my lungs on the verge of collapse as I sang along: "Use your?head! Be?aware! Give?a?FUCK!!!" I was completely worked by the end of it all. I was fully drained of all emotional and physical energy. I was sore and bruised. I was drenched in sweat. I didn't fully catch my breath until I was halfway home. It was not unlike getting off a roller coaster. And wanting to go again. It was as though 7 Seconds had been hanging out up on Mt. Olympus, allowing us mortals to entertain ourselves with our pathetic attempts to make music, and then, like the Zeus of hardcore, they descended upon us with the thunder and lightning of this show to remind us how it's really done. I remain in awe.

TIGER ARMY RECORD-RELEASE PARTIES
July 10 & 11, 2004 @ House of Blues (West Hollywood)
By Annette Ovanessian

A few quality nights would do me some good, since I've been working like hell, sleeping very little, and getting a bit lazy watching all the THREE'S COMPANY mini-marathons this summer. So, what better two-nights than to help Tiger Army celebrate their smooth-flowing new album, III: GHOST TIGERS RISE? For both shows I went with my best girlfriends to enjoy looking good, drinking heavy and keeping our eyes out for some potential! Unfortunately, due to a prior drinking engagement, loss of time caused us to miss the opening acts on Saturday night (12 Step Rebels and Psyclon Nine), but fortunately I walked in just in time for Tiger Army. Shoving through the packed crowd, I was able to get right up to the front, where I enjoyed their performance in full view.

Welcoming us with their signature intro, "Tiger Army Never Die!", all hearts dropped. It was about to go off any minute! Geoff's vibrant green with black tiger-print bass immediately caught my eye, as it was noticeably colorful. Nick 13 looked focused and ready to go! As the vocals came in, I felt a wave of chills from head to toe. The feeling didn't stop there, but it continued throughout the show and got a little heavier when Davey Havok from AFI came out on stage singing along to "Power of Moonlite". From all the commotion in the audience over his appearance, I'm glad I actually got to hear him, as his voice dominated the chorus. Playing most of the favorites and evenly highlighting the new songs, Tiger Army's set was way too short for an album-release party. Playing for only one hour was a little upsetting...but at the same time, it still was my quick inspiration.

Tiger Army
Photo by Annette Ovanessian

It is now Sunday, night two. Feeling just as excited as last night, I was ready for my second hour! Thankfully, I didn't miss the opening bands, Black Rose Phantoms and Pistol Grip. They really shaped the night with action and pure entertainment. I became an instant fan!

Young and talented band, Black Rose Phantoms impressed me with each song they played. With a deep and raspy voice, the singer/stand-up bassist took the spotlight. His bass lines were incredible, as he was dropping it to the floor, sitting on top of it, and beating it up with forceful slaps. To me, their whole performance really spread psychobilly music all around the room?even more so than the crowd's extreme psychobilly fashion. Spending extra time emphasizing their musical abilities, they opened the show flawless. Visit their creepy-looking Website at www.blackrosephantoms.com for some mp3 samples.

Pistol Grip brought the crowd up to full speed. With intense energy and a hardcore stage presence, these guys exuded pure confidence. A couple things that really stood out were the amazing drumbeats and the way the vocalist Stax projected his voice directly at the crowd. With his tough smile, his rough vocals, and all the girls drooling over his good looks, Stax put a lot of focus into his songs.

Pistol Grip
Photo by Annette Ovanessian

Both of the opening bands satisfied the beginning of my night, but now it was Tiger Army's turn to hypnotize the audience with spiritual life! As the curtains pulled back and the first guitar string was heard, a special emotion poured right out of my soul. Acknowledging our attendance, Tiger Army spoke to the crowd and said, "We fucking appreciate all of you here tonight." Then they proceeded to zap us into a musical trance filled with pure harmony. When Nick 13 shouted out, "Do you want to hear some new shit, or do you want us to play our old shit that we've played over and over again?" the crowd plead for anything. Whatever song they play is like a new experience. Changing up their set from the night before, they added a few never-before-played songs! I really can't remember which songs they've never played, but I do remember singing along to all of them. I was glad they played the cover of Morrissey's "The Loop", which really showcased their skillful musicianship. "Let's wreck," Geoff said as the powerful force of the mosh pit migrated toward my little corner, pushing me into the speakers. Geoff's new bass is fucking awesome, and it really made me think that all stand-up bass players should have a uniquely designed, custom-made bass that represents their skill.

Black Rose Phantoms
Photo by Annette Ovanessian

Illuminating my whole night with soulful energy, my intense passion for Tiger Army uplifted my spirits to an ultimate high! Damn! The night went by so soon, but my recollection of the night will stay. Visit www.undergroundup.com for all the pictures of both nights.

RUFIO
THE SOVIETTES
July 17, 2004 @ the Green Door (Oklahoma City, OK)
By H. Barry Zimmerman

It all begins at the 7-Eleven on Main Street in Norman, OK. I was looking for a caffeine solution to strap on to my low-flying buzz. Through a series of comments that I can't remember, the clerk and myself were debating Ray Charles v. Stevie Wonder. I was calling Stevie Wonder a genius and referencing SONGS IN THE KEY OF LIFE as I was paying for my Monster and a dollar's worth of peanuts (low-grade protein can be a rush). I get in Mikey's car. We are ready to ride. Mikey had brought his daughter, who had brought a friend. We were listening to The Replacements' PLEASED TO MEET ME. As the youth brigade chatted it up in the back seat, I wandered down memory lane listening to those great tunes of yore. Paul Westerberg use to be my primary justifier for having no ambition (while wanting to rule the world, like KISS). Zoom.

