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Live Show Reviews

Races w/ The Living Things @ The Echo, Friday, March 30th, 2012

By Chris Gedos

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Races’ much anticipated debut LP, Year of the Witch, is a loose concept album about a uniquely difficult break-up, was released Tuesday, March 27th via Frenchkiss Records, with Friday night’s sold out show at the Echo serving as its official unveiling for their faithful Los Angeles following (which has witnessed Races’ steady rise to the top of the indie rock buzz list). It’s well deserved adulation; Races is a great live band. All six members are essential in creating a subtly dynamic, captivating and extremely successful live performance.

St Louis-based indie punk group The Living Things took stage before Races. The band brought a solid, MC5-style set, replete with yelping and a surety of purpose. They’ve got good licks and a wealth of political overtones – as frontman Lillian Berman is a sort of 21st century folk hero, having been shot at in Dallas and stabbed in the leg while crowdsurfing in Kansas City, so goes the Wiki-lore. Berman and his two brothers, Eve and Bosh, were joined by two female back-up vocalists, giving their music a beneficial, softening effect. Most were engaged in the set, with many fans there to see The Living Things specifically. They slayed it in no small part to their tremendous Matchless amps (keeping it local to LA roots).

As remaining concert goers filed into the max capacity Echo, Races began a lengthy soundcheck. The atmosphere was exactly as you’d want at a concert: a little uncomfortable and flooded with the smell of common humanity. I overheard some dude say, “This is the longest sound check!” They also had a long soundcheck when I saw them open for Caveman on December 8th, but I’d much rather have a band tinker around with their levels for a few extra minutes as opposed to not. To me it shows that Races takes great pride in the quality of their live performance. They’ve been touring incessantly for the past six weeks and this was to be a special moment within the Races’ gigography.

They played almost everything off of Year Of The Witch, (if not everything—the turnout made it difficult to keep tabs on a setlist), in addition to a previously unheard-by-my-ears cut for the encore. “Hey, we’re Black Jesus!” lead singer Wade Ryff quipped a couple songs in, referencing their previous band name. In all likelihood this was the tightest show I’ve seen since WU LYF at the end of July. And while both groups have concept LPs involving a loosely entwined narrative, WU LYF’s magic is centered on Ellery’s nebulous grunts; in contrast, Ryff’s lyrics are easily deciphered. The delicate arrangements and prominent backing vocals make Races’ live performance all the more impressive. It’s a very good album, but it gains a certain mystique when viewed within the context of their live performance. They dropped a cache of balloons at the end of the set, in reference to the “Big Broom” video, but that was only window dressing. Races doesn’t need to rely on gimmickry to deliver a powerful set. They’ve earned their buzz the old fashioned way.

Year Of The Witch doesn’t have those giant Tom Petty choruses or that same “epitome of a niche generation” appeal as an album like Funeral, but it’s not 2004 anymore. Kerry lost and indie grew up. It’s 2012 now, and Year Of The Witch is the most enjoyable and cohesive album the year has given us thus far.

merch

Races california (Facebook) (Official)

Rating 9.22

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reviewed by
04-02-12

SHOW REVIEW: Howler / The Static Jacks / TOPS @ The Echo LA, March 23rd, 2012

Review by Chris Gedos

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PHOTO: Jordan Gatesmith of Howler

The only way to accurately judge Howler’s debut album is to break it down and critique each individual variable, such as songs, production, musicianship, originality, etc., for to approach it otherwise forces one to harp upon Is This It. Not that America Give Up is trying to be The Strokes verbatim, but the two bands have already been so relentlessly linked by the populace that we’re really beating a horse dead by this point. Two American bands who both broke big in England first and both are trying to save “Garage Rock” and etc., which many regard as the most pure descendant of that old time rock n’ roll. Many bands have done the same thing before and after, the story is old, let’s move on.

Howler is from Minneapolis, which gave us The Replacements and Husker Dü, and Howler does compare favorably with Tim at moments, namely “This One’s Different” and “America”, but for me America Give Up really calls to mind a different mid-80’s masterpiece, Psychocandy, by the Scottish band, Jesus and Mary Chain. Both Psychocandy and America Give Up succeed by merging pop and noise while transcending the noise pop moniker. Jesus and Mary Chain wrote noisy songs that want to be poppier, while Howler writes poppy songs which want to be noisier. If WU LYF plays “Heavy Pop”, Howler plays “angry pop”, music too robust for the Warped Tour Scene but also too supposedly pastiche for some tastemakers, but for those more discerning it’s a wonderful break from the self-serious rock we’ve been too accustomed to as of late.

America Give Up is a great album, incredibly listenable from A to Z, a 2012 album with a proper A-side and a B-side. So with all these thoughts swirling about, I was very interested to hear Howler live. Would they play America Give Up verbatim?

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PHOTO: Montreal based TOPS opening the show.

Mad props to current tour-mates The Static Jacks for warming up the crowd right before Howler. Fresh on the heels of their first full-length, If You’re Young, they’re also about to tour for the second time with The Wombats. Static Jacks brought a powerful and thoroughly enjoyable set with pretty good songs across the board. Their style’s slightly more pop-punk than a band like Howler, but it’s loud and abrasive and all that good stuff. In other words: they sound exactly how a band like them should sound. They’ve also got the same ironic sense of humor as Mr. Gatesmith and cohorts. The Static Jacks hail from New Jersey; fans of fellow Jerseyites, The Milwaukees, will find much to love. Very good live band.

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PHOTO: The Static Jacks

Howler opened their set with “Wailing (Making Out)”, and that magical guitar lick about halfway through the song. That’s the thing about Howler: for me their songs blend together somewhat, but they have these magical moments which rank with the great debuts of yesteryear. They’ve also had the good fortune of honing their live set in front of a highly critical UK audience. They therefore weren’t fazed by the zombified LA crowd, i.e. no one was grooving to these insanely catchy tunes. From there they transitioned into LP opener “Beach Sluts”, a song which sets the tone for what Howler’s about. The song they played from the EP is a welcome departure from the LP, as the EP showcases Gatesmith’s versatility as a lyricist. We fans kept screaming out for the song “Free Drunk”, but the band never played it, rather keeping the set short and sweet, nine songs in barely half an hour. It would’ve been nice to hear a couple more, but Howler chose to let their youthful hubris shine on a cool March evening at the Echo. They instead took some time with fans after the set, something which occurs less and less often these days in an attempt to make a band seem more ‘mysterious’. But Howler is a transparent band (check out their tour videos) with a memorable if transparent album. What you see is what you get. They wouldn’t have it any other way.

