About a week ago, one user decided to layout his thoughts on how shows have been going as of late. It's something I've noticed too, whether it's a younger crowd, or a crowd closer to my age. I love being able to go to shows, but sometimes I hate being at shows.
There's no denying being able to hear how your favorite songs come out live. Obtaining a ticket to Grizzly Bear mere hours before their Austin City Limits after show or seeing Broken Social Scene play a one-off show at an abandoned power plant (man, what a weekend that was), it sometimes doesn't come close to seeing nostalgic greats like Sunny Day Real Estate or The Get Up Kids. Needless to say, I've been to my share of shows this year, and they were all amazing in their own way.
For all the Rx Bandits' jams and dark shadows of Brand New madness, I wasn't the only one feeling the love this year. I decided to give PunkRocks the spotlight this week, but discuss in the replies which shows you walked away from this year in awe.
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1) Manchester Orchestra / fun. / The Audrye Sessions / Winston Audio -- Cat's Cradle, Carrboro NC -- April 23
I'll go ahead and preface this by saying that Manchester Orchestra is probably my favorite band to watch live. The passion, the energy, the... everything. Words fail me. Every time I see them, it is a treat, but the fact that they brought fun. with them (I was a huge fan of The Format) made me drool at the thought of this show. I was unfamiliar with both The Audrye Sessions and Winston Audio before going, but I left there with two new bands to add to my "soon to be favorite" list. Flawless line-up, stellar performances all-around.
2) Brand New / Thrice / Crime In Stereo -- The Fillmore, Charlotte NC -- November 9
It was a close contest between this show and #3 on my list. I've seen Brand New plenty of times, and they never let me down or disappoint. This show was no different. Jesse played with more passion and vocal energy than ever before, exceeding my already high expectations. What really made the difference though, and pulled this show to my #2 spot, was watching Thrice play one of the best shows and set lists that I've ever seen them play. It completely revitalized my interest in a band that I had begun foolishly losing interest in.
3) The Get-Up Kids / Kevin Devine / Mansions -- Cat's Cradle, Carrboro NC -- November 10
Not much I can say except that I got to watch an extremely energetic and newly reformed TGUK play every song I could ever ask them to play, on a tour that just a few months ago I never would have expected would happen. That alone deserves no less than the 3-spot. Add a flawless performance by Kevin Devine and this show rivals any other I've seen this year. The fact that I arrived late and missed Mansions was a disappointment though, but don't worry guys... it's my fault, and I'll do better next time.
4) House of Fools -- Any of the numerous locations I've seen them throughout the year
If I didn't have a list where I kept track of how many times I've seen every band I've ever seen, I'd have no clue how many times I've been to see my hometown legends, House of Fools. That still doesn't change the fact that any of their shows I've ever been to deserves to be on this list. These guys are the poster-children of everything I love about live music. Insurmountable energy, excellent stage presence, and a band/crowd connection that would have even Ebenezer Scrooge singing along and tapping his foot. I don't like to miss a HoF show, and I rarely do.
5) The Never -- Blind Tiger, Greensboro NC -- October 2
Several other bands played this night, and I apologize in advance for missing their sets. It was my father's birthday that night, and I was barely able to make it in time to see The Never. But, ahhh... The Never. I have long considered them to be North Carolina's hidden gem of pristine musicianship and instrumentation. A diverse array of musical themes with an even more diverse arrangement of instruments on stage makes for a concert that anyone should be able to enjoy. Combine this with the intimate setting of a small college bar and its hard not to include this as one of my most memorable shows of the year.
I remember the first time I heard tracks off On a Wire. I hated it. Then my friend played me tracks from Four Minute Mile and Something to Write Home About. I was swayed. Then Guilt Show came out. I was in love. Then I grew up. Now On a Wire is my favorite album by the band. So much so, that when talking to vocalist/guitarist Matt Pryor last night about seeing if he remembered my song request in our interview at the start of the tour, he said the rest of the band didn't learn it, and wondered why I liked all the band's "darker" stuff.
Our taste changes in time I guess. The fact is, I enjoy the up's and down's of The Get Up Kids catalog, so my anticipation for the same sort of set for their last show was building.
Opening the night was Mansions, a newcomer who is poised to turn a few heads. It's a bit dirty, very honest and all around enjoyable. I can see this band as having a buzz in the next few months, and it would be well worth people's time to check them out.