Rufio, tonight's headliner, has been touched by the almighty lord of popular culture, MTV (bow down or be square). MTV blesses those who get in line and Rufio is in line.

As we pull up across the street from the Green Door, I can hear The Soviettes shaking the bricks loose. Annie and Sturgeon (both guitar) and Susy (bass) all sing sweet and powerfully with balls and hunger. The girls also understand the effectiveness of a breakdown and a comical stance (Susy was cracking me up with her cool hamminess). But at the heart of it, the band (including Henry on drums and guy vocals) was doing the ancient dance of rock for real. Also, their song structure is excellent. The Soviettes have great songs. The combination of guts and glory was easy to love. The Soviettes hail from Minneapolis (home of The Replacements. You can't plan this kind of synchronicity) and is on Green Day's Billy Joe's label, Adeline Records. The Soviettes have two discs out, LP and LPII. Most of The Soviettes' 40-minute set consisted of songs from their first album (also known as "The Red Album" (I love commie humor)). From that album, some of the highlights were "B Squad", "Matt's Song", and "Land of Clear Blue Radio". The Soviettes did play "Portland" from LPII, which was my favorite song of the entire evening. The Soviettes played it solid all the way. This prolific foursome is heading for profoundness. POW! The Soviettes are coming, the Soviettes are coming.

When The Soviettes were clearing their gear off of the stage, there was suddenly way more people in the Green Door. MTV at work.

Rufio is a quartet from Rancho Cucamonga, CA. The band runs through a sound check, and then the group disappears and the lights go down. The energy swept upward, and there was semi-hysterical screaming blasting from the darkness. The drums started as the stage lights went up, and then Rufio's axeman/singer ran out. The place went ballistic. The first thing that I noticed was that lead guitarist Clark Domae is a really great melodic-hook writer. The next thing that I noticed was that lead singer Scott Sellers's voice is completely unthreatening. Rufio overall was unthreatening. The group is a parent's wet dream. Rufio is yet another installment in the radio-friendly pop punk, whiney bitch rock. They (Rufio, other Rufios, and money hungry-ass clowns at MTV, record labels, etc.) have sucked everything meaningful about rock music out of the progressions and replaced them with a bland, gutless pose and posers. The game makes you all disposable. This pop squat is boy-band music for older teens that now think they rock. While I felt sick, the kids seemed to love it. Blasphemers! Anyway, the audience sang along, sounding like the stadium crowd on FRAMPTON COMES ALIVE. Very rock star. The crowd moshed and danced and smiled like god was in town. Maybe he was. Does god work for MTV now?

After Rufio had ruined my buzz and made me sleepy, I ran into Ben Snakepit, the comic book Sartre behind the punk-rock comic SNAKE PIT. He was hanging out at The Soviettes' T-shirt-and-more stand. We talked about Woody Guthrie (I had on my Woody Guthrie Folk Festival T-shirt). He showed me his Woody-inspired tattoo. I picked up a copy of THE SNAKE PIT BOOK (three years of SNAKE PIT), the newest anthology. Ben has done a three-panel strip about his day every day for years now. It's very cool. I can't stop reading it; I'm hooked. He is out on tour with The Soviettes, living his life like a comic strip character.

As far as my evening went, The Soviettes were great, and I encourage anyone interested in real rock to look them up and support original music. Rufio just sucked (for being them, another same-o emo band) and that's the way rock 'n' roll hype goes. Life lessons to be learned. Hell, some bands gotta suck so that we can tell the difference. Everyone has a purpose. Here is to those who get in line to suck. How gutless indeed. Cheers.

SONIC YOUTH
WOLF EYES
XBXRX
July 21, 2004 @ the Marquee (Tempe, AZ)
By Sarah Laidlaw

Sonic Youth is a grunge/experimental rock legend associated with New York's no wave genre, which was an offshoot of punk that focused on artistic expression and noisy experimental rock. Sonic Youth formed in 1981 as a harsh, experimental garage rock band with influences in jazz. 1985's BAD MOON RISING marked their transition into a more socially acceptable sound with the incorporation of identifiable melodies into their raw, experimental noise. Credited with helping to uphold the underground rock and grunge scenes throughout their 23-year existence, Sonic Youth has continued to tour and generate music. Their latest release, SONIC NURSE, is their 19th album. It's full of their signature experimental rock, with just enough melody to keep listeners engaged. To support SONIC NURSE, Sonic Youth is touring with xbxrx and Wolf Eyes, who complement Sonic Youth well with their own style of experimental music.

xbxrx started off the show with an exciting performance, which included a lot of screaming, the guitar and singer jumping off-stage and running around in the crowd, and even balloons! xbxrx's music is often labeled as "weird rock." The vocalist has a high-pitched, scratchy scream, and the rest of the music is rock with an offbeat funk feel. It could be related to a cracked-out Modest Mouse. They only played for about 15 minutes before Wolf Eyes started setting up their eclectic bundle of equipment, which took almost as long as xbxrx's performance.

Wolf Eyes can be described only as experimental, complete with bongs, large bendy metal scraps, a drum machine, and two microphones for the singer, one regular and one distorted. The vocals sounded much like Marilyn Manson's, and the rest of the music was an unusual concoction of sounds that belong in a haunted house or a horror movie. I was standing there wondering what was making the crowd grow and move to the music as Wolf Eyes continued their performance, when my friend turned to me and said his roommate could never play this music because he needed to live by rules. This jarred my thoughts, and I realized why Wolf Eyes and other bands like them are so appreciated: they prove that rules aren't necessary in music. They have found courage to completely ignore any rules and simply make music.

