I was lucky to be in town visiting my parents when I was, because Rockapella happened to be singing in the area, and it's been over a year since I last saw them. They have been such an inspiration to me, both musically and personally, that I really try to see them and support them whenever I can. I'm glad I had the chance--the show was phenomenal, as expected.
First of all, a note about the Strathmore. They started building it in 2005, right about when I first bought my condo in nearby Rockville. I knew it was going to be a fine arts center, but it turned out to be one of the nicest halls I've ever been in. It's not terribly huge--it holds about 2000, but the architechture and the interior are both amazing. The acoustics in the concert hall were unparalleled, and for a Rockapella show, acoustics are key. Granted, I was sitting in about the 10th row, but my parents, who were significantly further back than me, said that they could hear everything as clearly as if they were in the front. I wish I'd had more opportunities to go to the Strathmore when I lived there--I would love to see a full symphony orchestra perform there. I imagine it would blow the crowd right out of the room.
Anyway, back to Rockapella. As their name suggests, they are a vocal group--as in no instruments, drums, or drum machines. A cappella music is a truly unique art, and it's not for everyone. That being said, I think Rockapella does an amazing job of performing a variety of styles. There's something for everyone in their music. Plus, I think it would be impossible to see what they do in person and not be impressed. Jeff Thatcher, their vocal percussionist is an act completely on his own. You may have also heard them, even if you don't realize you have. If you remember the children's game show "Where in the World is Carmen Sandiego?" from the early '90s, then you will remember Rockapella performing the theme song (and random skits) during every episode. They also recorded a very famous Folger's Coffee commercial in the late '90s, which got a lot of radio airplay and was even on TV for a while. Their lineup has changed, but the concept remains.
They opened the show with a few of their newer songs, which, to my knowledge, have not been recorded in the studio yet. I don't know the names of them, but I can tell you they are much more upbeat and rock-like than most of the stuff they've been doing lately. Their new(ish) baritone, John Brown, is a dancer and a motown fanatic. His influence is immediately apparent in these newer songs, and I love it. I've never seen these guys have so much energy and get so funky on stage. I wish I knew the songs better, but they sure are giving off great vibes. I can't wait until they can get in the studio for a bit.
They showcased some new material, but also pulled some great ones out of the vault for us. I was thrilled to hear "People Change," as it's not one they do very often. I still think Scott Leonard has possibly the most incredible voice I've ever heard, and he oozes with emotion every time he sings that one. George showed off his butter-like bass smoothness in his rendition of "Papa Was a Rolling Stone," which always gets the crowd excited, and we got to hear John belt out a beautiful version of "Stand By Me." Kevin's shining moment was in a beautiful new ballad called "California Sad Eyed Girl," and then they followed that with "Lazy River," another one that rarely comes out on stage. We got an off-mic treat at the end, and with the acoustics in that hall, they were every bit as audible as they were with microphones--even at one point when Scott turned around to face the people sitting behind the stage. They encored with "Zombie Jamboree," which still, to this day, makes me laugh.
The crowd was a mix of fans and season ticket holders--and they had mixed opinions about the show. Most everything I heard was positive, though, and I believe Rockapella will be performing at the Strathmore in the future. I stuck around afterwards just to say hi, as it's nice to chat for a few minutes after not seeing them for so long. They told me they'd be out in Colorado sometime this summer, so I'll be looking forward to that. If you ever get the chance, you should definitely see them. Even if you're not into the music, you can't deny the talent.
Wednesday, March 28, 2007
Saturday, March 24, 2007
Iliff Park Saloon, 18 March 2007 (Aurora, CO)
We had planned to go to this show a week or two ago when we heard that a local Denver band called Random Hero would be playing. We'd listened to their stuff online and were really impressed. They actually remind me of a band from back in DC called Waking State. I'm alway curious about bands who have female lead singers--I guess it's cool to see girls out there being successful at something I honestly didn't have the guts to go through with. Anyway, we wanted to see if what we heard on recording was as good in person.
The night ended up being completely different than we were shooting for, but in a great way. First of all, the venue itself is adorable. It's kind of a hole-in-the-wall, but they've got pool tables and a fully stocked bar. I also happened to notice that they host both beer pong tournaments and buzz-in trivia nights. It seems to be a pretty well-known place among the local crowd--the walls were donned with photos of karaoke contests and tons of flyers for various bands. The stage area was bigger than I would have expected from a place like that--a band could get a real good setup going there if they wanted to.
We got there insanely early (we were told 6pm, so we were there RIGHT on time), as we did not realize there would be six bands and that Random Hero would be the last band to play (putting them on stage around 11pm or so). We figured we'd shoot a few games of pool, see if anyone was worth listening to, and take off pretty shortly. When the first guy started playing, we stayed pretty firm in our decision. It's not that he was bad or anything--I admire anyone who has the courage to write a bunch of stuff and then go perform it in front of any people, even if it's just two randoms playing pool who aren't really paying attention. I wish I could remember his name, but I can't for the life of me. Whatever works--I hope he keeps writing, and I hope he continues to get out there and sing. No one should be denied the opportunity to share music.
Next was a real treat. A group called Skyrise to Martus came on and completely defied our expectations. My first observation was how much energy they had, despite the small crowd. They were obviously playing for their own benefit, and to be honest, I think that makes music come across much more genuinely. I think there is always a time and a place to work the crowd, but there's nothing better than watching a band who so clearly just loves doing what they're doing. The music itself was also pretty darn impressive--they show definite musical talent in every song they perform.
Ryan, who does the lead vocals, has a powerful belt and seems to never miss a note. They've put together some nice harmonies in a couple of the songs, which I think is one of the marks of a quality group. Luis does most of the lead guitar work (although Ryan does a little bit also) and has incredible technical ability. He also very clearly has the ear for knowing when to go on a rant and when to blend, which helps the group stay versatile as they move from song to song. All of this combined with Mike's excellent bass tone--it's a little bit higher than I'm used to hearing, which makes it come out a little stronger--and Joshua's fast and furious drumming makes for a great show both on an entertainment and a technical level.
My favorite song they played is called "Red Light Tragedy" and it is up on their MySpace page
(www.myspace.com/skyrisetomartus). I definitely suggest you check it out--it is definitely the anthem of their set, and although they didn't end with it, they probably should. They could really bring the house down. They are playing again this Friday and I'm extremely excited to see them again, this time armed with having listened to their music more and actually knowing it. I want to see them do well--they just have enormous potential.
The next band that came out was Ashfield. While they also clearly have talent, I just was not as blown away by their creativity. It sounded to me like they took the approach of trying to write a bunch of singles. While that could be a good goal, in their case, it caused every song they played to sound very similar to the one before it. I considered asking them for their setlist from the night, but the most I thought about it, the more I realized that it wouldn't make a difference--everything has already blended together in my head and may as well have been one song. Again, I'm not discounting their talent at all, I just would like to see them push it a little more--not be afraid to experiment. Maybe it's simply a result of me not knowing their music well enough, and perhaps I'll feel differently about it the next time I see them. I also was probably reeling a bit from being so pleasantly surprised at the band before them.