Kevin Devine was the direct support, and didn't disappoint as always. I remember reading somewhere on this site that someone said Kevin Devine was a mediocre songwriter. Sounds like someone has never seen his live show or spoken with him or heard how much better he has progressed throughout his career. I fully support this man and his music. Sure, I may not like EVERY song in his earlier catalog, but Brother's Blood will certainly end up in a lot of end of the year lists for good measure. He also was very glad to answer our questions, and appreciates the support from the site.
Bring on The Get Up Kids. Opening with "Holiday" - duh - and blazing through an even catalog of songs, including "No Love," "Walking on a Wire," "Woodson," "Mass Pike," and a Jim Suptic sing-a-long of "Campfire Kansas." The set list would have made Adrian proud and glow like a Christmas three - set on fire. The band's new jam "Keith Case" is a progressive number for the band, and makes me excited to hear (and own the hopeful vinyl versions) of the new material. It's miles away from the debut, and just a stride forward from their later pieces. The encore began with The Cure's "Close to Me" and then a dedication to the band's merch man - "Beer For Breakfast." Along with three oldies, but great-ies, the band closed the tour off well - except for two Kansas City shows.
It's certainly been two months of nostalgia for me. With Sunny Day Real Estate, The Jesus Lizard and The Get Up Kids - and seeing some of my favorites still kicking it (These Arms Are Snakes, Thrice, Brand New) - it makes going into the next decade even more mind boggling. Devine, his drummer Mike Fadem and I were discussing longevity after the show last night. Who will still have an impact in the next 10 to 20 years. Will we feel the same about all these great new albums, or will they fade into the used bin? I hope my generation has great bands like tonight in the future. I try not to be a negative person, so I hate to think I'll have to report on crap in the future. Don't make me hate my job.
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[photo note: I took black and white and gritty. I wanted this nostalgic feel I guess. Probably just looks like crap. Oh well.]
I remember the first time I received an advance copy of Say Anything's ...is a Real Boy in my mailbox at KLSU. It was different, but you could still cling to the tunes. Hell, the more I delved into it, I didn't just cling, I rebelled with it. I'm grown up now, and last night, mashed between the crowd of die-hard Say Anything fans, I felt like that old guy.
Prior to the show, Max Bemis and I took a walk around the block for our interview. Though I turned the recorder off, I had asked Bemis why he wrote a chorus such as "Crush'd," he simply said that he wrote what he felt. It's the blunt of how he felt about his now wife Sherri DuPree at the time. He's always written what he has felt, and says artists shouldn't hide their lyrics, but just be straightforward. I respect that.
While waiting in line, a kid at the front, from what I could understand, was sitting there since 5 p.m. that evening, was playing Say Anything songs on his guitar. Eventually guitarist (Jake or Jeff?) Turner came out and hung out with the kid for some time and brought the kid and his guitar on the bus.
Miniature Tigers started things off with a solid set of songs off Tell It To the Volcano, and closed with a new one called "Lolita." Every time I see/hear these guys, I'm pulled in. Definitely worth watching coming up into the new year.
Moneen took the stage in mayhem - a la a typical show - and blazed through a short set that included songs from The Red Tree and The World I Want to Leave Behind. They ended with a Kenny Bridges crowd walk and "The Passing of America" onslaught. Moneen is one of the most underrated bands out there, and well worth supporting their whole discography.
Eisley played through an even set of old favorites and a few new tunes from the Fire Kite E.P., including a new song, "Smarter," featuring Max Bemis on guitar. I spoke with Boyd DuPree (the band's manager and father) and said their new album will hopefully see light sometime in late winter/early Spring of next year, and there will be a headlining tour in support of it.
Before Say Anything took the stage, I was already being crushed under the weight of fans singing acappella versions of the band's catalog. Needless to say, once the band went into "Fed to Death," I quickly took my old bones out of the pit, like the Danny Glover of the show scene. Man, did those fans get into it. With a solid set across the board, Bemis asked the crowd if they even liked the new album, and an emphatic praise rushed across the venue. The band were into it, the fans were into it and this led to what every band that night says was the best show of the tour - and it seemed genuine, so much so, that the band's set list said Bemis was to start the encore with "Crush'd," but instead played solo to "I Want to Know Your Plans," a number that turned the crowd into a Disney sing-a-long. Throwing out the next planned track, the band played "Belt" for the first time on the tour and ended with "Admit It!" to close out the night as Bemis just hugged the front of the crowd.