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PHOTO: Howler

Howler – Beach Sluts

Howler minnesota (Facebook)

RATING: 8.7

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reviewed by
03-28-12

SXSW Thursday Night Highlights: The Chevin, The Record Company, Kendrick Lamar, Big K.R.I.T., Sharon Van Etten

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The Chevin have all the tools to be a huge breakout band out of the UK. They’ve got the presence, the songs (“Champion” is a hit), and as we witnessed last night at Latitude 30, a great live show. In addition to the overall perfomance (which came off really well, the band’s songs translated very nicely live), the real standout was frontman Coyle Girelli. This guy can sing and from look to stage quality, ticks all the right “great UK band frontman” boxes. With the right push & support The Chevin are poised to be really something special. Keep them on your radar.

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L.A.’s The Record Company have been one of our favorite recent discoveries. The blues-driven trio, no doubt has great performance chops (that much was sure during their Ginger Man set last night), but what seperates this band from similar but much more mediocre bands is the quality of their songs. The skiffle-rattle of “Don’t Get Me Lonely” and The Yardbirdsesque “I Want Change” were highlights.

BET’s Music Matters showcase was packed. A bill that included Miguel, Nneka, Melanie Fiona and two of our must sees from Thursday night, Kendrick Lamar and Big K.R.I.T. K Dot had control of the house from moment one as he rolled through highlights from his excellent Section.80 mixtape. There was a heaviness and rasp in Lamar’s voice that revealed a bit of fatigue (The guy has been literally all over Austin the past few days) but there was no let up in performance quality as the L.A. rapper 100% knocked it out.

Big K.R.I.T. is a monster. The power and determination that focus through this guy as he spits is unreal. K.R.I.T. is a huge star in the making and his nasty Stage on Sixth performance was nothing less than an emphatic validation.

Sharon Van Etten has a magnetism in her music that is really really powerful. Her performance at The Secretly Canadian/Jagjaguwar showcase was (and I don’t use this word lightly) sublime. Sharon IRL captured our b3sci hearts last night (she’s had our non-IRL ones for a minute now). She was effortless. “Serpents” was captivating/hypnotic. “Warsaw” was straight class. POWER. The demure and unassuming Sharon is a force. This one woman should have all that power.

reviewed by
03-16-12

SXSW Wednesday Night Highlights: Gary Clark Jr, Miguel, We Were Promised Jetpacks

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WWPJ closed out Terrorbird’s Wednesday afternoon showcase, turning in a blistering 30 minute set that caused at least partial hearing damage for a good portion of the house.

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Miguel, rocking his newly styled “Tesfaye fade”, put on for all the R&B stans at the SOBs’ Belmont showcase. Mixing in refashioned live versions of hits “Quickie” and “All I Want Is You” with newer less-commercial material like “Adorn”, Miguel seemed to satisfy the mostly packed Belmont. If for nothing else, (the set did come off a bit weird), Mr. Jontel certainly left a full measure of effort out there.

Gary Clark Jr, who closed the Warner Brothers set at La Zona Rosa gave nothing short of a starmaking performance. This is Clark’s time. So versatile (both stylistically, vocally, and perfomance-wise), Clark is still no doubt doing what others before him have done or are currently doing but what separates the 28-year old is his feel and his believability which was on full display during his set. Gary Clark Jr. is the real deal.

We Were Promised Jetpacks scotland (Facebook)
Miguel california (Facebook)
Gary Clark Jr. texas (Facebook)

reviewed by
03-15-12

SXSW Tuesday Night Highlights: Star Slinger, Electric Wire Hustle

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The opening sortee in this week’s official SXSW music showcases was last night’s Pitchfork showcase at Mohawk. Among those on the bill were b3sci faves like Shlohmo, Schoolboy Q & one of our biggest must-sees for the festival, UK beatsman Star Slinger. Hitting a stage already left nicely warmed up by True Panther duo Teengirl Fantasy, Star Slinger had the house on lock from the moment the first bit of space-bass bumped through the venue. Mixing tracks from Jessie Ware & Rihanna with original compositions and new shit (there were maybe 4-5 new beats and mixes dropped into the set), Star Slinger’s brand of interstellar electro booty rap totally wrecked live.

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We are HUGE fans of Electric Wire Hustle. Their debut LP (despite being nearly three years old) is still in constant rotation around b3sci. The chance to finally see the New Zealand-based trio live was an opportunity we could not pass up. An Andre 3000-esque styled Mara TK and his mates keyboardist keyboardist Taay Ninh and drummer Myele Manzanza ripped through uptempo joints like the b3sci #1 song of 2009, “They Don’t Want” and then easily dialed down into more smoothed out tracks like set closer “Perception”. The multi-talented mult-tasking Ninh and the crazy skilled drumming of Manzanza were a perfect frame to Mara TK’s mindblower Marvin Gaye-styled vocals. The mixing at Swan Dive, where EWH’s set took place, did leave a bit to be desired however. We definitely would love to hear the trio perform at a venue, less like a shoebox, and more suited to their sound but that aside, the performance the band turned in was class. A+

Star Slinger england (Facebook)
Electric Wire Hustle newzealand (Facebook)

reviewed by
03-14-12

SHOW REVIEW: Andrew W.K. at Avalon in Hollywood, CA. 3/9/12

Contributed by James Giblin

I Get Wet, Andrew W.K.’s first big studio album was released in 2001 about a month and change after 9/11. Pretty much everyone had other things to worry about at the time. We all got to it at our own pace. The music on the album itself is not simple to categorize. It’s music that Fox Network can and will use in programming bumpers until the end of time. It’s music that lends itself as well to a session of Playstation hockey as it does to a mid-afternoon minivan trip to Taco Bell. The music is utterly mindless lyrically but if you listen long enough, it tugs your heartstrings with the mad, fumbling practice of a first-ever make-out session. It’s music a better-informed Bill & Ted would have traveled through time just to learn how to play. Most tracks on I Get Wet are musically quite similar with guitar-driven power rock ballads with piano accompaniment that champion the tenets of partying. The songs alternate between being earnest and hilarious.