Finally, the reason all of the flannel-wearing, Cobain-idolizing 20-to-mid-40-year-olds came together under one roof tonight, Sonic Youth, strolled on stage. Sonic Youth's members have kept their grunge fashion, especially Thurston Moore, with his shaggy hair, oversized black shirt, and dirty jeans. Moore, Kim Gordon, and Lee Ranaldo took turns singing the songs, but Gordon sang the most. For two songs, she even put down her bass, as Jim O'Rourke took over that part, and concentrated on her vocal performance. She danced around like a flower child, spinning in circles, with her hands making flowing movements in the air. Watching their performance was like watching a newly formed garage band, not a 23-year-old nationally touring band. The only "special effects" were six color-changing rectangular lights at the back of the stage, which looked like sound monitors until they lit up. Sonic Youth hardly uttered a complete sentence to the crowd during their entire performance, and almost every song started off with the drummer tapping off. This is a band that sticks to simply playing their music and letting the crowd find their energy through that. No hype, no effects, no pep talks, just Sonic Youth's music. And the crowd did find energy. An amazing amount of raggedy heads bounced around in the packed audience, a few clouds of pot smoke lingered in the high-beams of the venue, and everybody moved to the music...that is, until the second encore. Sonic Youth was called out onto the stage twice by a cheering audience with no place to go, as the lights were not turned on yet. They played two songs each encore. The first encore was fine, but the second turned the night into one of the most annoying experiences of my life. They ended the final song with guitar feedback, which is to be expected from an old grunge band, but they didn't stop: they continued holding their guitars and bass up to their amps allowing feedback for 25 minutes, maybe longer. I don't know how long exactly, because I left, like over half of the crowd. I think they were trying to be artistic by making different and constant feedback noises. However, I wanted to drive my car into a tree after the show because I was so annoyed by sitting through 25 minutes of that while waiting for something else to happen.

As I reflect on the rest of the show to write this article, I realize that it was a decent show, and something any old Sonic Youth fan or experimental music fan should see. My only advice is not to stay for the encore.

THE GOOD LIFE
July 22, 2004 @ the Knitting Factory (New York, NY)
By Matthew Siblo

Soon after Tim Kasher introduced himself and the rest of The Good Life to the capacity crowd at the Knitting Factory, Mr. Kasher promptly informed the New York crowd that they could all "kiss my fucking ass." Not you're typical kind of crowd baiting, but Tim is certainly anything but your average troubadour. While generally recognized as the brains behind Saddle Creek emo-rock sensation Cursive, Kasher also moonlights in The Good Life, a project that continues to gain prominence and is quickly blossoming into a seemingly more serious gig.

After Mr. Kasher's playful torment, the band kicked things off with "Leaving Omaha", the lead off track from their latest EP, LOVERS NEED LAWYERS. They then segued right into the EP's second track, the hook-laden, meta-reality sing-along "Entertainer", an upbeat tune that employs much of the same introspection found on Cursive's THE UGLY ORGAN. Kasher's yelps of "Entertainer! /Entertain me! / Give the audience what they want!" came across delightfully tongue-in-cheek while being performed in front of such a subdued and quietly judgmental group of spectators. Tim's rapport with the crowd was particularly entertaining (at one point he proclaimed to the audience that he's "a cop-a-feel kind of guy"), as he continues to prove himself as one of the most relatable voices in independent music today. As Kasher continued to lay out his intelligent brand of self-deprecating wit and banter onto the reactionary audience, he sheepishly told the crowd "I'm trying to ruin this" and not to let him. It's this kind of vulnerability that makes Kasher so endearing: you want to root for a guy like him because his music and lyrics reflect situations that we've all had to endure. A song like "O'Rourke's, 1:20 a.m." is so powerful because we can all relate to the feeling of being drunk and lonely when "the whole world is in love." Or the tale of the unlucky friend who might finally get a shot at happiness in "Always a Bridesmaid". Kasher's seamless ability to connect with his audience through songs becomes intensified in a live setting, as he's able to drunkenly interact with the audience he both loves and disdains. The band's set spanned their catalogue, including "The Birthday Present" off their debut, NOVENA ON A NOCTURN, to a preview of a number of songs from the upcoming full-length, ALBUM OF THE YEAR. While the vast majority of these songs came across much more subdued than those on the feisty LOVERS NEED LAWYERS EP, all were well received, with many in attendance already singing along.

As the evening came to a close, Kasher and co. refused to succumb to the recent encore epidemic, instead deciding to just remain on stage and continue to play three more songs (a move that Kasher also routinely pulls with Cursive). The audience was then treated to a "rock encore" that consisted of "Notes in His Pocket", "Friction!", and "Lovers Need Lawyers". A rousing conclusion to an already memorable night, The Good Life continues to prove itself as one of the few "side projects" that might soon come close in rivaling its predecessor.

THE PARTISANS
SHATTERED FAITH
READY FOR VEGAS
THE HAVE NOTS
THE WARGASIMS
July 23, 2004 @ the Galaxy (Santa Ana, CA)
By Erik Thomas

New arrivals to the scene The Wargasims took the stage to a surprising barrage of cheers and a little bit of laughter from the very young crowd. Usually when opening bands come on, everyone sits down and talks, maybe hangs out outside for a while?but not for these guys. Everyone came down to the dance floor to listen and cheer them on. Mixing politics with fast, sloppy gutter punk, The Wargasims put on an entertaining show, with singer KO jumping around on stage and even lassoing the audience with the mic chord! At the end of their crazy set, they covered Fear's "I Love Living In The City", which got everyone wild up and in the mosh pit.