Seeing that encore, and seeing that crowd made me believe I was 18 again - not starring Zac Efron - and discovering Say Anything for the first time. Whether you like, love or hate the band's career thus far, there's no denying that they hold honesty and integrity in their music. I saw that last night in Austin. Time can only tell of longevity, but if this aura keeps up, I'd say the band is poised to leave its footprint for a while.
I only have the Beatles' albums digitally and on wax. While I can't take my vinyl babies with me, the digital bit rates I have aren't so great. While the remastered box set is a bit too pricey for my wallet right now, I decided to pick up the White Album individual remaster.
Now, I preface what I'm about to say in that I believe re-releases are a way to reap in more money. Whether it's bonus material, or a remaster, many times it's not worth the double price, and we all wish the extra material was just individually purchasable through other means as opposed to being part of additional packaging.
Upon opening the packaging to The Beatles' double wide album, it already had me happy for the purchase. As opposed to the plastic bulky case of the original, the remaster is a digipak (and I believe all the releases are like this) that resembles the original vinyl packaging, similar in both a small poster fold out and well put together lyric booklet.
What about the sound? What about keeping the integrity without blowing out the speakers? Well, whoever mixed these discs deserves a medal. The stereo sound is crisp, able to pick out each instrument, understanding each background smirk and a quality of sound that exceeds the originals, but still maintains its true essence and feel.
With Rock Band and the usual ten or so year throwback to The Beatles themselves, it's easy to see why the labels are at it again to cash in. Unlike many other attempts (ahem...Radiohead), these albums have no bonus, except for the quality of their tangible worth and euphoric, intense sound.
It looks like I'll buy into these remasters - just the albums I like though, not the full box set. If you're going to grab more cash from our already empty wallets - be sure to take note of these legends, they got it right the second time around too.
Tonight I had the pleasure, no wait, honor of interviewing Converge's Jacob Bannon. His band is one of the openers for the Dethklok and Mastodon co-headling tour.
What a tour this one is at that.
High on Fire took the stage, a shirtless Matt Pike laid down licks that Ted Nuggent should be proud of. A little metal, a little Southern draw and a great opening to the evening.
Converge were welcomed to a crowd that wouldn't normally be at a Converge show. The crowd took a liking, opening up a circle pit and generally keeping a bit of mayhem alive. The band played a pretty even set across the board, whether it was the new brutality off Axe to Fall or some Jane Doe sweepers. Next time I'm able to catch the band, I would like it to be in a smaller venue - preferably a rowdy basement.
After seeing a hardcore legend, the next best thing to rock, metal - or whatever you want to call it - Mastodon are nothing short of stellar. This is a band that I have no problem in calling the next Metallica. Their songs are elegant, driving, rough pieces of music, both in the traditional and non-traditional sense of the word. Their show is an experience of classic and new age rock blended into one and setting the audience into both headbanging and dazes.
After a few intros, Brendon Small, drumming legend Gene Hoglan, famous Zappa axe man Mike Keneally and bassist Bryan Beller took the stage with backing video and short films that made the set a live version of Metalocalypse. Small may have created this generations Spinal Tap, though Dethklok may just rock to a level above 11.
It was a wonderful evening to get your ears blown out, be entertained and watch a general ambiance of great rock music. Though the headliner may be a bit of a parody, the bill doesn't include one punchline - just a punch to the face.
[ed. note: the set list below are going off the stage lists. I'm sure of Converge's and Dethklok's sets, and I know Mastodon played all of Crack the Skye, but since there was a delay in fixing the screen before their set, the rest of the set I'm unsure of.]
We've come to the end of the first ten years of the new millennium, and the old format of 12" records came back strong. Many believe it to be a counter to the digital boom, others believe it may be a fad. There's no denying that with the success of this year's Record Store Day and the fact that many of our old favorites and major label classic represses have made it a year for wax on - wax off.
Many of you know, I'm no exception to the rule. Ever since my father handed me down his collection four years ago, I've been slowly building my own. I've also been quite a fan of the tangible/digital download card mix, that I hope many labels keep holding onto or pick up on.
Here are my top five favorite vinyl releases this year. These are the ones that blew me away for one reason or another. I know there's two months left, and I still have releases from Kevin Devine and Thrice coming at me...but I'm going with these five anyway.