Andrew W.K., at some lengthy interval in the years 2000-01, composed
the vast majority of the I Get Wet album himself and performed each
instrumental section individually himself, then textured them together
to create the unique sound in his imagination, then assembled a
touring band to deliver it unto the masses. That initial tour was quite
bizarre and wonderful, and I will be comparing today’s tour with the
original throughout this review. Andrew W.K. has recently determined
that the world is in dire need of I Get Wet‘s return. Beyond mere
comparison with its predecessor, let us examine whether, in this
solitary instance on a Thursday in Hollywood, Andrew’s determination
held true.

001

After thoughtfully confirming whether we, the paying customers were in fact ready for Andrew, the Avalon’s warm-up staff darken the lights on the rather amusing backdrop of our protagonist’s bloodied nose and maw. This image is the album cover of I Get Wet, an image which once caused controversy in European markets for being a possible veiled
reference towards cocaine over-usage. In reality, it’s an image of a guy who hit himself in the face with a brick, and that’s as good a primer as any for what we’re about to see.

002

The band members emerge one by one and appear to range from motor-oil
drinking body builders to Fuel-era James Hetfield, to Steve Perry, to a
WWF diva. Tension mounts and bubbles and everyone unanimously agrees
that we are in for a treat, though many are far to nervous to say so
with their mouths, claps or other noise-making gestures. Andrew is
last to emerge to the crowd’s eager yells, ruckus and shuffling of
feet. Mr. W.K. steps up to the microphone and engages with the crowd
as only he can.

003

If you’ve never had the pleasure of a conversation with Andrew W.K., I
can help fill in at least some of the blanks for you. Personality-wise, he is a cross between Tony Robbins, Henry Rollins, “Evil” Ed from the original Fright Night, and your imagined persona of your dad when he was your age. An interview with him generally vacillates between; Andrew making weird faces or noises, Andrew encouraging you to follow your dreams and trust in yourself and squeeze the absolute limit of human experience out of your limited time on the planet, genius-IQ Andrew working to elucidate in simple terms the intricacies of how and why he does what he does while
battling the perceived dichotomy inherent in his music and in his public image, and Andrew having fun, joking around and lighting up the room with his good-natured sense of humor.

On stage, Andrew is, impossibly, an even more confusing mix of all and
none of the above. He alternates between sticking the microphone in
his pants, punching himself in the side of his head in order to
release a major wad of spit, and lurching his legs around manually (by
hand) like a damaged, fun-loving Terminator unit. He elicits support
from the crowd during, but never before the start of his inter-song
shenanigans and peppers us with sincere, deranged statements about his
and our relative performance during the show. He is invulnerable and
indefatigable. He will never age and this night will clearly never end
(it ends at 10pm sharp (more on this later)).

The set kicks off with “It’s Time to Party”, and rolls into “Party
Hard” almost seamlessly as the crowd is absolutely devouring it. These
two songs have appeared in more big screen frat house camera sweeps
and EA Sports games than any other form of media (other than perhaps
Lit’s “My Own Worst Enemy”). Bleary-eyed thirty-somethings are
immediately transported to their own A.W.K. memoria; though their
lives have changed, this music and this feeling have remained just the
same as they left it. Hell, even the band looks pretty much identical
to a 2002-04 Andrew W.K. tour – with perhaps one exception.

004

As the audience’s lives have grown and changed over the past ten
years, so too has Andrew’s – in his case the addition a wedding banded
finger, and in turn, a wedded band member. Meet Cherie Lily, Andrew’s
bride and perhaps by default New York City’s pre-eminent chanteuse
and partying fitness model. Cherie Lily is dressed
as a dominatrix Jane Fonda; Cherie Lily puts the “melt” in “cameltoe.”
Along with her on-stage moves, which are unarguably as suited as any
towards the A.W.K. sound, Cherie brings with her the main conundrum of
the evening. Mrs. Lily was not present in Andrew’s life at the time
some of this music was made, or for any of the original tours, yet she has
toured by his side for at least the past year by my reckoning. By
contributing vocals to every song and appearing in her own loud, tan
and toned fashion next to Andrew, does she change the nature of the
show? Is the 10th Anniversary I Get Wet show altered too
unrecognizably from the original? Is our trusty old partying buddy’s
flashy new wife cool enough to hang out and head bang with us? Are we
grown-ups? We will re-visit this later.

005

Moving through “Girls Own Love” and “Ready to Die”, we take a long
look at the rest of the band, and fans of the original I Get Wet tour like what
they see. On that original tour, fans (dozens of fans, simultaneously)
were often invited on stage to party near the last few songs of the
set to end the show. As Andrew himself stands at a stout 6’3″ and at
least 250 lbs., and all of his band members have perenially been
bearded, muscled goliaths, there was very little even the drunkest
fans could do to disrupt the show, aside from toppling a keyboard,
which security always seemed to have their eye on somehow. Andrew’s 5
or 6 guitarists would grimly strum and thumb away as a variety of
idiots caromed off of them and into each other before plummeting back
into the writhing arms of the crowd. It is difficult to imagine that
many of today’s fans will be able to stage-jump at the freaking
Avalon, and with the presence of Cherie it is hard to imagine that the swarming masses will be able to push, shove and get their faces rocked on literally by this band.

006

A.W.K. used to bounce around like a spring all show. I saw the guy do a show in a
wheelchair and he literally hopped around in it all over the place,
broken leg swinging around like a piñata. As the track “Take it Off” brings us
another step through the I Get Wet canon, Andrew replaces some of his
explosiveness with attention towards his bandmates, making sure to
circulate to sing and lean upon each, which is quite a task
considering there are a total of 8 people on stage at all times.

008r

“I Love New York City” is received enthusiastically by the L.A. crowd, lending some credence to the easily assumed fact that no one attending this show is actually from
LA. Andrew W.K., though originally from Michigan, is a New York guy
through and through; judging by his tour stops, much of his devoted
fanbase lies between those two bounds. At this point in the show,
Andrew, in his infinite Andrew, elects to strap on a trusty ESP LTD guitar to
thrash out an extended solo upon. Much of this is objectively quite
horrible, and some of the fans let him hear it. Andrew’s response is
to make faces and pound a big old loogie of spit out of his own mouth.
They love it! Rule Number One: Know thy audience.

Proceeding briskly through the album’s 12 tracks the band
plays “She is Beautiful”, a blistering ode to romantic love and the
virtues of taking a chance. There is possibly no better time to
revisit Cherie Lily as we have now been exposed to quite a bit of her
vocals. I’m not going to say that she is doing great at singing Andrew
W.K. songs; she is however fun while performing them. Even if her
vocal contributions lie firmly in the question mark column, which they
do, it’s quite an untenable situation for her in the first place.
Andrew W.K.’s songs, by their very nature, make little sense and hold
less water when performed by anyone but himself. Most importantly to
the show itself, the somewhat alarming lack of vertical motion by Mr.
W.K. is being addressed quite robustly by Mrs. Lily, as she bops
nimbly back and forth, engaging in various swoops and flourishes as
demanded by the beat.