The last band we stuck around for (it was getting very late) was Asylum Cinema. I knew it was going to be an extremely interesting set as I watched them set up. As the tenor sax, violin, and bongo drums appeared, I started bracing myself for what was to come. Now, this is a band that's got style. They successfully fuse reggae with electronic with classical with hard rock. I've honestly never heard anything like it before. Their collective energy probably radiated outside the building, and their talent absolutely surpasses most local bands I've seen in any city. Every single member of the band is a complete powerhouse. If you want to hear a guy who can belt out with beautiful tone and perfectly in tune, but then deliver a powerful scream the next minute... or watch a guy display fabulous classical training on both piano and violin, and then pull out the most vicious funk on a 5 string bass... or see a bassist with lightning fast fingers who can also rival Flea and Mike Gordon with his slapping ability... or just hear some serious epic breakdowns (yes, that is plural)... then this is a band for you. Even though I took a ton of notes during their set, I'm actually having trouble writing about it. I almost feel like you need to just hear it for yourself. They have a page at www.myspace.com/asylumcinema and it is definitely worth checking out.
So what was going to be a low-key night actually turned into a night of exciting finds. I'm looking forward to seeing all three bands again at some point, hopefully sooner rather than later. I'll definitely go back to the Iliff Park Saloon, even if just to have a drink and shoot some pool. I want to thank the guys from Skyrise to Martus for hanging out and just generally being nice and fun people, and thanks to everyone for the music. Good night, and till next time.
The night ended up being completely different than we were shooting for, but in a great way. First of all, the venue itself is adorable. It's kind of a hole-in-the-wall, but they've got pool tables and a fully stocked bar. I also happened to notice that they host both beer pong tournaments and buzz-in trivia nights. It seems to be a pretty well-known place among the local crowd--the walls were donned with photos of karaoke contests and tons of flyers for various bands. The stage area was bigger than I would have expected from a place like that--a band could get a real good setup going there if they wanted to.
We got there insanely early (we were told 6pm, so we were there RIGHT on time), as we did not realize there would be six bands and that Random Hero would be the last band to play (putting them on stage around 11pm or so). We figured we'd shoot a few games of pool, see if anyone was worth listening to, and take off pretty shortly. When the first guy started playing, we stayed pretty firm in our decision. It's not that he was bad or anything--I admire anyone who has the courage to write a bunch of stuff and then go perform it in front of any people, even if it's just two randoms playing pool who aren't really paying attention. I wish I could remember his name, but I can't for the life of me. Whatever works--I hope he keeps writing, and I hope he continues to get out there and sing. No one should be denied the opportunity to share music.
Next was a real treat. A group called Skyrise to Martus came on and completely defied our expectations. My first observation was how much energy they had, despite the small crowd. They were obviously playing for their own benefit, and to be honest, I think that makes music come across much more genuinely. I think there is always a time and a place to work the crowd, but there's nothing better than watching a band who so clearly just loves doing what they're doing. The music itself was also pretty darn impressive--they show definite musical talent in every song they perform.
Ryan, who does the lead vocals, has a powerful belt and seems to never miss a note. They've put together some nice harmonies in a couple of the songs, which I think is one of the marks of a quality group. Luis does most of the lead guitar work (although Ryan does a little bit also) and has incredible technical ability. He also very clearly has the ear for knowing when to go on a rant and when to blend, which helps the group stay versatile as they move from song to song. All of this combined with Mike's excellent bass tone--it's a little bit higher than I'm used to hearing, which makes it come out a little stronger--and Joshua's fast and furious drumming makes for a great show both on an entertainment and a technical level.
My favorite song they played is called "Red Light Tragedy" and it is up on their MySpace page
(www.myspace.com/skyrisetomartus). I definitely suggest you check it out--it is definitely the anthem of their set, and although they didn't end with it, they probably should. They could really bring the house down. They are playing again this Friday and I'm extremely excited to see them again, this time armed with having listened to their music more and actually knowing it. I want to see them do well--they just have enormous potential.
The next band that came out was Ashfield. While they also clearly have talent, I just was not as blown away by their creativity. It sounded to me like they took the approach of trying to write a bunch of singles. While that could be a good goal, in their case, it caused every song they played to sound very similar to the one before it. I considered asking them for their setlist from the night, but the most I thought about it, the more I realized that it wouldn't make a difference--everything has already blended together in my head and may as well have been one song. Again, I'm not discounting their talent at all, I just would like to see them push it a little more--not be afraid to experiment. Maybe it's simply a result of me not knowing their music well enough, and perhaps I'll feel differently about it the next time I see them. I also was probably reeling a bit from being so pleasantly surprised at the band before them.
The last band we stuck around for (it was getting very late) was Asylum Cinema. I knew it was going to be an extremely interesting set as I watched them set up. As the tenor sax, violin, and bongo drums appeared, I started bracing myself for what was to come. Now, this is a band that's got style. They successfully fuse reggae with electronic with classical with hard rock. I've honestly never heard anything like it before. Their collective energy probably radiated outside the building, and their talent absolutely surpasses most local bands I've seen in any city. Every single member of the band is a complete powerhouse. If you want to hear a guy who can belt out with beautiful tone and perfectly in tune, but then deliver a powerful scream the next minute... or watch a guy display fabulous classical training on both piano and violin, and then pull out the most vicious funk on a 5 string bass... or see a bassist with lightning fast fingers who can also rival Flea and Mike Gordon with his slapping ability... or just hear some serious epic breakdowns (yes, that is plural)... then this is a band for you. Even though I took a ton of notes during their set, I'm actually having trouble writing about it. I almost feel like you need to just hear it for yourself. They have a page at www.myspace.com/asylumcinema and it is definitely worth checking out.
So what was going to be a low-key night actually turned into a night of exciting finds. I'm looking forward to seeing all three bands again at some point, hopefully sooner rather than later. I'll definitely go back to the Iliff Park Saloon, even if just to have a drink and shoot some pool. I want to thank the guys from Skyrise to Martus for hanging out and just generally being nice and fun people, and thanks to everyone for the music. Good night, and till next time.
Saturday, March 17, 2007
CD Review: The Alternate Routes--Good and Reckless and True (Vanguard Records, released 6 February 2007)
Thanks to the recommendation from my friend, Will, I have had the pleasure listening to this brand new debut album for the past few days. My overall impression is that it's good--not GREAT--but definitely good. With this being their first album, I think they still have some searching to do and some experience to gain before they find their true style, but with that being said, I know this will definitely make a positive impression on the general public, and hopefully they'll be able to keep recording for a long time.
I think there's a good mix of songs on here--some upbeat, some slower and more bluesy. Any band that shows variety also shows promise. They are able to pull of every style they attempt (I especially love the touch of the piano on "The Black and the White"), I just wish they had done it without their influences being so obvious. For example, "Who Cares?" is the song that would come out of a collaboration between Guster and The Killers. It's one of my favorite tracks, but I also really enjoyed The Killers' first album and pretty much everything Guster's done, so maybe that's why. Even though "The Black and the White" completely stood out from the rest of the songs with its lilting piano part, it's still a little too Billy-Joel-meets-Ben-Folds for me to be impressed with its originality.