1) Thrice's The Alchemy Index Vol 1-4 --- Did this one take forever, or what? Talk about being well worth the wait. A book with each page as a sleeve, four separate colors, gold numbered, etc. Maybe Beggars is going to be signed and contains full artwork, but the packaging for the four album EP is incredible. It also didn't hurt that for some reason I received an extra copy of Vol 4: Earth with my package - my favorite Index.
2) Rx Bandits' Mandala --- One of my favorite bands returned with a stellar album, and an even more stellar vinyl release. The cover feels as smooth as the artwork, and the eye cutout on the gatefold is just the icing on the cake. Now, if I can just get a release of Progress on wax, my collection will be complete.
3) Narrows' New Distances --- Something about this cover gets me. I think it's how the cover art of glossy city streets are blended with the background, or the fact that the cover art is so good, that you kind of have to own a larger copy of it. I'm still scratching my noggin over why I love this one, but I honestly just do since the first time I picked it up.
4) Pelican/These Arms Are Snakes' Split --- Browsing eBay, there's plenty of hardcore/post-hardcore splits from back in the day containing choice bands and choice cuts. Of all the splits I have, this was one I had to own. The cover is great (working with the same glossy set-up as New Distances in fact), and the four colors came out great as well.
5) Sunny Day Real Estate's Diary (re-issue) --- I went to buy Brand New's Daisy, but ended up having to order it. I picked this one up instead, and relived what good music used to be about. The full booklet and 2xLP pink pressing is great, and mine is now signed by Jeremy Enigk and William Goldsmith.
I missed my weekly blog this week. Sorry. I still haven't caught up since this weekend on sleep/work/site contributions-interviews.
I brought up this thread today as an offshoot of that. I wanted to talk a bit about this weekend at Fun Fun Fun Fest; about the many continents of music that have been blended into so many different forms. This decade has been exciting. I'm excited about avenues such as Bandcamp and Lala. I'm excited about bands going back to a D.I.Y. - though digital/viral - attitude they have about their band, their brand, their company, their life.
I want to bring up this quote one more time from my review, as not to sound self indulgent.
We are all on this site for one reason: Our love of music. Fuck the genres. Fuck the bullshit. We can argue about who's better and who progressed well and who didn't. In the end, we all feel as passionate about the artists for who we feed off - and vice versa.
Nirvana's "Smells Like Teen Spirit" has come on as I'm typing this. Who knows what the next decade will bring. I'm sort of sick of rehashing this topic myself. So the above are my final words on the subject.
I just got back from seeing Rob Zombie live. It's not the disappointment of seeing Danzig, but it's not the aura of seeing Mono either. It is entertainment, good old fashion fun.
The first thing I can think of is Alice Cooper's live shows. There's not as many theatrics, but there's enough boobs, blood and people boozing to fill a circus tent. It is almost two hours, including two encores, of sheer entertainment. There's a main projector, and two side light displays. Match that to the giant robot and a giant cryptic grim reaper - well buddy, you got yourself some family value minus the whine.
People ate it up. They were getting drunk, pumping their fist and singing along to every word about dead girlfriends and monsters. I wasn't just entertained by the show, I was entertained by the experience of it all.
Sure, maybe Rob Zombie's music isn't the most intelligible thing to come out in the past few years, but it sure as hell rocks with a fury. I'm still juggling a reason for camp value or lack of sleep that pulled me into this extravaganza. (I went since a friend had an extra ticket.)
Popular music doesn't have to be the most savant, but I would hope that the casual listening majority is at least getting a show for their hard earned dollars. The best way I could describe the set was a Disney theme park ride. There's an intro. There's a show. There's the working class escaping from their day to day hell. A two hour vacation.
Times are tough, but music has the power to get us through it. That show has the power to move along through entertainment. Sure, Rob Zombie isn't a poet or a time signature wizard, but who fucking cares? I had a great time. I hope the majority give their money to a show like that instead of Nickelback or some other third rate shit storm.
Oh, and Zombie had something awesome to say tonight. I made sure to take it down: "The harshness and the brutality of these shows has gone downhill since everyone just holds their iPhones up the whole time."