0101

As always, the end of a song marks the return of the spotlight to
Andrew. This is the point in the show where some eager Andrew W.K.
fans feel a slight panic, as the friends/boyfriends/girlfriends they
are hoping to convert are exposed to Andrew at his most base. The
crowd is gleefully petitioned with the following: “Have you ever…
vomited?” “Have you ever….. BARFED?” cheers>

This all leads us into “Party Til You Puke”, a paean to a time-honored
celebratory ritual that many of the thirty-somethings in attendance
have left far behind them. An interesting cross-section of persons has
come to attend this show. Most are obviously dedicated fans, as they
are clad in Andrew gear or often enough dressed as the white-shirted,
white-denimed party rocker himself. I Get Wet‘s original tour was
famous at the time for attracting a non-sensical mix of rockers,
skaters, fratboys or preppies as they were once known, grungies or
dirties, proto-hipster indie kids, the goth/black metal set, and
basically anything else in between. This is not to say that Andrew
W.K. had or ever has had universal appeal; it is simply to say that
the sort of music you were into had little determination in whether
you “got it” or not. Basically, if you didn’t get it, you probably
hated it; if you got it, and if you didn’t care what your friends
thought, you were more than likely at the Andrew W.K. show. I would
like to say that this particular aspect of the original show has held
up but I really can’t tell as the only two cliques at rock shows in LA
seem to be “hipster” and “other”. I am delighted however to report
that both hipsters and others were in attendance and circle-moshing
quite vigorously.

011

“Fun Night” is the next track, continuing the theme of the album,
which I believe has something to do with partying. It is known to many
New Yorkers that Andrew W.K. co-owns a joint called Santos Party
House, a dual-floored Manhattan party outlet which is described by
various well-respected magazines and newspapers as one of New York
City’s best venues and hottest dance nights. A point of contention for
many of Andrew’s detractors is the subject of how genuine Andrew is.
In order to grasp the appeal of this music that is so elusive for
many, it seems that one must buy into the idea that Andrew is indeed
all about partying, all the time. As foolish or unrealistic a concept
as that seems from a distance, it is hard to escape concluding it as a
certainty while observing him in his party element, whether it be a
rock show or a night at Santos. Another piece of evidence supporting
his legitimacy is the fact that Andrew W.K. is possibly more popular
in Japan than he is in the U.S., much like noted party animal Edward
Furlong.

012

The second-to-penultimate verse of I Get Wet, known as “Gotta Do It”,
is followed by a rather extended series of antics from Andrew, as he
pleads the audience to raise its activity level, the punishment
apparently being that he will act really weird if we don’t.

013

Fumbling with his button fly, Andrew inserts his microphone into an
unknowable crevice and pretends to be some kind of satanic primate as
onlookers cheer and howl.

014

Pantomiming a slow death of thirst proves the perfect transition into
“I Get Wet,” the album’s title track. Punctuated by water bottle
showers courtesy of Cherie Lily, the audience’s eyes are reflexively
closed as they swoon towards the reality that a mere one track remains
on the album, and doubtlessly thus the concert. It’s weirdly about
8:45pm. Aside from the fact that it’s a school night, who do I blame
for this? According to reviewer Chris Gedos, it might be the fact that
the Avalon likes to have the place clear for their DJ night before it
gets too late. Bummer.

015

I Get Wet comes to a close with “Don’t Stop Living In The Red”, a
track that reminds me of another contrasting quality of this tour vs.
the original. Namely, it’s this: Andrew W.K. has spent virtually zero
time proselytizing the crowd. Generally, in the old days, an audience
would get quite the hefty dose of Andrew’s life philosophy, in
addition to the constant urging to party and let loose. Crowds would
be told things along the lines of “This is right and so are you.” or
other similar things espousing the power of will, self-confidence and
being true to yourself. There was very little of this kind of thing
over the course of the entire night. This was always part of the
unique charm of Andrew, he was performing music, but he would lapse
into being a self-help guru at the drop of a drumstick. I’m not sure
whether the removal of this is a good or a bad thing for the show but
I look forward to philosophers debating the question for decades to
come.

016

With this, Andrew and the gang bid adieu to the now very animated
attendees. Ever the crowd-pleaser, the crowd is allowed a good four
minutes during which they move from “ONE! MORE! SONG!” (the dumb
crowd’s version of encore according to a great LA stand-up comic who I
will credit when I remember who it was I think it was John Vargas) to
a final convergence upon “WE! WANT! FUN!”, a much more fitting cheer
for an Andrew encore by any measuring stick you have handy. After a
few more minutes in which the audience’s family jewels drop through
the floor in anticipation, the band comes back out and we have
ourselves a whole ‘nother show! Yahoo!

017

If scientists worked to create one awesome track with which to come
back from intermission, “Victory Strikes Again,” the opening track
from Andrew W.K.’s second big studio album, The Wolf, would fall
awfully close to the mark. At this point the crowd is full-on, fever
pitch, loving it. Every person near to me is jumping up and down.
Taking pictures is becoming quite the challenge. I slip out of the
reviewer’s brain and into the reptile brain. I’ve watched the show and
analyzed it, but how does it really feel to be here?

018

Every person in attendance, regardless of row or column except for the
very back of the room, is now being moved by the circle pit. Things
are officially out of control. Andrew said earlier in the show that
“THE MORE YOU DO, THE BETTER ANDREW DOES.” It’s his turn to provide
half of the equation.

019

I enter the pit for the first time to the sounds of “Long Live The
Party”. I do not bring anything expensive with me. Knees, elbows,
faces, fists, shoulders and more all compete for my immediate
attention. I stay on my feet. Some idiot falls down. Five people help
him up. Bodies are being launched in a surf toward the stage with
alarming regularity. As close as this is to how it was ten years ago,
something’s a bit different. I set out to determine what it is. I
decide after racking my brain while being jostled and head-butted that
the music is not as loud as it should be. I struggle to determine
whether this is because I am old and deaf or because the Avalon is
subject to more stringent noise pollution laws than the venues of my
youth. Both prospects depress me.