Coming straight out of Huntington Beach and proving to be nothing more than everything else that comes out of there, The Have Nots took the stage and bored me so much that I almost fell asleep. Combining a little bit of a Smut Peddlers sound with just about every other skin band from Huntington, The Have Nots offer nothing original or even entertaining. They had to beg the audience to mosh pit, which is always a bad sign. I wouldn't recommend seeing The Have Nots to my worst enemy.

What I would recommend is the hilarious ensemble of Ready for Vegas. Actually, these guys aren't that great of a band, and it seems like they go for the high dessert sound like Throw Rag but aren't as entertaining or good. However, they do this one song, "Fat Lip", that needs to be heard by everyone. Throw in a Misfits "Last Remorse" cover, and you have a decent set from a new band.

Finally, the bands everyone was waiting for. First up was the very energetic and fun band Shattered Faith. Playing fast, simple chords with an upbeat and original voice (unlike all the O.C. bands that rip off The Stitches), Shattered Faith actually impressed me, and I want to see them again. The crowd were pitting non-stop to the sounds of SF, and the music seemed to never stop.

After a very long time, The Partisans finally took the stage, and everyone went nuts. More pitting from the crowd. Singer Spike even made a joke about how young the crowd was. I was surprised to see that hardly any skinheaded barbarians made it to this show, and that lead to absolutely no fights. I don't quite see how The Partisans got the Oi! reputation that they did, but no one seemed to miss all the skins in attendance, as everyone enjoyed a fun, safe night with a great band headlining. Ending the first set with "17 Years of Hell", The Partisans came back to do an encore that included "Bastard in Blue", dedicating it to the L.A.P.D. The Partisans will continue their tour along the U.S. so try to check them out (I'm of course talking to the kids, seeing as that's all that showed up to this one) and have a great time with some great music.

TRANSISTOR TRANSISTOR
MALADY
AMANDA WOODWARD
RED
July 25, 2004 @ First Unitarian Church (Philadelphia, PA)
By Erika Owens

Churches have a long and prominent history as cheap and convenient show space?and the First Unitarian is certainly no exception. Kids pack their basement regularly to see all sorts of bands rock out while rows of pews are present just a few feet above. I don't know if it was the pews or just the fact it was a Sunday in a church, but the crowd was extremely sedentary. With a Level Plane lineup, insanity is expected; and while the bands tried mightily to connect that craziness to the crowd it was all to no avail. What a shame that the one-man-mosh-pit kid was the only one actually reacting to the music and visibly enjoying the show. While the lame, lifeless crowd may have given the show a different tone, the bands were undeterred and just sought to kick ass even more.

Even though this was mostly a Level Plane showcase, opening band Red was a local outfit?who, sadly, I missed. I arrived just in time to see Amanda Woodward. Okay, I don't find that name exactly enthralling, either, but it is so misleading. They are from France, and play this intense, driven barrage that needs no translation. When the band first appeared onstage, the lead singer was wearing a Tarzan-like animal-print costume and was carrying a crutch. It was a very perplexing introduction. But, alas, he spoke to us in English! Little did we know that was the last time we'd hear an familiar tongue for the rest of the set. I have no familiarity with French, so for all I know he could have been mocking us between songs and singing awful things in them?but there was really no time to be bothered with such paranoia. Amanda Woodward's music is just so expressive, so immediate, so almost tangible that there's no need to run to Babelfish?you're already caught. This was their last show after five weeks of touring, but there were no signs of fatigue and no apparent lack of effort or energy. A thrilling set that just gave more ferocity to their recorded material.

Malady appeared next. Although they do not have a record out yet and the name is not very familiar, the band's ancestors certainly are. Yes, the legendary "ex-members of" status must precede this discussion, as Malady is formed from members of City of Caterpillar and Pg. 99. The set began with Chris, lead singer of Pg. 99 and Mannequin, pregaming by drinking a teddy-bear bottle of honey. Yuck! With the kind of growling and screaming that accompanied those previous bands, it's quite understandable that he'd want to coat his throat; but Malady actually turned out to be rather sing-songy. Malady is not as elusive as Pg. 99 nor as detached as CoC, able to inhabit a middle ground that is all its own. The band even had a different look, being slightly more cleaned-up! The sound, the look, and the interaction with the lifeless crowd signified a distinct break from the past bands. Sure, the screaming was there, but it was more melodic and a lot less restrained. That freeness and openness actually made the set pretty fun, rather than just an intense investigation of past wrongs. Christ outright name-dropped HIS two other bands, and that didn't even get a response from the crowd. As they gain credibility on their own?which is well deserved?Malady will not be so easily ignored.

Transistor Transistor continued the jovial mood of the show, in spite of any too-cool-for-school disdain from the crowd. Their set drew heavily from the split with wolves but also featured a lot of new material. "Black Cat" was the first new song, and it was just completely unhinged. "Kill the Head and the Body Will Die" started off a little slower and with intermittent lulls, but the explosions soon came and included serious shredding and even megaphone action. Aside from a few technical issues, Transistorx2 laid waste to the stage through several songs and employed a few oddball accessories, like an inaudible tambourine. The lead singer's guitar strap read, "I'm sick of music and we hate each other," but their set transcended any fatigue and topped off an already caustic show.

Transistorx2 and Amanda Woodward closed out their tour with this show, but Malady is still on tour getting everyone excited about their upcoming release on Level Plane. Check level-plane.com for info about the tour dates and how to pick up all of these fab bands' releases.