On the upside, these guys do have tremendous talent. The lead track of the album, "Ordinary," is the best example of their potential. The first three-quarters of the song is fairly straightforward, but then lead singer Tim Warren pulls some amazing belting lines out of nowhere while lead guitarist Eric Donnelly gets in some simple, yet surprising riffs. It doesn't shock me much that this is the song that's been released as a single and is now hitting radio stations. If the whole album were more like the end of "Ordinary," then this would be an absolutely dynamite debut.
Lyrically, they're different. They have some interesting ideas that make you ponder. Some of the phrases are hard to connect, but again, they show promise. Thank goodness they are not trite and dry like so much of what's out there lately.
I have to wonder something. The Alternate Routes are not the first band to sign with Vanguard records and produce an album of prisitne recording quality, but that at the same time lacks "punch." Just like in Carbon Leaf's case, I know The Alternate Routes have the talent to be a great cutting-edge band. Maybe they played it safe because it's their first full-length try, but maybe Vanguard Records encourages bands to slide into the mainstream. Hard to say.
I think we're going to see a lot more from them in the near future, and I've heard that they put on quite a live show. Right now, they're touring mostly in the Northeast (Connecticut is their home), but based on the response from the album release, they'll graduate to national tours in no time.
I want to hear more. I want to see them take some risks and whip out something awesome. I know they can do it--I'll be waiting.
Check them out at www.thealternateroutes.com
Track Listing:
1. Ordinary
2. Who Cares?
3. Hollywood
4. Aftermath
5. Going Home With You
6. Time is a Runaway
7. Endless Conversation
8. California
9. Are You Lonely?
10. The Black and the White
11. Please Don't Let it Be
I think there's a good mix of songs on here--some upbeat, some slower and more bluesy. Any band that shows variety also shows promise. They are able to pull of every style they attempt (I especially love the touch of the piano on "The Black and the White"), I just wish they had done it without their influences being so obvious. For example, "Who Cares?" is the song that would come out of a collaboration between Guster and The Killers. It's one of my favorite tracks, but I also really enjoyed The Killers' first album and pretty much everything Guster's done, so maybe that's why. Even though "The Black and the White" completely stood out from the rest of the songs with its lilting piano part, it's still a little too Billy-Joel-meets-Ben-Folds for me to be impressed with its originality.
On the upside, these guys do have tremendous talent. The lead track of the album, "Ordinary," is the best example of their potential. The first three-quarters of the song is fairly straightforward, but then lead singer Tim Warren pulls some amazing belting lines out of nowhere while lead guitarist Eric Donnelly gets in some simple, yet surprising riffs. It doesn't shock me much that this is the song that's been released as a single and is now hitting radio stations. If the whole album were more like the end of "Ordinary," then this would be an absolutely dynamite debut.
Lyrically, they're different. They have some interesting ideas that make you ponder. Some of the phrases are hard to connect, but again, they show promise. Thank goodness they are not trite and dry like so much of what's out there lately.
I have to wonder something. The Alternate Routes are not the first band to sign with Vanguard records and produce an album of prisitne recording quality, but that at the same time lacks "punch." Just like in Carbon Leaf's case, I know The Alternate Routes have the talent to be a great cutting-edge band. Maybe they played it safe because it's their first full-length try, but maybe Vanguard Records encourages bands to slide into the mainstream. Hard to say.
I think we're going to see a lot more from them in the near future, and I've heard that they put on quite a live show. Right now, they're touring mostly in the Northeast (Connecticut is their home), but based on the response from the album release, they'll graduate to national tours in no time.
I want to hear more. I want to see them take some risks and whip out something awesome. I know they can do it--I'll be waiting.
Check them out at www.thealternateroutes.com
Track Listing:
1. Ordinary
2. Who Cares?
3. Hollywood
4. Aftermath
5. Going Home With You
6. Time is a Runaway
7. Endless Conversation
8. California
9. Are You Lonely?
10. The Black and the White
11. Please Don't Let it Be
Thursday, March 15, 2007
Book Review: This is Your Brain on Music, by Daniel J. Levitin (August 2006, Penguin Publishing Group)
Wow, what an interesting read. Thanks to my friend, Stefanie, who suggested I read this.
Obviously, I have a connection with music that is uncommon. There are a lot of people out there who like music, but there are relatively few of us who hear it on such a multi-sensory level. Daniel Levitin does an amazing job of verbalizing what it's like to hear music the way I do.
The great thing about this book, is that it not only describes the biology behind the bizarre emotional connection between humans and music, it also gives a pretty decent run-down of all the music theory basics the average person would ever want to know. It's basically Neuroscience 101 smashed together with a Music Theory for Non-musicians class. There is a lot of technical jargon in spots, but Levitin is careful to explain any terms he uses. He even criticizes the snobbery of the music world and denounces those who speak only in terms that other musicians (and possibly music critics) would understand.
He draws on examples from all genres--Beethoven to Led Zeppelin--to explain why certain individuals like certain styles, how we are able to remember so many different songs, why we are a lot more musical than we give ourselves credit for, and which parts of the brain are stimulated while listening to various types of music. All of his references to different artists and different pieces encourages the reader to go out and listen to anything they are unfamiliar with.
I definitely recommend this book to anyone who loves music. I feel like music is one of those things we take for granted sometimes--as if our understanding of everything musical just magically happens. We may love or hate whatever we are listening to, but regardless, something absolutely astounding is happening inside the brain when any sort of music is playing. Rolling Stone Magazine just recently did a big article about this book, in which they actually showed brain scans of people listening to different songs. We've all heard about right-brained and left-brained people and the characteristics of each. I never realized that music truly is "all-brained."
As one who is about to begin a rigorous masters program in a subject that is an off-shoot of psychology, and as one who cannot live without music, I wonder after reading this book if there is something I can do down the road that connects the two. Finding a book that combines two subjects I'm passionate about was a very pleasant surprise for me. I ended up reading the whole thing in about three days--partly because I'm a fast reader, and partly because I was riveted. Hopefully you'll check it out and find it to be interesting as well.
Levitin has dedicated a website to the book and its research/content: www.yourbrainonmusic.com
Obviously, I have a connection with music that is uncommon. There are a lot of people out there who like music, but there are relatively few of us who hear it on such a multi-sensory level. Daniel Levitin does an amazing job of verbalizing what it's like to hear music the way I do.
The great thing about this book, is that it not only describes the biology behind the bizarre emotional connection between humans and music, it also gives a pretty decent run-down of all the music theory basics the average person would ever want to know. It's basically Neuroscience 101 smashed together with a Music Theory for Non-musicians class. There is a lot of technical jargon in spots, but Levitin is careful to explain any terms he uses. He even criticizes the snobbery of the music world and denounces those who speak only in terms that other musicians (and possibly music critics) would understand.
He draws on examples from all genres--Beethoven to Led Zeppelin--to explain why certain individuals like certain styles, how we are able to remember so many different songs, why we are a lot more musical than we give ourselves credit for, and which parts of the brain are stimulated while listening to various types of music. All of his references to different artists and different pieces encourages the reader to go out and listen to anything they are unfamiliar with.
I definitely recommend this book to anyone who loves music. I feel like music is one of those things we take for granted sometimes--as if our understanding of everything musical just magically happens. We may love or hate whatever we are listening to, but regardless, something absolutely astounding is happening inside the brain when any sort of music is playing. Rolling Stone Magazine just recently did a big article about this book, in which they actually showed brain scans of people listening to different songs. We've all heard about right-brained and left-brained people and the characteristics of each. I never realized that music truly is "all-brained."