020

The next song is “Never Let Down” and the tempo change grinds the pit
to a halt. This song is a slow-paced rock ballad that evokes the
spirit of camaraderie and devolves our spirited melee into something
resembling a group bro-hug. I make my exit at this point and realize
that the music hasn’t changed, but I have. “Totally Stupid” is the
next track to play, and its lyrics are directly evocative of its
title. My thoughts can’t help but turn critical. I’m not 16 anymore,
inside or outside. The concert experience of my youth slides ever so
much farther from reach. A cold tick echoes inside the mechanics of my
heart clock. The crowd sways, hoots and hollers as I grit my teeth and
wonder.

021

The fanfare briefly weakens but Andrew is an old hand at this kind of
situation. As some of the audience, your trusty correspondent
included, reach into our old bag of tricks and come up wanting, Andrew
reminds us that his bag has all the same tricks it’s ever had. He
proceeds to literally carry the crowd on his own shoulders.

022

Look at that. That doesn’t happen every day. My spirits are renewed. I
am reminded of why I love Andrew W.K. concerts. It is the kind of
feeling that lasts for a brief moment but makes you wonder why you
ever feel any other feeling.

023

We are now offered some newer tracks; from Close Calls With Brick
Walls
, a 2006 double-CD release, we have two very strong and energetic
tracks in “You Will Remember Tonight” and “The Moving Room”. These
served as a welcome injection of energy into the room as some in the
crowd had grown restless, but were now drawn fully back into the show.
This is the point at which A.W.K. begins teasing the crowd before and
after each song that “THIS IS YOUR LAST CHANCE”, though it seemingly
never is.

024

The audience is asked if it would like to hear a NEW SONG, and we
proceed into what I believe was called “Head Banger.” The contents of
the package match the label, and we are treated to quite the husband
and wife head-bang sesh. It must be true that the family that rocks
out together stays together. If I’m forced to call in a decision from
my jury on the Cherie Lily A.W.K. era, I’d have to say that most fans
of the original tour should approve. So much of the original tour was
sort of a “Cult of Andrew” and adding a new on-stage personality is
bound to sort of detract from that, but the two of them playing off of
each other adds a positive wrinkle to the show – one must also wonder
if her presence has sort of muted Andrew the Philosopher as well. The
net result comes out to the show being more about the music and less
about the cult figure, which must be viewed as a win for fans of the
music. For those who only value Andrew for his existence as a kind of
larger-than-life character, there’s still plenty here at the show to
enjoy and you even get to see him in a new light. Who knows, maybe
some day Andrew or Andrina Jr. will be up there rocking along with the
whole family.

The song that everyone wanted to hear at that point is “We Want Fun”,
a 2000 un-released EP’s hit single that propelled Andrew’s early
career with the help of a video featuring Jackass cast members and
various skate-boarders. This is Andrew as his earliest fans remember
him, and as they would probably wish to remember themselves at the
time they listened to it. Exhausted, the crowd allows Andrew to
withdraw, W.K. himself showering the front row with beatific praise
and high fives as the band completes a triumphant exit. It’s weirdly
about 10pm.

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Did the world need a return of I Get Wet? Andrew is as close to his
original form as any fan could beg for, and on his side of things this
tour is probably calculated to provide a strong launch for his new
work. I can imagine no better way to do that than a return to his cult
favorite album and evidently neither could his management. The show
was packed in and there were more than just die-hard dress-up fans
there – there were many new listeners I spoke to and plenty of people
who had dusted off old .mp3 folders and worked themselves up into a
frenzy they hadn’t seen in a decade in anticipation of this night.
Those are the ones who needed this show.

Andrew W.K. newyork (Facebook)

Rating 7.9

brown71

reviewed by
03-12-12

SHOW REVIEW: Tribes / Bleeding Knees Club / Army Navy @ The Bootleg Theater, Los Angeles 03/10/12

By Trevor Meyer

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Los Angeles’s own, Army Navy were the opening act during Saturday night’s festivities at the Bootleg Theater. The guys got the crowd into it right away with simple rhythms, well-placed refrains, and hooky melodies. As they made their way through their set, I kept wondering if they were going to lose momentum, but they never did. Song after song, like “Ode to Janice Melt” and “The Long Goodbye” featured contagious melodies and ignited an epidemic of happiness about the room. With so many people smiling and dancing, it would be impossible not to pay homage to Army Navy. Treat yourself and give this incredibly talented band the listening that they deserve.

Next up, Australian surf/punk/pop trio Bleeding Knees Club claimed the stage. Taking the night in a different direction, the three-piece quickly escalated the intensity. Utilizing three chord melodies and heavy snare, they were really able to get the crowd moving. The drummer of this band had some of the coolest facial expressions I have ever seen, it was like he was doing Bobby Knight’s “game face” all the while beating his snare drum to a pulp. Some of my favorite tunes from their set were “Have Fun” and “Truth or Dare.” Have yourself a Foster’s and spin a couple tracks from these guys.

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The eclectically dressed Brits took the stage as the headlining act. Musically, Tribes were very tight, very together. They had a noticeable musical chemistry, but there was very little interaction with the crowd (which was the theme throughout the night) and even less interaction between band members. Tribes focused more on their EP We Were Children, dazzling the crowd with hits like, “Girlfriend,” “Coming of Age,” and “We Were Children,” but they forgot to play at least half of their album, Baby including personal favorite “Nightdriving”. They closed with the powerhouse hit, “When My Day Comes” and the popular anthem, “Himalaya.” Perhaps they were expecting a larger turnout, but with only a 30 minute set and a hasty exit, to say that Tribes left a lot to be desired would be an understatement. But, all in all, it was solid performance on the whole. The Bootleg Theater is always a nice place to see music and they did a great job mixing the wide range of music coming from these three surging bands.

Tribes england (Facebook)
Bleeding Knees Club australia (Facebook)
Army Navy california (Facebook)

reviewed by
03-11-12

B3SCI’S SXSW PREVIEW 2012

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Hey family. It’s that special time of the year again when the glitterati of the music industry descend on ATX to slap each other fives, layer their forearms in VIP wrist bands, and hopefully catch some cool bands. Planning for SXSW can be a daunting ask. The sheer number of bands, shows, parties, etc is ginormous. SXSW planning fatigue is real but b3sci is here to help! We’re setting you up with all our picks for can’t miss sets (our Top 5 for each nighttime hour of the festival) and showcases (our 3 faves for each night). Lego!