LAMB OF GOD
ATREYU
EVERY TIME I DIE
UNEARTH
July 30, 2004 @ Soma (San Diego, CA)
By Thomas Murray

Well, we missed Unearth due to a bill discrepancy over at the Black Angus. I cannot express how truly pissed I am, for they are a solid band and I was really looking forward to seeing them rock out. Their buzz is currently more active than my roommate's sick bowels. My childish pouting was distracted by a sighting of local San Diego pseudo-celebrity, the Squirrel Master. This character, sort of an urban legend, can be seen at events ranging from Chargers games to hippied-out reggae fests. This lanky cartoon of a man unleashes his pet squirrel to run freely between the ankles of unsuspecting patrons and then back to the friendly confines of his coat pocket. Amidst my awe, I felt a swell of frustration. Soma security had just given me all kinds of shit about bringing a pen into the show, even after I dropped the bomb and told them I work for SKRATCH. I get harassed about a pen while this guy is inside with a fucking squirrel in his pocket. It doesn't seem right.

Every Time I Die slipped onstage as my dizzy head fought back visions of the Squirrel Master and how awesome Unearth's performance probably was. I recognized the lyrics of "I've Been Gone a Long Time" accompanied by a frenzy of instrumental accompaniment that only a fan could love (sort of how only a mom thinks an ugly kid is cute). Body parts swung like weapons, encouraged by ETID's frantic beats and screechy lyrics. Certain elements reminded me of Glassjaw, but there was an element here that kept me from really enjoying the show: basically, I found the band to be annoying. Despite decent energy and so-so sound quality, there wasn't enough of something special to set them apart. They are not a bad act to see live, I just didn't douse my drawers at their performance.

Atreyu, on the other hand, turned me from badass to bed-wetter faster than a drunken ex-girlfriend with cold hands. I am beginning to worry about them, though. If it weren't for the fact that I listen to "Bleeding Mascara" 900 times a day, I might have a problem with an ad I saw for Vision Street Wear. Hopefully, it's a symbiotic relationship. Also, there's the picture of frontman Alex Varkatza on THE CURSE insert, a picture that shows him holding his hand over a flame while making hard love to the camera. That aside, I was the fortunate witness of all I wanted to see and hear from the new album. This included "Bleeding Mascara", "Right Side of the Bed", and "This Flesh a Tomb", which contains a little instrumental breakdown about three minutes into the song that sounded so fucking cool that I almost laid down in the middle of the mosh pit and called it quits for the evening. But this would have deprived me of yet another tasty number off of THE CURSE: "You Eclipsed by Me", which reached a different kind of peak, one that involved the audience chanting along "I will? / Not be broken." I joined in and (again) wanted to piss myself. At one point in the show, Varkatza had seen enough of some fake tough guy in the front row who kept giving him the finger. Varkatza called him out and made everyone spit in his face. It was great, and I hope that kid felt like a real asshole. Drummer and back-up crooner Brandon Saller leapt up from his drums and dished out dirty looks, dirty words, and a face full of dirty backwash from his water bottle. A finale of "Lip Gloss and Black" gave an already happy audience the closure they needed. An amazing set.

Many people cleared out after Atreyu, which was fine by me. I'd had all the huddled body heat I could stand for one evening. I smiled as I enjoyed sort of a post-yoga/post-sex body tingling that lingered from Atreyu's set. But then, buzz kill, as my pen ran out of ink. Since security had confiscated my other pen as part of their strict "NO PEN POLICY," I was forced to rely on memory. Unfortunately, I have the attention span of a goldfish, so this becomes frustrating, especially with the distracting threat of violence surrounding me, as I was forced into the pit to grind it out with the tough guys of San Diego, who swirled around in a circle pit that lasted the entirety of LOG's set. The music was in our faces from the first scrape of pick on string, as the last of the clown dancers were swept away in the churning of the pit's gears. LOG throws back to a time when metal scared the crap out of your parents and prevented you from getting laid. A quick scan of the audience would have told you that not too many were going home to hump after this one, so let bloody noses and swollen elbows be the glory. Lamb of God didn't say much, they just let song blend into song as they trashed that place old school. There was some quick promotion of the upcoming album ASHES OF THE WAKE, which should be out August 31.

SOULFLY
ILL NINO
CRISIS
August 10, 2004 @ Canes (San Diego, CA)
By Thomas Murray

It's difficult to carve your way through a venue like Canes when everyone in there thinks they are bad. No one says excuse me, and no one will let you through without pushing them aside, so you fight or you don't see the damn show. The female lead singer of Crisis had the longest and most random dreadlocks I have ever seen. Some clumps of hair were three feet long, others were only six inches; and all were dyed random colors. Crisis had a chemistry that struck me as odd for an opening band: it was just too good. The sound was perfect for warming up the head banging muscles and politely shoving the guy next to you. They were noticeably comfortable together. Later, we learned that they had been touring together for 11 years now. That explained it. The small stage was piled high with drum kits and amplifiers for Ill Nino and Soulfly, so Crisis was very limited in their movement. They worked it though, and it seemed the crowd was greatly in favor of their whole performance.