As one who is about to begin a rigorous masters program in a subject that is an off-shoot of psychology, and as one who cannot live without music, I wonder after reading this book if there is something I can do down the road that connects the two. Finding a book that combines two subjects I'm passionate about was a very pleasant surprise for me. I ended up reading the whole thing in about three days--partly because I'm a fast reader, and partly because I was riveted. Hopefully you'll check it out and find it to be interesting as well.
Levitin has dedicated a website to the book and its research/content: www.yourbrainonmusic.com
Monday, March 12, 2007
CD Review: Matchbook Romance--Stories & Alibis (Epitaph Records, released 23 September 2003)
I have to pay this tribute to Matchbook Romance today, as they have officially announced their split and "indefinite hiatus." Now, I know that plenty of bands have said that in the past, only to get back together a week later, but knowing that Matchbook has already lost guitarist Ryan Depaolo, I'm sure they are going to be gone for a long while, maybe even forever. Sad news--they were such a promising band and in my opinion, never completely got the respect they deserved. So here's to them as we go back in time to their first full-length studio release.
Stories & Alibis is one of the better debut albums I've ever heard. Here's a band that fits neatly into the alternative/punk/emo genre, yet completely defies all stereotypes and expectations. The lyrics on all the tracks are powerful, whether they are conveying sadness, anger, or in the case of "If All Else Fails," hope and happiness. Every emotion is clearly and genuinely expressed. Not only is their writing fantastic, but their music is so much more technically advanced than just about anything I've heard come from a band like them. Their ability to harmonize and navigate difficult time signatures is a pleasant contrast to the typical simplicity of most groups. Don't get me wrong--I think simplicity definitely has its merits, and sometimes less really is more, but if complexity can be well-executed, it is such a mark of musicianship--something that is often missing from modern music.
The highlight of the CD is the upbeat power-ballad "Promise," a song that could be about something as light as teen romance or as heavy as suicide. The lyrics can be interpreted however you see fit. I had the fortunate experience of seeing them on the Take Action Tour in 2006, and they (very appropriately) closed their set with this song. I've seen crowds go crazy before and haven't necessarily felt moved one oway or another, but when they broke out with "Promise," there was just this amazing vibe in the room--I would go so far as to say that the emotional energy was palpable, and I'm sure I'll never forget what it felt like to be there.
"Stay Tonight," "Tiger Lily," and "She'll Never Understand" all have some really cool harmonies on them. They really have an ear for putting together some interesting lines. Some of them are even challenging to sing along with because they are so unpredictable. I love it when music is a surprise. "Shadows Like Statues" and "The Greatest Fall of All Time" showcase Aaron Stern's drumming ability and his uncanny knack for rhythm. Not only is he incredibly technical and precise, he just has an ear for interesting time patterns, which also adds to the element of surprise in their music. On a side note, he is also one of my favorite drummers to watch--I'm hoping that he has great success beyond Matchbook Romance.
We are all fortunate that they stayed together long enough to put out a second full-length album called Voices. I really like that one also for different reasons. They evolved a surprising amount in the three years between albums, but definitely did not lose either their originality or their talent. I'll write about that one at a later date I'm sure.
Hopefully we will hear more from them sometime in the future--even after Ryan left the band, they reported sill working on more new material. Hard to say if they ever got enough together to eventually release it--I guess we'll just have to keep our eyes and ears open. I'm sorry if you never got the opportunity to see them live--they are truly incredible in concert, but the next best thing you can do is check out their music. I think you'll be surprised and impressed.
Track Listing:
1. Introduction
2. Your Stories, My Alibis
3. Playing for Keeps
4. Promise
5. Lovers and Liars
6. Tiger Lily
7. Shadows Like Statues
8. My Eyes Burn
9. She'll Never Understand
10. If All Else Fails
11. Stay Tonight
12. The Greatest Fall (of All Time)
13. Untitled (Bonus Track)
Stories & Alibis is one of the better debut albums I've ever heard. Here's a band that fits neatly into the alternative/punk/emo genre, yet completely defies all stereotypes and expectations. The lyrics on all the tracks are powerful, whether they are conveying sadness, anger, or in the case of "If All Else Fails," hope and happiness. Every emotion is clearly and genuinely expressed. Not only is their writing fantastic, but their music is so much more technically advanced than just about anything I've heard come from a band like them. Their ability to harmonize and navigate difficult time signatures is a pleasant contrast to the typical simplicity of most groups. Don't get me wrong--I think simplicity definitely has its merits, and sometimes less really is more, but if complexity can be well-executed, it is such a mark of musicianship--something that is often missing from modern music.
The highlight of the CD is the upbeat power-ballad "Promise," a song that could be about something as light as teen romance or as heavy as suicide. The lyrics can be interpreted however you see fit. I had the fortunate experience of seeing them on the Take Action Tour in 2006, and they (very appropriately) closed their set with this song. I've seen crowds go crazy before and haven't necessarily felt moved one oway or another, but when they broke out with "Promise," there was just this amazing vibe in the room--I would go so far as to say that the emotional energy was palpable, and I'm sure I'll never forget what it felt like to be there.
"Stay Tonight," "Tiger Lily," and "She'll Never Understand" all have some really cool harmonies on them. They really have an ear for putting together some interesting lines. Some of them are even challenging to sing along with because they are so unpredictable. I love it when music is a surprise. "Shadows Like Statues" and "The Greatest Fall of All Time" showcase Aaron Stern's drumming ability and his uncanny knack for rhythm. Not only is he incredibly technical and precise, he just has an ear for interesting time patterns, which also adds to the element of surprise in their music. On a side note, he is also one of my favorite drummers to watch--I'm hoping that he has great success beyond Matchbook Romance.
We are all fortunate that they stayed together long enough to put out a second full-length album called Voices. I really like that one also for different reasons. They evolved a surprising amount in the three years between albums, but definitely did not lose either their originality or their talent. I'll write about that one at a later date I'm sure.
Hopefully we will hear more from them sometime in the future--even after Ryan left the band, they reported sill working on more new material. Hard to say if they ever got enough together to eventually release it--I guess we'll just have to keep our eyes and ears open. I'm sorry if you never got the opportunity to see them live--they are truly incredible in concert, but the next best thing you can do is check out their music. I think you'll be surprised and impressed.
Track Listing:
1. Introduction
2. Your Stories, My Alibis
3. Playing for Keeps
4. Promise
5. Lovers and Liars
6. Tiger Lily
7. Shadows Like Statues
8. My Eyes Burn
9. She'll Never Understand
10. If All Else Fails
11. Stay Tonight
12. The Greatest Fall (of All Time)
13. Untitled (Bonus Track)
Friday, March 9, 2007
CD Review: Angels & Airwaves--We Don't Need to Whisper (Geffen Records, released 23 May 2006)
I will never forget the first time I heard this album. I was playing poker with a bunch of people on the floor of my friend Jeff's apartment. I was paying attention to the game, so I was only listening superficially, and I was so confused because I was SURE that it was blink-182 and that they'd drastically altered their style. All I could think of was how mature their music had suddenly become. When Jeff told me it was a group called Angels & Airwaves, I absolutely did not connect the fact that it really was Tom Delonge singing (just with a different group of musicians) until days later. I got such a positive overall feeling when I was listening to the album at Jeff's house, I had him burn it for me so I could listen a little more carefully.