TUESDAY

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Kendrick Lamar takes the 1100 Warehouse stage at 1 AM on Tuesday.

Showcases where you want to be:
1) Pitchfork @ Mohawk (& Patio): Schoolboy Q, Shlohmo, Star Slinger, Mr. Muthafuckin’ eXquire, Tycho
2) Warner Bros. @ La Zona Rosa: Flux Pavilion, Santigold, Theophilus London, Neon Hitch
3) Stone’s Throw @ Swan Dive: The Stepkids, MED, Strong Arm Steady

Can’t miss sets:
8:00-8:59 PM:
1) Shlohmo @ Mohawk (Pitchfork) (8:30)
2) Neon Hitch @ La Zona Rosa (Warner)
3) Boy Friend @ Swan Dive (Yours Truly)

9:00-9:59 PM:
1) Star Slinger @ Mohawk Patio (Pitchfork)
2) Theophilus London @ La Zona Rosa (Warner) (9:30)
3) Capital Cities @ Buffalo Billiards

10:00-10:59 PM:
1) The Stepkids @ Elysium (Stone’s Throw) (10:30)
2) Santigold @ La Zona Rosa (Warner)
3) Mr. Muthafuckin’ eXquire (Pitchfork)

11:00-11:59 PM:
1) Electric Wire Hustle @ Swan Dive (Yours Truly)
2) Beach Fossils @ Club 606 (Root Music) (11:30)
3) Tycho @ Mohawk (Pitchfork) (11:30)

12:00-12:59 AM:
1) Schoolboy Q @ Mohawk Patio (Pitchfork)
2) Caveman @ Bat Bar (Campfire Trails)
3) Flux Pavilion @ La Zona Rosa (Warner)

1:00-1:59 AM:
1) Kendrick Lamar @ 1100 Warehouse (XXL Mag)
2) Saint Motel @ Treasure Island
3) Built to Spill @ The Belmont (Space Ducks)

WEDNESDAY

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NPR’s Wednesday night showcase features a 9 PM performance from Sharon Van Etten.

Showcases where you want to be:
1) NPR @ Stubb’s: Sharon Van Etten, Fiona Apple, Alabama Shakes
2) Last Call w/ Carson Daly @ Red 7 Patio: Cults, Tennis, Lee Fields & The Expressions
3) Innovative Leisure @ 512: Hanni El Khatib, Nick Waterhouse, Allah-Las

Can’t miss sets:
7:00-7:59 PM:
1) Fiona Apple @ Stubb’s (NPR)
2) CFCF @ Barbarella (Dummy XO)

8:00-8:59 PM:
1) Fidlar @ The Main (Vans)
2) Mux Mool @ Club de Ville (Ghostly)
3) Anoraak @ Mohawk Patio (The Agency)

9:00-9:59 PM:
1) Sharon Van Etten @ Stubb’s (NPR)
2) Big K.R.I.T. @ Antone’s (Pandora)
3) Tristen @ Central Presbyterian
4) Ed Sheeran @ La Zona Rosa (Warner) (9:30)
5) Mansions on the Moon @ Velveeta Room

10:00-10:59 PM
1) Miguel @ The Belmont (SOB)
2) Kimbra @ La Zona Rosa (Warner)
3) Tennis @ Red 7 Patio (Carson Daly)
4) The Wedding Present @ Swan Dive (Suicide Squeeze)
5) Mannie Fresh @ Hotel Vegas Patio (10:30)

11:00-11:59 PM:
1) Alabama Shakes @ Stubb’s (NPR)
2) Lee Fields & The Expressions @ Red 7 Patio (Carson Daly)
3) Juvenile @ Hotel Vegas Patio
4) xxxy @ Barcelona (Halo Cyan)
5) Bahamas @ St. David’s Bethell Hall (Brushfire) (11:30)

12:00-12:59 AM:
1) Miike Snow @ Hype Hotel (Hype Machine)
2) Gary Clark Jr. @ La Zona Rosa (Warner) (12:30)
3) 2 Chainz @ The Belmont (SOB)
4) Nick Waterhouse @ 512 (Innovative Leisure)
5) The Pierces @ The Studio (HGTV)

1:00-1:59 AM:
1) Kasabian @ 1100 Warehouse (101x)
2) Purity Ring @ Chevrolet Sound Garage
3) We Were Promised Jetpacks @ Easy Tiger Patio (Scottish)
4) The Drums @ Stage on Sixth (Frenchkiss)
5) Hanni El Khatib @ 512 (Innovative Leisure)

THURSDAY

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The newly reunited Jesus and Mary Chain play The Belmont at midnight Thursday.

Showcases where you want to be:
1) Secretly Canadian/Jagjaguwar/Dead Oceans @ Mohawk (& Patio): Sharon Van Etten, The War on Drugs, Nite Jewel, Gardens & Villa, Bear in Heaven, Gauntlet Hair
2) Music Matters @ Stage on Sixth (& Patio): Nneka, Miguel, Marsha Ambrosius, Big Sean, Stalley, Kendrick Lamar, Machine Gun Kelly, Smoke DZA, Big K.R.I.T.
3) Pitchfork @ Central Presbyterian: Nicolas Jaar, Grimes, Purity Ring, Charli XCX, Fiona Apple

Can’t miss sets:
8:00-8:59 PM:
1) Body Language @ The Madison (Bond)
2) Shigeto @ Barcelona (Surefire)
3) Stalley @ Stage on Sixth Patio (Music Matters) (8:30)
4) Family of the Year @ Maggie Mae’s Rooftop (Chop Shop)
5) The Chevin @ Latitude 30 (The Agency)
Prev. Mentioned: Electric Wire Hustle @ Driskll Victorian Room (StyleX), Fiona Apple @ Central Presbyterian (Pitchfork)

9:00-9:59 PM
1) Benjamin Francis Leftwich @ Latitude 30 (The Agency)
2) Gardens & Villa @ Mohawk Patio (Secretly Canadian) (9:30)
3) Charli XCX @ Central Presbyterian (Pitchfork) (9:30)
4) White Arrows @ Stubb’s (Spinner) (9:30)
5) Penguin Prison @ Lustre Pearl (Dickies)
Prev. Mentioned: Kendrick Lamar @ Stage on Sixth Patio (Music Matters)