Speaker cabinets still crowded the stage and the floor grew more packed and uncomfortable by the second. Sweat began to bead and drip between thighs to initiate the dreaded chafe or jock itch. The patrons of Canes needed a refreshing blast of Ill Nino, and they needed it fast. Before you could yell out, "Brazil rules the soccer world," Ill Nino was up there pumping their sound out into the audience like a fire truck cooling out a structure fire. Many ignored the heat while punishing each other in the pit, which was controlled by the watchful eye and strong arm of the red-shirted Canes security (who, by the way, put up with a lot for eight dollars an hour). The heads that weren't banging were tilted back, soaking in the tribal metal melody as Ill Nino balanced between songs from their first and second albums. Early on, we heard "God Save Us", "Te Amo (I Hate You)", and then a slightly remixed version of "What Comes Around" that had more of a techno feel than album owners are used to. It was during "Rumba" that I realized how effectively Ill Nino uses the dramatic pause. When their music is hardest and meanest and most in-your-face, they stop, and the silence is powerful. Then they kick it back in, and it sounds better and stronger than before. They finished off with "Liar" and should have then quit while they were ahead; instead, they proceeded to go off on an anti-Bush rant. Now, I can appreciate a little "go out and vote" motivation, but just because I sing along with your songs doesn't mean that you can tell me who to vote for. As if this wasn't insulting and annoying enough, they then parted the stage yelling "Smoke weed", which is cheesy, infantile, and second-rate. What's next: "Shoot heroin"? "Drink beer?" C'mon! I love this band, but I left this show disappointed.

With my frustrations at peak, I decided I probably should take a few turns in the pit during Soulfly?but I'd wait for a familiar song to tempt me in there, like the Pied Piper luring me in with his flute. After a short intro song, the band came out and stood before us. There was Max Cavalera, standing like a god in front of me, 20 feet away, with his four-stringed guitar in hand (he removes the two thinnest strings because he never uses them). At the height of the build-up, Max leapt up the air and fell upon his strings in classic metal form. Whoops?Max fell upon dead strings, and there was no sound. DAMMIT. They regrouped but obviously could not recapture that effect. They played many songs off their two latest albums (which it seems not as many people are familiar with). When they busted out a song like "Eye for an Eye" or "Back to the Primitive", the crowd reacted more enthusiastically. "Bleed" is an emotional thing to see, especially since Dana's younger brother was on hand to sing the second vocal part. Dana was a good friend of the band who passed away far before his time, and "Bleed" is about him?so to see his younger brother singing that part gives goose bumps to those who know the story. Later in the set, Soulfly reached into its roots and brought out a classic Sepultura tune, "War for Territory". Max was the lead singer and one of the founding members of Sepultura, so hearing him do this song is special for Sepultura fans who all secretly wish that Max never left the band. I had some hopes for this show that weren't fulfilled: I wanted badly to see a drum circle that I have seen Soulfly do before; and I thought, especially since they were playing with another band of Brazilians that a heavy-ass drum circle, that it was a shoe-in. Nope. Also, I thought that when they played "Jump the Fuck Up" from their second album PRIMITIVE, that Corey?s, from Slipknot, guest part might be sung by Cristian Machado of Ill Nino. No dice there, either: they just skipped that part entirely. At least they didn't tell me how to vote.

AGAINST ME!
THE WORLD/INFERNO FRIENDSHIP SOCIETY
August 12, 2004 @ the First Unitarian Church (Philadelphia, PA)
By Matthew Siblo

As I meandered my way around the capacity crowd of the exhaustingly hot First Unitarian Church, I couldn't help but appreciate the fleeting sights and smells of summer. Bondage pants were hiked up a bit higher, personal aromas coming off a tad more potently?it was the perfect atmosphere for such a high-energy show. While the sold-out crowd encompassed the entire spectrum of music enthusiasts, the vibe felt distinctly like the all-ages VFW punk shows of yore?an unfortunate rarity among the current trend of increasingly mechanical, commercialized venues and performances. It was the first night of Philly's fourth annual Pointless Fest, and the stage was set for what was to be one of the most memorable bills I'd seen all summer.

If you've never seen The World/Inferno Friendship Society, words can hardly describe the absolute joy that these Garden State vaudevillian misfits bring to the stage every time they play. Incorporating everything from absurd, dictator-like theatrics to the undeniable magic that comes from a properly executed waltz, The World/Inferno Friendship Society's live show simply cannot be stopped. While lead singer Jack Terricloth's witty between-song banter focused heavily on the band's intense love of their home state of New Jersey, the Philadelphia crowd hardly seemed to notice and ate it all up. Blending a seamless mix of jazz and swing with a straight-up punk aesthetic, The World/Inferno Friendship Society are both visually and musically one of the most unique and entertaining bands I've seen in a good while. Finally a band that can give those unfortunate people from New Jersey something to be proud of.

Gainesville's Against Me! are one of the few punk bands today that continue to breathe fresh air into a genre that has recently made strides towards becoming an irrelevant, aging dinosaur. Incorporating both protest ballads ? la Billy Bragg with rapid-fire punk anthems, Against Me! has quickly become a band that the whole independent music community could stand behind. This was the case, of course, until the band inked a deal with punk behemoth Fat Wreck Chords, a move that placed the band's anarchistic and grassroots ideals greatly into question. But if any of these ideological inconsistencies have taken away from the band's incredibly intense live show, you'd be hard pressed to find anyone in attendance that could notice. As soon as the band took the stage, a sense of genuine excitement fell over the heat-exhausted crowd and the entire room seemed to pulsate with energy. Playing an even mix of songs from REINVENTING AXL ROSE and THE ETERNAL COWBOY, the intense 45-minute set seemed to barely scratch the surface of satiating everyone's rabid requests. Very few bands today can create such a genuine connection with their audience. After witnessing Against Me! in action, I know that they are of that minority. The band was able to single-handedly transform a whole room of transient strangers into heartfelt believers, all within the span of an hour. If punk rock died a long time ago, it seems as though no one thought to tell Against Me!