Ever since then, I've just become more and more attached to the songs on this album. It's hard to believe this was a first-effort studio recording for them--it's as though they've been recording together for years. First of all, it's extremely cohesive. The songs somewhat tell a story (although not directly or obviously), and the tracks flow seamlessly from one to the next. At the same time, any one track can be listened to alone, without losing any meaning. The subject matter centers mostly around fear (and breaking through it) and love--two themes that are particularly timely with the war in Iraq going on now.
I absolutely love the opening track, "Valkyrie Missle." I have a tendency to have detailed visions while listening to music, and this song is a perfect example. Even if music is not a particularly visual experience for you, I think you will still be able to feel the apprehension and release the song creates. The lyrics are powerful and can be applied many different ways. The band created a short film based on this lead track--I highly suggest you check it out (I think music videos are so interesting, as they help clarify the artist's intentions). "The Adventure" fits in this same category with its rolling rhythm line and soaring, U2-esque riffs.
"Do It For Me Now," "A Little's Enough," and "It Hurts" are a little more moderately paced, all about love and/or heartbreak. All lyrically strong, it's helpful that the music is relatively uncomplicated and therefore not at all distracting. The background has a drive to it that just creates an amazing ambiance. This is the kind of music you want to listen to with noise-canceling headphones in the dark. I think every artist strives to give the listeners some kind of emotional response, and in my opinion, Angels & Airwaves was able to do that here.
The heaviest tracks are "The War" and "Start the Machine," both of which have some disturbingly realistic lyrics and definitely more musical intensity. They are perfectly interspersed with the rest of the song list, so there's a nice variety of slow, heavy, and upbeat.
Because I enjoyed the album so much and because it did successfully create that "feeling" I always search for when listening to music, I was incredibly excited to see them live. Live shows always just add a dimension to whatever I experience from a CD, and I had high hopes for their performance. When I did get to see them last summer, the acoustics were not all that great, and I'm pretty sure Tom was otherwise impaired... it just was not the fantastic experience I was expecting. I am looking forward to seeing them again--I figure now that their first tour together (all four members have been performing with other bands for quite some time) is under their belt, their performance will only become more professional and spectacular.
I just read on their website (www.angelsandairwaves.com) that they are working on a new album, so we'll all have to stay tuned and see what they come up with next.
Track Listing:
1. Valkyrie Missle
2. Distraction
3. Do It For Me Now
4. The Adventure
5. A Little's Enough
6. The War
7. The Gift
8. It Hurts
9. Good Day
10. Start the Machine
Ever since then, I've just become more and more attached to the songs on this album. It's hard to believe this was a first-effort studio recording for them--it's as though they've been recording together for years. First of all, it's extremely cohesive. The songs somewhat tell a story (although not directly or obviously), and the tracks flow seamlessly from one to the next. At the same time, any one track can be listened to alone, without losing any meaning. The subject matter centers mostly around fear (and breaking through it) and love--two themes that are particularly timely with the war in Iraq going on now.
I absolutely love the opening track, "Valkyrie Missle." I have a tendency to have detailed visions while listening to music, and this song is a perfect example. Even if music is not a particularly visual experience for you, I think you will still be able to feel the apprehension and release the song creates. The lyrics are powerful and can be applied many different ways. The band created a short film based on this lead track--I highly suggest you check it out (I think music videos are so interesting, as they help clarify the artist's intentions). "The Adventure" fits in this same category with its rolling rhythm line and soaring, U2-esque riffs.
"Do It For Me Now," "A Little's Enough," and "It Hurts" are a little more moderately paced, all about love and/or heartbreak. All lyrically strong, it's helpful that the music is relatively uncomplicated and therefore not at all distracting. The background has a drive to it that just creates an amazing ambiance. This is the kind of music you want to listen to with noise-canceling headphones in the dark. I think every artist strives to give the listeners some kind of emotional response, and in my opinion, Angels & Airwaves was able to do that here.
The heaviest tracks are "The War" and "Start the Machine," both of which have some disturbingly realistic lyrics and definitely more musical intensity. They are perfectly interspersed with the rest of the song list, so there's a nice variety of slow, heavy, and upbeat.
Because I enjoyed the album so much and because it did successfully create that "feeling" I always search for when listening to music, I was incredibly excited to see them live. Live shows always just add a dimension to whatever I experience from a CD, and I had high hopes for their performance. When I did get to see them last summer, the acoustics were not all that great, and I'm pretty sure Tom was otherwise impaired... it just was not the fantastic experience I was expecting. I am looking forward to seeing them again--I figure now that their first tour together (all four members have been performing with other bands for quite some time) is under their belt, their performance will only become more professional and spectacular.
I just read on their website (www.angelsandairwaves.com) that they are working on a new album, so we'll all have to stay tuned and see what they come up with next.
Track Listing:
1. Valkyrie Missle
2. Distraction
3. Do It For Me Now
4. The Adventure
5. A Little's Enough
6. The War
7. The Gift
8. It Hurts
9. Good Day
10. Start the Machine
Monday, March 5, 2007
CD Review: Carbon Leaf--Love, Loss, Hope, Repeat (Vanguard Records, released 12 September 2006)
For Carbon Leaf's sixth studio album, I've gotta say that I was a little bit disappointed in Love, Loss, Hope, Repeat. It could be that I'm just a huge Carbon Leaf fan and therefore have unfair expectations of them, but I do think they fell short with this album.
One of my favorite things about Carbon Leaf as a band is that they have never been afraid to be different. I've always loved their Irish influence (not something that's typical of rock music) and their use of unconventional instruments (tin flute, stand-up bass, mandolin). I think Barry Privett has one of the more interesting voices I've ever heard, and his vocals are always spot-on, even in their live shows. For the most part, their music doesn't follow any standard pattern--you cannot mistake them for anyone else out there. All of these things combined are what made Carbon Leaf such a force to be reckoned with when there were an up-and-coming act.
Unfortunately, on this latest album, most of these qualities were not there. The Irish influence is undetectable (and has been for the last few years, save for one song on Indian Summer from 2004), and while there were still hints of the stand-up bass and the mandolin on this album, they were not prominently featured by any means. I still enjoyed Barry's vocals (and the harmonies were still complex and well-executed, like I would expect from them), but his knack for interestingly woven lyrics seems to be missing. The biggest disappointment for me was that the music itself seemed flat. Each song sounded very similar to the next, and the whole album was very mellow. My overall impression was that this CD would be excellent background music, but not something I could listen to and be moved by.
There are some good songs--"Learn to Fly" was the first single released and actually has a pretty intricate (albeit catchy) melody. The lyrics make sense (unlike in some of the songs) and produce a nice image. It's still not on the level of "Life Less Ordinary" from Indian Summer, but I think it was the best choice for a single release. The other standouts for me were "Bright Lights," "Comfort," and "International Airport," mainly due to the slightly unusual styling and phrasing in the songs. I would describe the rest of the songs as "nice and pretty," but I'm not sure I could even discern one from another.