10:00-10:59 PM:
1) Nneka @ Stage on Sixth (Music Matters)
2) Howler @ Bar 96 (Converse)
3) Girls @ Stubb’s (Spinner)
4) Robert Glasper @ Elephant Room
5) Curren$y @ La Zona Rosa (Warner)
Prev. Mentioned: Lee Fields @ ND (Windish), Purity Ring @ Central Presbyterian (Pitchfork) (10:30), Saint Motel @ Stubb’s (Spinner) (10:30)

11:00-11:59 PM:
1) The War on Drugs @ Mohawk Patio (Secretly Canadian) (11:30)
2) Meek Mill, Stalley & Wale @ La Zona Rosa (Warner)
3) Colleen Green @ Hotel Vegas (Hardly Art)
4) Class Actress @ 512 Rooftop (Carpark)
5) Grimes @ Central Presbyterian (Pitchfork) (11:30)
Prev. Mentioned: Big K.R.I.T. @ Stage on Sixth Patio (Music Matters), CFCF @ The Madison (Bond), Miguel @ Stage on Sixth (Music Matters), Mux Mool @ Barcelona (Surefire), Nick Waterhouse @ ND (Windish), Schoolboy Q @ Clive Bar (S.O. Terik), Tennis @ Club de Ville (Paradigm)

12:00-12:59 AM:
1) The Jesus and Mary Chain @ The Belmont
2) Nicolas Jaar @ Central Presbyterian (Pitchfork) (12:30)
3) The Temper Trap @ Stubb’s (Spinner)
4) Dev @ Chevrolet Sound Garage (12:30)
5) Seapony @ Hotel Vegas (Hardly Art)
Prev. Mentioned: Hanni El Khatib @ ND (Windish), Miike Snow @ Lustre Pearl (Dickies), Sharon Van Etten @ Mohawk Patio (Secretly Canadian) (12:30)

1:00-1:59 AM:
1) T.I. @ La Zona Rosa (Warner)
2) The Peach Kings @ Club 606 (The Roxy)
3) Oneohtrix Point Never @ Red 7 (Mexican Summer)
4) Niki & The Dove @ Driskill Victorian Room (StyleX)
5) Nite Jewel @ Mohawk (Secretly Canadian)

FRIDAY

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Michael Kiwanuka will perform a set at St. David’s Sanctuary at Midnight on Friday night.

Showcases where you want to be:
1) KCRW @ The Parish: The Temper Trap, Crystal Fighters, Clock Opera, Alice Russell & Quantic
2) NME @ Latitude 30: Howler, Big Deal, Kindness, Chad Valley, Tashaki Miyaki
3) Biz 3 @ 1100 Warehouse: Skrillex, El-P, Hanni El Khatib, Nick Waterhouse

Can’t miss sets:
8:00-8:59 PM:
1) Alice Russell & Quantic @ The Parish (KCRW) (8:30)
2) 1,2,3 @ ND (Windish)
3) Tashaki Miyaki @ Latitude 30 (NME)
Prev. Mentioned: Ed Sheeran @ Stubb’s (Time Out), Nick Waterhouse @ 1100 Warehouse (Biz 3) (8:30), Tycho @ Clive Bar (S.O. Terik) (8:30)

9:00-9:59 PM:
1) AraabMUZIK @ Mohawk Patio (AM Only)
2) JMSN @ Club 606 (IAMSOUND)
3) Clock Opera @ The Parish (KCRW)
4) D/R/U/G/S @ The Madison
5) The Mynabirds @ Lamberts (Saddle Creek)
Prev. Mentioned: Hanni El Khatib @ 1100 Warehouse (Biz 3)

10:00-10:59 PM:
1) El-P @ 1100 Warehouse (Biz 3) (10:30)
2) Crystal Fighters @ The Parish (KCRW) (10:30)
3) Kindness @ Latitude 30 (NME)
4) The Big Pink @ Lustre Pearl (Dickies)
5) Karen Elson @ Stage on Sixth (Third Man)
Prev. Mentioned: Caveman @ Hype Hotel (IGIF), Nite Jewel @ Barbarella Patio (Wax Poetics), Star Slinger @ MACC (Pan Americana)

11:00-11:59 PM:
1) Thundercat @ Beauty Bar Backyard (Madison House)
2) St. Lucia @ Karma Lounge (Neon Gold)
3) Jack White @ Stage on Sixth (Third Man) (11:30)
4) Talib Kweli @ La Zona Rosa (Blacksmith) (11:30)
5) White Rabbits @ Hype Hotel (IGIF)
Prev Mentioned: Saint Motel @ Empire Automotive, Grimes @ Clive Bar (S.O. Terik)

12:00-12:59 AM:
1) Michael Kiwanuka @ St. David’s Sanctuary (Communion) (12:30)
2) Sepalcure @ The Madison
3) Cults @ ND (Windish)
4) YACHT @ Clive Bar (S.O. Terik) (12:30)
5) Daedelus @ Barbarella (Ninja Tune)
Prev Mentioned: Alabama Shakes @ Easy Tiger Patio (Girls Rock Camp), The Drums @ Stubb’s (Time Out), Howler @ Latitude 30 (NME), The Temper Trap @ The Parish (KCRW), The Pierces @ Stubb’s (Time Out)

1:00-1:59 AM:
1) Skrillex @ 1100 Warehouse (Biz 3)
2) Cloud Nothings @ ND (Windish)
3) PAPA @ Club 606 (IAMSOUND)
4) Girl in a Coma @ Easy Tiger Patio (Girls Rock Camp)
5) Laidback Luke @ Mohawk Patio (AM Only)
Prev. Mentioned: Alice Russell & Quantic @ Barbarella Patio (Wax Poetics), Dev @ Haven (Moodswing 360), xxxy @ Barcelona (Surefire)

SATURDAY

sbtrkt3
UK producer SBTRKT closes out the SBTURKS showcase at the Madison at 1 AM on Saturday night.