THE STRHESSTOUR:
SHADOWS FALL
AS I LAY DYING
HIMSA
REMEMBERING NEVER
August 18, 2004 @ H.O.B. Anaheim (Anaheim, CA)
By Mabel Lam

You might have seen me as I was pacing the line, back and forth, back and forth, asking for an extra ticket for this COMPLETELY sold-out show. Then again, you could've mistaken me for one of the horde of kids who were also desperate to get in. Curious tourists milled around wondering what this new, hip culture was all about, occasionally gathering up the courage to tap the shoulders of any grungy kid in a signature black shirt and blue jeans. To sum it up, if the Justice League wielded death-metal guitars and long, billowy hair, this would be their show.

And justice was served, indeed, during the first set from Remembering Never. When they broke out into their first song, apparently some skinhead started beating up kids and was hollering out something along the lines of, "oMgz! White power!" How he managed to overcome the roar of the lead singer's ferocity I don't know. Since the kid created such a commotion, though, the song came to an abrupt halt and the kid was ejected from the show. Crisscrossing across the stage furiously, the lead singer angrily growled, "Well, I hope all the trash has left the building now," then continued to righteously denounce all white supremacists with the full support of the audience. The mood was set for the night. They resumed their performance in an all-out fury, only pausing in between songs like "Incisions" and "Grenade in Mouth Tragedy" to voice their advocacy for the straight-edgers, PETA kids, and vegans?you know, typical superhero shout-outs to fellow superheroes.

I had been craving for Himsa ever since I had first seen them for the first time a while ago. As soon as they hit the stage, they exploded into a frenzy, and the entire floor carried out their excitement. Ultimately, this five-piece group from Seattle flawlessly unleashed the most brutal performance out of the whole night. They catered to the need for speed, simple as that. When lead singer Johnny Pettibone wasn't delivering his screams and howls to the masses in songs such as "Rain to the Sound of Panic", he would be chugging down water and spitting out mists to the beats. To the audience, this seemed like he was blowing smoke out of his mouth and into the air?another act considered to be very superhero-worthy.

I'm sorry to say that I ended up missing most of As I Lay Dying's set. The girl standing a couple feet away from me was hammered enough for five people and fell ON me. Between helping pick her up, nervously watching her out of the corner of my eye, having her fall on me again, and heading over to the bathroom to wash my now-sticky, sweaty arms, I didn't catch too much. However, I was there for the last portion of their set and for the song, "Elegy", when the lead singer from Himsa bounded back onstage to accompany them.

Now the end to this wild night neared. The only thing left to consummate the ferocity that had been building up this entire time was to let Shadows Fall loose. As lead singer Brian Fair strode out onto the stage, (complete with all the glory of his thick, long dreadlocks), the crowd let loose, as well. All their inhibitions? Gone. Their shoes? Gone (well, they were just all over the place). In addition, the fact that this show was being recorded for their upcoming DVD, THE WAR WITHIN, only contributed to the furor. Among their set list was "Destroyer of Senses" and a new song: "The Power of I and I". Finally, the night came to a closing when they finished off with an old favorite, "Crushing Belial". It's obvious that THEY'RE the real superheroes. Why couldn't THEY have done the SPIDER-MAN TWO soundtrack?

MOTO MUSIC MAYHEM SHOW:
SOCIAL DISTORTION
PENNYWISE
A STATIC LULLABY
KOTTONMOUTH KINGS
METAL MULISHA
August 21, 2004 @ National Orange Show Complex (San Bernardino, CA)
By Marcia Taylor

I've been pretty burnt out on the music scene lately after reviewing shows for seven-and-a-half years. However, when the opportunity to attend this event came up, I was thrilled, because it offered a line-up of bands with varied musical styles?Kottonmouth Kings, A Static Lullaby, Pennywise, and Social Distortion?with freestyle motocross demos by the Metal Mulisha. The truth is that I was much more excited about the latter, being a novice dirt-bike rider AND a fan of the Crusty Demon videos. My only concern was the August heat in SB and the possibility of a huge crowd. A couple of years ago, the high temperature and massive audience made the Inland Invasion show a semi-miserable experience. However, fate smiled on the Inland Empire on Saturday, with temperatures in the low '90s. Furthermore, the event wasn't crowded, and those who came were very laid back. It reminded me of the early years of the Hootenanny, with short lines for food and drinks and the opportunity to get close to both the stage and the freestyle motocross area.

I'd only heard good things about Kottonmouth Kings but somehow never gotten around to seeing the band perform. The Kings' infectious beats sucked me right in, and I joined the crowd in celebrating the joys of ganja to the strains of "Dying Daze" (which was dedicated to the Metal Mulisha), "Killa Kali", "Johnny's Got a Problem", "Suburban Life", "Bad Habits", and "So High" (to name just some of the songs the group played). After the last song, the guys departed for Seattle's Hempfest. You've got to appreciate a band that stays in character on AND off stage.

I'm not sure what one calls the music A Static Lullaby plays. Is it emocore or "new" metal? All I know is that the band sounded a lot like Avenged Sevenfold and others of that ilk, with the screaming vocals and metal guitar riffage. I wasn't disappointed when the group ended a very short set that seemed to feature about six songs. My companion at the event, who likes this kind of music, said that it's often better on disc than live. I'd definitely have to hear the band again at a smaller venue to make a fair assessment.

The majority of the people who came to the event for the music came to see Pennywise and Social Distortion. In fact, I saw more people sporting Pennywise Ts than any other band's, although I'd be hard-pressed to judge whether Pennywise or the Metal Mulisha were better represented in the T-shirt arena. As always, Pennywise performed a solid set, mixing old and new tunes with a few old-school covers of songs by Descendents and Misfits. In between songs, vocalist Jim Lindberg told jokes ("How many motocross riders does it take to change a light bulb? Wah, wah, wah, wah, one"), as well as prodding the crowd to increase the action in the already very enthusiastic pit.