The quality of the recording was absolutely pristine, which can be a good thing, but to be honest, I prefer the more raw quality that their earlier albums had. I guess there's just something comforting about listening to a CD that may as well have been recorded in your living room. While I think the rougher recordings give a more accurate portrayal of Carbon Leaf's music, I did like the clarity of the vocals on this album. Barry is known for his ability to hit soaring high notes, but on this recording, he explores his lower range more, and the flawless sound quality does make his voice shine. I would have liked to have seen more spotlight on the other band members, as they are all extremely talented, and perhaps this perfect recording would have showcased what they are capable of.
While I wasn't knocked off my feet, I'll certainly continue to listen to songs off this album, and I'm not giving up on Carbon Leaf--they have an enormous amount of creativity and talent, and hopefully the folks at Vanguard Records will encourage them to get back to their roots for their next studio effort.
Track Listing:
1. Learn to Fly
2. Love, Loss, Hope, Repeat
3. Under the Wire
4. Royal One
5. A Girl and Her Horse
6. Texas Stars
7. Block of Wood
8. comfort
9. The War Was in Color
10. Bright Lights
11. International Airport
One of my favorite things about Carbon Leaf as a band is that they have never been afraid to be different. I've always loved their Irish influence (not something that's typical of rock music) and their use of unconventional instruments (tin flute, stand-up bass, mandolin). I think Barry Privett has one of the more interesting voices I've ever heard, and his vocals are always spot-on, even in their live shows. For the most part, their music doesn't follow any standard pattern--you cannot mistake them for anyone else out there. All of these things combined are what made Carbon Leaf such a force to be reckoned with when there were an up-and-coming act.
Unfortunately, on this latest album, most of these qualities were not there. The Irish influence is undetectable (and has been for the last few years, save for one song on Indian Summer from 2004), and while there were still hints of the stand-up bass and the mandolin on this album, they were not prominently featured by any means. I still enjoyed Barry's vocals (and the harmonies were still complex and well-executed, like I would expect from them), but his knack for interestingly woven lyrics seems to be missing. The biggest disappointment for me was that the music itself seemed flat. Each song sounded very similar to the next, and the whole album was very mellow. My overall impression was that this CD would be excellent background music, but not something I could listen to and be moved by.
There are some good songs--"Learn to Fly" was the first single released and actually has a pretty intricate (albeit catchy) melody. The lyrics make sense (unlike in some of the songs) and produce a nice image. It's still not on the level of "Life Less Ordinary" from Indian Summer, but I think it was the best choice for a single release. The other standouts for me were "Bright Lights," "Comfort," and "International Airport," mainly due to the slightly unusual styling and phrasing in the songs. I would describe the rest of the songs as "nice and pretty," but I'm not sure I could even discern one from another.
The quality of the recording was absolutely pristine, which can be a good thing, but to be honest, I prefer the more raw quality that their earlier albums had. I guess there's just something comforting about listening to a CD that may as well have been recorded in your living room. While I think the rougher recordings give a more accurate portrayal of Carbon Leaf's music, I did like the clarity of the vocals on this album. Barry is known for his ability to hit soaring high notes, but on this recording, he explores his lower range more, and the flawless sound quality does make his voice shine. I would have liked to have seen more spotlight on the other band members, as they are all extremely talented, and perhaps this perfect recording would have showcased what they are capable of.
While I wasn't knocked off my feet, I'll certainly continue to listen to songs off this album, and I'm not giving up on Carbon Leaf--they have an enormous amount of creativity and talent, and hopefully the folks at Vanguard Records will encourage them to get back to their roots for their next studio effort.
Track Listing:
1. Learn to Fly
2. Love, Loss, Hope, Repeat
3. Under the Wire
4. Royal One
5. A Girl and Her Horse
6. Texas Stars
7. Block of Wood
8. comfort
9. The War Was in Color
10. Bright Lights
11. International Airport
Friday, March 2, 2007
Rockstar Taste of Chaos Tour, 27 February 2007 (Universtiy of Denver)
It's really too bad I didn't take notes or anything at this show--I got the idea to begin these reviews the day after the show, so I have no setlists or anything. The best I can do is describe the night and give an overview of all the bands that played. Next time before going to a multi-band show like that, I'll have to do some research ahead of time and learn what some of their songs are. Anyway...
The first band to play was a group from Turlock, California called evaline (www.myspace.com/evaline). I thought they did a great job of warming up our ears for what was to come. They had a lot of energy (especially their lead singer, Richard Jonathan Perry, who jumped off the stage several times and also danced on his keyboard...) and they had a lot of volume. I liked the fact that they experimented with different instruments--they use a keyboard, and an electric cello--different instruments always have a tendency to make a band stand out. At the same time, I had a hard time deciphering the different parts of their songs. I don't know if it was just because they were the first band to play (I think going first is always tough because people are not necessarily "ready" to listen and pay attention... myself included) or if it was because there is simply just too much going on there. I guess the word I'm looking for is "disorganized." Regardless, they are all very young and I think they are probably in the process of figuring out exactly what their style is. I think they're going to do very well, and they couldn't have been on a better tour--big names involved--lots of exposure.
Next up was Aiden from Seattle, Washington (www.aiden.org). I had heard of them but had never actually heard any of their songs. All I knew about them was that they had sort of a Goth-influence, so I was expecting something along the lines of Marilyn Manson, which is not at all what I got. They were more along the lines of My Chemical Romance (although they probably hate the comparison). I was actually very impressed with both their music and their performance. One of my favorite people to watch in any band is the drummer--I guess it's mainly because I don't play the drums but always wanted to. I'm always very interested in the different styles they have and subsequently blown away at their abilities to use all four limbs simultaneously--each one on a different beat. In Aiden's case, Jake Davison is very technically solid and just generally fun to watch. He's energetic without being spastic and is the driving force behind the punk quality their music has. I've also become very interested in watching bass players--I never used to pay attention to them, so I've decided to start. Bassist Nick Wiggins is probably the most hyperactive member of the band--he was jumping off amps and flipping his bass around his back. It's a pretty cool trick if you've never seen it. To be honest, the acoustics in the hall were not that great (especially from where I was sitting), so it was hard to pick out his part, but he was fun to watch if nothing else. The guy who brought the house down, though, was the lead singer, wiL Francis. He has a powerful voice and had no problem singing over the band (which is surprising, because they can generate some volume). What was so funny/interesting, was that he had complete control of the room throughout their entire show. If he said to do something, the crowd did it. Everyone in the room was standing at his demand, and the folks on the floor created one of the biggest mosh pits I've ever seen (later I found out that this is a staple in every Aiden show and they call it the "wall of death"). He asked for crowd surfing and instantly got it. I would easily go see them again just based on their showmanship skills alone. I am going to make a concerted effort to check out their studio recordings so I can make sense of what I heard. I liked all of their set and just want to know more about them.