Showcases where you want to be:
1) Flowerbooking & FatCat @ Red 7 (& Patio): The Velvet Teen, Odonis Odonis, Ceremony, Breton, The Twilight Sad, We Were Promised Jetpacks, Star Slinger
2) Warp Records & Brainfeeder @ Empire Automotive & Club 606: Starkey, TOKiMONSTA, Daedelus, Hudson Mohawke & Lunice (TNGHT)
3) Huw Stephens @ Latitude 30: Toddla T, Slow Club, Maverick Sabre, Django Django, Clock Opera

Can’t miss sets:
8:00 PM – 8:59 PM:
1) Ceremony @ Red 7 Patio (FatCat)
2) Odonis Odonis @ Red 7 (FatCat) (8:30)
3) Savoir Adore @ Swan Dive (Red Ryder)
Prev Mentioned: Michael Kiwanuka @ Stubb’s

9:00-9:59 PM:
1) A$AP Rocky @ The Madison (SBTURKS)
2) The Velvet Teen @ Red 7 (FatCat) (9:30)
3) Blouse @ Frank (The Great Escape)
4) Charlene Soraia @ Frank (The Great Escape)
5) Madi Diaz @ St. David’s Bethell Hall (Hotel Cafe) (9:30)
Prev. Mentioned: Alice Russel & Quantic @ Stage on Sixth Patio (Nat Geo), Clock Opera @ Latitude 30 (Huw Stephens)

10:00-10:59 PM:
1) Breton @ Red 7 (FatCat)
2) Fanfarlo @ Hype Hotel (Hype Machine)
3) The Belle Brigade @ Clive Bar
4) Blackbird Blackbird @ Malverde (Bond)
5) Starkey @ Empire Automotive (Brainfeeder)

11:00-11:59 PM:
1) Maverick Sabre @ Latitude 30 (Huw Stephens)
2) TOKiMONSTA @ Empire Automotive (Brainfeeder)
3) Best Coast @ Hype Hotel (Hype Machine)
4) White Denim @ Jacked Stage (Doritos)
5) Gemini @ Beauty Bar (UKF) (11:30)
Prev. Mentioned: Nneka @ Stage on Sixth (Nat Geo)

12:00-12:59 AM:
1) The Heavy @ Stage on Sixth (Nat Geo) (12:30)
2) Dom Kennedy @ Scoot Inn (Thrasher) (12:30)
3) Jacques Greene @ Barcelona (XLR8R) (12:30)
4) Jimmy Cliff @ Stage on Sixth (Nat Geo) (12:30)
5) Hatcham Social @ 512 Rooftop
Prev. Mentioned: Anoraak @ Malverde (Bond), Daedelus @ Empire Automotive (Brainfeeder), We Were Promised Jetpacks @ Red 7 (FatCat)

1:00-1:59 AM:
1) SBTRKT @ The Madison (SBTURKS)
2) Slim Thug @ Barbarella Patio (Texas Showdown) (1:30)
3) Braid @ Dirty Dog
4) Hudson Mohawke & Lunice @ Empire Automotive (Brainfeeder)
5) XV @ Hype Hotel (Hype Machine)
Prev. Mentioned: Beach Fossils @ The Parish (Captured Tracks), Star Slinger @ Red 7 (FatCat)

reviewed by
03-10-12

SHOW REVIEW: The Drums @ La Bataclan, Paris 03/02/12 [PHOTOS]

By Tamara Tabet

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The Drums newyork (Facebook)

reviewed by
03-05-12

Live Review: Cloud Nothings @ The Echo, March 2nd, 2012

By Chris Gedos

cloutnothingsmerch

The venue was already near max capax by the time I arrived at The Echo Friday night for Cloud Nothing’s sold out affair, their first headlining show in Los Angeles (they opened for Toro y Moi at The Troubadour last March). The Dylan Baldi project has garnered a bevy of adulation since the Steve Albini produced Attack on Memory dropped at the end of January. It’s an abrasive, thirty-three minute screamfest, but infused with pathos throughout. I was initially doubtful that Baldi could replicate the frenzied kinesis of the recording.

Opening act Mr. Clean more strictly adhere to the hardcore / postcore manifesto than a band like Cloud Nothings. Attack on Memory has hardcore elements, but Baldi’s previous releases show very explicitly his facility with three minute songwriting. As a fellow native Clevelander, I’m sure he’s familiar with the rotation over at the much lauded OBG station, WMJI Majic 105.7. That being said, I think Mr. Clean could use a little more time with Seeger’s old time rock n’ roll. They’ve got some cool elements, they pay The Ramones / Gang of Four / Pavement / usual suspect homage, and a lot of people were getting into them. However, it would probably do them well to listen to a contemporary like Outfit or Slothbear and find a way to harmonize those wildly divergent influences. But they play loud, they force an opinion from the listener, and they prepared us for the powerful Cloud Nothings set.

Taking an atmospheric overview in between sets, I notice that there’s a lot of white guys in attendance, more so that your usual Los Angeles melting pot experience, and it reminded me of so many concerts I enjoyed in Cleveland during my college years. Maybe Dylan Baldi was at the Cleveland Heights, OH Grog Shop when he decided to forgo his Case Western education (my fellow alum) and start his professional music career a touch early. One thing’s for sure, Baldi would have a difficult time going back, as the discerning music public has grown to expect something out of him.

It’s pretty early into “Stay Useless”, the set opener, when I realize that this is a fully functioning band. I’d read that the other band members, TJ Duke, Jayson Gerycz and Joe Boyer, each had a hand in the songwriting, but that only becomes evident after seeing Cloud Nothings live. This is no longer “merely” a solo bedroom project. Baldi doesn’t take a majority of the solos, but prefers to sit back and let his bandmates have their moment in the spotlight as well, while he can focus on his vocals – he may have a non-traditional voice, but he knows how to hit his notes. “Fall In” appears second, in order reversed from the LP. Whether Albini or Baldi came up with the sequencing, I don’t know, but it shows how the individual tracks function well as singles while still remaining part of a larger work.

As the band rolls into the instrumental, “Separation”, and “Cut You”, the moshers are really starting to have at it. I only got slammed into once. Baldi’s furious rhythm guitar really revs up the energy, to the point where you wonder if elbows are gonna start flying, but fortunately we’re not at a Limp Bizkit concert. Everybody knows proper decorum; it didn’t seem like anybody got hurt. It’s admirable though that Cloud Nothings can get people worked up in such a manner. There may have been a moment during “Our Plans” where Baldi set his guitar on loop and began to dicker with an MPC on the ground, but I’m not too sure in retrospect. The set’s sheer decibel level left many of us quite punch drunk, and I mean this in a very good way. Well done Cloud Nothings.

Cloud Nothings- Stay Useless

Cloud Nothings – Our Plan

Cloud Nothings ohio (Facebook)

cloud-nothings-echo

Rating 9.11

brown93

reviewed by
03-04-12

SHOW REVIEW: Hanni El-Khatib @ La Maroquinerie, Paris 02/22/12 [Photos]

By Tamara Tabet

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Hanni El-Khatib california (Facebook)

reviewed by
02-28-12