Social Distortion's performance, the last of the evening's, was great! The last time I'd seen the band was at the Inland Invasion, where the set was very mellow, if not downright folk-oriented. This time, the band combined old songs ("Telling Them", "Mommy's Little Monster", "1945") with selections from 1992's SOMEWHERE BETWEEN HEAVEN AND HELL ("Cold Feelings", "Making Believe", "When She Begins") and some new material , such as "Don't Take Me for Granted" (which the band has been playing out for awhile now), "Nickels and Dimes" (about the gangsta life), and "Reach for the Sky". Of the new songs, I especially liked "Nickels and Dimes", which showed that Ness has retained his ability to write meaningfully about life on the margins of society.

The Metal Mulisha riders performed their array of aerial magic in between each of the bands' sets. No new tricks were debuted, but it was exciting to see back flips, lazy boys, superman seat grabs, and more LIVE! Riders were Brian Deegan, Beau Manley, Jeremy "Twitch" Stenberg, Colin "Scummy" Morrison, Ronnie "Kung Fu" Faisst, Jeff "Ox" Kargola, and Shawn Highland. The last was the only rider on a four-stroke. I had an opportunity to talk with him afterwards and asked why he preferred the heavier four-stroke. "Because I'm a fat ass," the 6'5" rider replied, "and I'd have to switch to light beer if I rode a two-stroke." I have to say that the Metal Mulisha guys, whose bad-boy image precedes them wherever they go, could not be more gracious to their supporters, who range from prepubescent little guys to hot babes to middle-aged moms and dads to aging bikers. They love what they do, and it shows in their enthusiasm for and dedication to a sport that they make look easy, but which is anything but.

X
August 22, 2004 @ Sunset Junction Street Fair (Hollywood, CA)
By Jennifer Swann

It was a quarter past 8, and the sun had just set over the Sunset Junction Street Fair, leaving a cool misty layer of darkness. Thousands of eager fans, from 11-year-olds with mohawks attending their very first punk show to 50-year-old tattoo-stained punk veterans feeling nostalgic as they pogoed again amongst the crowd to the same vibrant beats they grew up with and fell in love with were all packed tightly into one massively diverse crowd. New generations mixed with the old generations. Hippies, Rastafarians, gays, blacks, punks, skins, greasers, grandpas, and activists were all there together experiencing music and feeling it reverberate throughout our bodies.

"We've got to meet her! We've just got to!" my friend Sara and I kept repeating the whole day long. It seemed our one main goal for the summer was to meet our hero, goddess, and idol, Miss Exene Cervenka, frontwoman of legendary L.A. punk band X. "We're gonna meet her, I can feel it!" Sara exclaimed as we walked toward the stage area. Me, being as unprofessional as possible, forgot to get a press badge from SKRATCH to get backstage, so we had to do it the old-fashioned way: determination, dedication, and (of course) a bit of insanity here and there. We raced past the herds of people coming in by the dozens and made our way towards the entrance of the stage, figuring that Exene and the band had to arrive here sooner or later. As if by some sort of miracle, just as we reached the front gates, a car pulled up, and none other than Exene herself shuffled out looking messy and crazy and absolutely radiant. I remember freezing up for a few seconds in complete shock that I was within 10 feet of this amazing woman and legendary punk icon. After that initial shock, it suddenly hit me, and I rushed up to her...and she agreed to take pictures with us and chat about our hometown, even though she had to rush backstage to get ready. She had such a warm, intriguing vibe about her that for a few brief moments I imagined her as the really sweet, wacky aunt I never had who would bake me cookies and tell me stories of past revolutions and let me wear her old vintage dresses and buy my friends and me beer, even though we were underage. And then, before I knew it, she was gone, disappearing behind the red backstage curtain, and I just felt so fucking high that I might as well have floated back into that endless crowd.

When the first note of "You're Phone's Off the Hook but You're Not" was struck, everyone went wild, and three raging mosh pits were simultaneously formed. It was the most intense concert I had ever been to, one where even if you wanted to stand still for one moment, you just couldn't without constantly flinging your arms about to push everyone else off of you. Like a raging ocean, we all moved and swayed together and surfed in and out like giant waves, falling over and catching each other, then jumping back up and screaming our fucking lungs out. It seemed like X played forever and ever. I almost thought that they would play until sunrise and that we'd still be dancing and not care about work or school or anything else. Every song felt like an encore, each played faster and harder and louder and exceeding the previous song, each of which I thought could not be topped. At one point, I pushed my way to the front of the crowd, where there was less air and bodies were tighter and hotter. Exene's faded, purple locks seemed to glow like an eerie halo around her head. She twirled about on stage, fluttering her black sundress back and forth and gliding along as if she were at a glamorous ballroom dance, oblivious to the thousands of people moshing below her. While everyone else seemed angry and snarling, Billy Zoom was beaming happily the whole time. D.J.'s drums pounded fiercely, Billy's glittery Gibson screeched dynamic guitar solos, John's bass lines were precise and powerful, and Exene wailed over it all like a wolf starving for noise. To finish the set, X ripped through "Nausea", a crowd favorite that transported everyone back to 1980, and we pogoed along like fucking kangaroos on speed. The music felt infinite.

Walking back to the car, I suddenly remembered that I had school the next day, and it seemed amazing to me how much music can take you out of reality. If only for one mere hour of bliss, seeing X was one of the best hours of my life. When I got home, my ears were buzzing and ringing and somewhat numb; I could not hear a goddamn thing. It was a good sort of deaf, though. And although I was drenched in sweat (among other things) and had a dry throat, a bruised knee, and sore feet. It was the best feeling in the world.

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