Chiodos from Davison, Michigan (www.chiodos.net) came on next, which confused me since I didn't know they were even on the tour. For some reason, I either just didn't read their name or it wasn't listed in places where I looked. I had read that they were a hardcore band, so it was a little funny when they all came out and were dressed like frat boys. Seriously--Craig Owens (lead singer) who can really scream--was wearing a polo shirt. It was bizarre. Anyway, like with evaline, I just had a really tough time understanding their songs. I think a lot of it was the sound system (it felt like it was up too high for most of the show, which caused some pretty scary feedback on the vocal mics, not to mention a general "fuzzing out" of the rhythm sections)--I also think a lot of it was just that I don't know any of their songs. I will say that they had a ton of energy, and most of the crowd seemed to be pretty die-hard fans. I really enjoyed the use of the piano--I wish I knew the guy's name, but he is very skilled. It's unusual to hear a classical piano sound in the midst of screamo and hardcore rock. Craig really reminds me of Adam Lazzara from Taking Back Sunday--he's very adept at swinging the mic, and he dances around just like Adam. Fun to watch, for sure. I think it was in the middle of their set when I realized I was getting tired. I need to check out their stuff so I can sort through all of it. I think if I have a chance to listen to them in the studio, then I will enjoy their shows more.
The show I was looking forward to began when Saosin came on (www.saosin.com). I heard them once by accident and was very taken aback by what i heard. I noticed the drummer's sound first because he is incredibly precise. It's rare to hear double kicks and 32nd and 64th notes that are so clean--especially in a rock band. Then I heard Cove Reber sing, and I was hooked. He can hit notes up in the stratosphere as if it's nothing. I had to hear them live to see how much of it was real and how much of it was studio magic. Good news, folks, it's all the real thing. Not only did Cove not miss a single note, but the two guitarists and the bassist provided backup harmonies that were actually quite complex. At times, there were four of them singing at once. I'm so used to hearing bands harmonize in the studio and not be able to do it live due to overdubbing and things like that, so this was a real treat. They played the big songs off of their latest album (although I was very sad not to hear "You're Not Alone") and generally put on a great show. They are really starting to make a name for themselves, and I can't wait to see what they do as they gain experience and noteriety. They've already started off as such a promising act to make it big.
Senses Fail came on next and gave a stellar performance (www.sensesfail.com). I've had limited exposure to their music and on a very superficial level, I've always liked their stuff. It was nice to hear it live and to recognize some of the songs. Buddy Nielsen (lead singer) can really work a crowd (and swing a microphone). While the sound quality was not the best, there were still some great moments in their set. Heath Saraceno's guitar solos really shined and it was very obvious how well he and Garrett (the other guitarist) work together. There were times when both of them were playing lead in a very Allman Brothers-like fashion. It's nice to hear some old-fashioned wailing on the guitar in the hardcore/emo/punk genre--it's much more common to just hear loud and fast power chords. The highlight of their set was definitely their finale of "The Priest and the Matador." That song was already my favorite from their new album, and it was unbelievable live. Oddly enough, the less-than-perfect sound quality actually contributed to the atmosphere of the song. It fuzzed up the bassline a little and just kind of made the song float. The crowd was really energized at this point and the band just fed off of it. Even though I was totally wiped out, I was ready for more.
I could be crazy, but I think 30 Seconds to Mars (www.thirtysecondstomars.com) really digs Denver. I saw them only a few months ago and Jared kept talking about how much he loves Colorado. It could be that he just wants to fire the crowd up, but then again, they've played better and better every time I've seen them. They took a pretty long time to set up, but that's not much of a surprise--they've always had a flair for the dramatic. They came out on the side of the hall about 10 feet from where I was sitting. I was a little pissed because I'd been standing right where they entered, but then an usher made me go back to my seat. Oh well--i probably would have been just in the way enough for them to knock me over or something stupid. All for the best. They played songs off of "A Beautiful Lie" and pretty much nailed every one of them. Jared really likes to hear the crowd sing--we may have done more singing than him. Normally I don't like that because I'd honestly rather hear the band sing it, but for some reason, I enjoy it during their shows. Maybe it's because I actually know the words? On a side note, I had no idea that Matt Wachter played the keyboards in addition to the bass. I guess I've just never been at the right angle to see it. That explains where some of their sound comes from. On another side note, I had heard that Jared was really sick (coughing up blood and what not) but it really didn't show at all. He was extremely interactive and seemed to be enjoying himself. Shannon was an animal as usual, although he did attempt a very cool stick-flipping trick and then dropped it. I was at the perfect vantage point to see his drum tech fumble to pick up the stick and then trip off the platform. I don't wish mistakes on anyone, but little bobbles like that during live shows are cool because it just makes everyone up there seem more human. All in all, I thought they sounded really good. They turned the volume down a little for them, and their songs just seemed to come out clearer than everyone else's. As always, they ended with their dramatic "march to the merch booth" for signings. Next time I see them, I am determined to talk to them afterwards and ask them what that bizarre hand signal they always make us do is. Oh, and I would like to call them "crazy motherfuckers." Because that's what they always call us.
Finally, The Used (www.theused.net) came on and I have to admit I was ready to leave. I really wanted to see The Used, but I was exhausted, especially after yelling all of the 30STM songs. I did get to see most of their set, but not all of it. They had some pretty intense lighting--almost seizure-worthy at times. By the time they came on, I was pretty out of it, but I did happen to notice that Jeph Howard is a pretty awesome bassist. He uses a Fender Precision (which you don't see that often in newer bands for some reason) and he actually finger-plucks everything. I personally think that delivers a more well-rounded sound and I think you can typically get more intricate lines out of it... but that's just my opinion. They played a couple of new songs, one of which I understood as "Handsome Awkward," which I liked a lot. I thought their last album was great, so I'm looking forward to checking out this next one. Hopefully the next chance I get to see them, it won't be after nearly six hours of opening bands. I love festivals for the variety and for the "killing lots of birds with one stone" effect, but they wear me out like crazy.
It was a great (albeit long) night, and now I've got some bands I need to look deeper into and get to know better. This means that there will be some album reviews coming up...
Stay tuned.
The first band to play was a group from Turlock, California called evaline (www.myspace.com/evaline). I thought they did a great job of warming up our ears for what was to come. They had a lot of energy (especially their lead singer, Richard Jonathan Perry, who jumped off the stage several times and also danced on his keyboard...) and they had a lot of volume. I liked the fact that they experimented with different instruments--they use a keyboard, and an electric cello--different instruments always have a tendency to make a band stand out. At the same time, I had a hard time deciphering the different parts of their songs. I don't know if it was just because they were the first band to play (I think going first is always tough because people are not necessarily "ready" to listen and pay attention... myself included) or if it was because there is simply just too much going on there. I guess the word I'm looking for is "disorganized." Regardless, they are all very young and I think they are probably in the process of figuring out exactly what their style is. I think they're going to do very well, and they couldn't have been on a better tour--big names involved--lots of exposure.
Next up was Aiden from Seattle, Washington (www.aiden.org). I had heard of them but had never actually heard any of their songs. All I knew about them was that they had sort of a Goth-influence, so I was expecting something along the lines of Marilyn Manson, which is not at all what I got. They were more along the lines of My Chemical Romance (although they probably hate the comparison). I was actually very impressed with both their music and their performance. One of my favorite people to watch in any band is the drummer--I guess it's mainly because I don't play the drums but always wanted to. I'm always very interested in the different styles they have and subsequently blown away at their abilities to use all four limbs simultaneously--each one on a different beat. In Aiden's case, Jake Davison is very technically solid and just generally fun to watch. He's energetic without being spastic and is the driving force behind the punk quality their music has. I've also become very interested in watching bass players--I never used to pay attention to them, so I've decided to start. Bassist Nick Wiggins is probably the most hyperactive member of the band--he was jumping off amps and flipping his bass around his back. It's a pretty cool trick if you've never seen it. To be honest, the acoustics in the hall were not that great (especially from where I was sitting), so it was hard to pick out his part, but he was fun to watch if nothing else. The guy who brought the house down, though, was the lead singer, wiL Francis. He has a powerful voice and had no problem singing over the band (which is surprising, because they can generate some volume). What was so funny/interesting, was that he had complete control of the room throughout their entire show. If he said to do something, the crowd did it. Everyone in the room was standing at his demand, and the folks on the floor created one of the biggest mosh pits I've ever seen (later I found out that this is a staple in every Aiden show and they call it the "wall of death"). He asked for crowd surfing and instantly got it. I would easily go see them again just based on their showmanship skills alone. I am going to make a concerted effort to check out their studio recordings so I can make sense of what I heard. I liked all of their set and just want to know more about them.
Chiodos from Davison, Michigan (www.chiodos.net) came on next, which confused me since I didn't know they were even on the tour. For some reason, I either just didn't read their name or it wasn't listed in places where I looked. I had read that they were a hardcore band, so it was a little funny when they all came out and were dressed like frat boys. Seriously--Craig Owens (lead singer) who can really scream--was wearing a polo shirt. It was bizarre. Anyway, like with evaline, I just had a really tough time understanding their songs. I think a lot of it was the sound system (it felt like it was up too high for most of the show, which caused some pretty scary feedback on the vocal mics, not to mention a general "fuzzing out" of the rhythm sections)--I also think a lot of it was just that I don't know any of their songs. I will say that they had a ton of energy, and most of the crowd seemed to be pretty die-hard fans. I really enjoyed the use of the piano--I wish I knew the guy's name, but he is very skilled. It's unusual to hear a classical piano sound in the midst of screamo and hardcore rock. Craig really reminds me of Adam Lazzara from Taking Back Sunday--he's very adept at swinging the mic, and he dances around just like Adam. Fun to watch, for sure. I think it was in the middle of their set when I realized I was getting tired. I need to check out their stuff so I can sort through all of it. I think if I have a chance to listen to them in the studio, then I will enjoy their shows more.
The show I was looking forward to began when Saosin came on (www.saosin.com). I heard them once by accident and was very taken aback by what i heard. I noticed the drummer's sound first because he is incredibly precise. It's rare to hear double kicks and 32nd and 64th notes that are so clean--especially in a rock band. Then I heard Cove Reber sing, and I was hooked. He can hit notes up in the stratosphere as if it's nothing. I had to hear them live to see how much of it was real and how much of it was studio magic. Good news, folks, it's all the real thing. Not only did Cove not miss a single note, but the two guitarists and the bassist provided backup harmonies that were actually quite complex. At times, there were four of them singing at once. I'm so used to hearing bands harmonize in the studio and not be able to do it live due to overdubbing and things like that, so this was a real treat. They played the big songs off of their latest album (although I was very sad not to hear "You're Not Alone") and generally put on a great show. They are really starting to make a name for themselves, and I can't wait to see what they do as they gain experience and noteriety. They've already started off as such a promising act to make it big.
Senses Fail came on next and gave a stellar performance (www.sensesfail.com). I've had limited exposure to their music and on a very superficial level, I've always liked their stuff. It was nice to hear it live and to recognize some of the songs. Buddy Nielsen (lead singer) can really work a crowd (and swing a microphone). While the sound quality was not the best, there were still some great moments in their set. Heath Saraceno's guitar solos really shined and it was very obvious how well he and Garrett (the other guitarist) work together. There were times when both of them were playing lead in a very Allman Brothers-like fashion. It's nice to hear some old-fashioned wailing on the guitar in the hardcore/emo/punk genre--it's much more common to just hear loud and fast power chords. The highlight of their set was definitely their finale of "The Priest and the Matador." That song was already my favorite from their new album, and it was unbelievable live. Oddly enough, the less-than-perfect sound quality actually contributed to the atmosphere of the song. It fuzzed up the bassline a little and just kind of made the song float. The crowd was really energized at this point and the band just fed off of it. Even though I was totally wiped out, I was ready for more.
I could be crazy, but I think 30 Seconds to Mars (www.thirtysecondstomars.com) really digs Denver. I saw them only a few months ago and Jared kept talking about how much he loves Colorado. It could be that he just wants to fire the crowd up, but then again, they've played better and better every time I've seen them. They took a pretty long time to set up, but that's not much of a surprise--they've always had a flair for the dramatic. They came out on the side of the hall about 10 feet from where I was sitting. I was a little pissed because I'd been standing right where they entered, but then an usher made me go back to my seat. Oh well--i probably would have been just in the way enough for them to knock me over or something stupid. All for the best. They played songs off of "A Beautiful Lie" and pretty much nailed every one of them. Jared really likes to hear the crowd sing--we may have done more singing than him. Normally I don't like that because I'd honestly rather hear the band sing it, but for some reason, I enjoy it during their shows. Maybe it's because I actually know the words? On a side note, I had no idea that Matt Wachter played the keyboards in addition to the bass. I guess I've just never been at the right angle to see it. That explains where some of their sound comes from. On another side note, I had heard that Jared was really sick (coughing up blood and what not) but it really didn't show at all. He was extremely interactive and seemed to be enjoying himself. Shannon was an animal as usual, although he did attempt a very cool stick-flipping trick and then dropped it. I was at the perfect vantage point to see his drum tech fumble to pick up the stick and then trip off the platform. I don't wish mistakes on anyone, but little bobbles like that during live shows are cool because it just makes everyone up there seem more human. All in all, I thought they sounded really good. They turned the volume down a little for them, and their songs just seemed to come out clearer than everyone else's. As always, they ended with their dramatic "march to the merch booth" for signings. Next time I see them, I am determined to talk to them afterwards and ask them what that bizarre hand signal they always make us do is. Oh, and I would like to call them "crazy motherfuckers." Because that's what they always call us.
Finally, The Used (www.theused.net) came on and I have to admit I was ready to leave. I really wanted to see The Used, but I was exhausted, especially after yelling all of the 30STM songs. I did get to see most of their set, but not all of it. They had some pretty intense lighting--almost seizure-worthy at times. By the time they came on, I was pretty out of it, but I did happen to notice that Jeph Howard is a pretty awesome bassist. He uses a Fender Precision (which you don't see that often in newer bands for some reason) and he actually finger-plucks everything. I personally think that delivers a more well-rounded sound and I think you can typically get more intricate lines out of it... but that's just my opinion. They played a couple of new songs, one of which I understood as "Handsome Awkward," which I liked a lot. I thought their last album was great, so I'm looking forward to checking out this next one. Hopefully the next chance I get to see them, it won't be after nearly six hours of opening bands. I love festivals for the variety and for the "killing lots of birds with one stone" effect, but they wear me out like crazy.
It was a great (albeit long) night, and now I've got some bands I need to look deeper into and get to know better. This means that there will be some album reviews coming up...
Stay tuned.
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