I walked in the consistency of pudding today. Yes, the arch enemy of any festival, rain came upon the second day of this year's Fun Fun Fun Fest. It sucked. People slipping; trying to keep your equipment dry; hundreds of people piled under one tent; humid and wet...well, you get my point. We all pressed on and tried to make the best of it.
I initially felt bad for anyone who came hungover. Growing were playing, sonically - and loudly - building digitally, where even from the back of the stage, the sound hit as hard as standing in front of the main speakers. On a stage over, local Peligrosa All-Stars was spinning/laptop button smashing to a small crowd that was dancing it out. Rain dances? Were they the cause? Who knows?
After catching local act Bankrupt and the Borrowers, I had my interview with Coalesce for my book and an off the cuff for the site. The interview for the site was completely off the top of my head, but I think the band gave some great answers that topped my crappy questions.
While the initial rain let up, I ran over to catch two songs of the Fuck Buttons set. Loud. Doesn't play out as much live as on record, but I highly recommend their new album. I believe they worked the kinks out of their debut and did it right with this new one.
Next I checked out Atlas Sound. While Deerhunter frontman Bradford Cox's side project's debut was good, Logos sounds full. Like Microcastles, the band's new album took the sound and amped it up a few notches. If you didn't like the last record, or simply just enjoyed it off the cuff, I recommend listening to Cox's new effort. The band sounded wonderful live.
I cut out in the middle of Atlas Sound's set to catch Youth Brigade. Shawn Stern still sounds sharp, and the crowd was into it, both young and old. Watched about five songs and headed back to catch WHY?. Wonder why (no other way to say this) me and Blake love this band? Have you seen them live? Sure, Eskimo Snow - which was recorded at the same time as Alopecia - is less hip and more hop, but the band's sound is one of its own - in my ears, not being the guru of music and all.
I left WHY? a few songs early to grab a drink before heading over to Coalesce. While the rain let up for WHY?, it came back for Coalesce. [Tangent: Between grabbing a drink and heading to Coalesce, I got to meet Bradford Cox who was a really great guy.] I kind of wish I got to see Coalesce for the first time at a venue, but they still put on an energetic set that was not a letdown in the least. Guitarist Jes Steineger throws his all into the damn thing.
At this point I was quite sick of the rain, so I traveled back to the media tent to try and get an interview with Brian Posehn, who was supposedly hanging out doing a few scheduled ones. I did manage to get an off the cuff, six minute on his walk over to see Torche, but I slid back to the other side of the park to catch HEALTH. It may have been the lights. It may have been that the rain looked to finally be over. What a hell of a show that was. I spoke with one of the members who said that their "Golden Ticket" idea for Get Color went well, though the "golden ticket" ended up in Brooklyn, and they had hoped for some small town in the Midwest - somewhere they'd never been - not literally. The band's live show is definitely worth checking out.
I went and caught two songs from Mission of Burma. One of those bands I was never influenced by, and didn't really get it, especially seeing them live now. It was cool to see, but it wasn't The Jesus Lizard for me. To each their own I guess. On that note, I went to check out Gorilla Biscuits. Mayhem. I've never seen so much crowd surfing and stage diving. Before heading over to the stage, I first stopped to catch the same energy from the crowd at Crystal Castles - equally putting on as energetic of a show.
This brings me to the point of the weekend, and one of the reasons that this has been the best festival I have ever attended. Whether it was Crystal Castles or Gorilla Biscuits - two completely different bands - people were into it. The listener was enjoying it in their own way, while at the same time expressing the same ideals of why we love music. The only boundaries are the ones we create. Sometimes it's necessary to have those boundaries to describe to people what they may be getting into, but in the end we are all in it for the same thing, a sort of escapism of entertainment for some and fond attachment for others - all outside our regular 9 to 5. This weekend offered plenty of good music across the board, and though there were specific crowds at each stage, everyone was enjoying the same vibe.
I watched most of GZA's set, where he kept asking to get louder. Awesome. Enough said. The GZA, how do you think it was? I walked by and saw Of Montreal's over the top live show. Venue or outdoors, Kevin Barnes and the gang bring a setting every time, of what, only someone like Tim Burton would know. Danzig started late, so I went and checked out Whitest Kids U Know, who performed some of the same skits as the show, only live. I thought they would switch it up and do new stuff, but it was still funny, adding a few new blips throughout the sketches. I walked back to Danzig to a disappointing eight minutes before I decided I had enough of the weekend and went home.
I hear from a lot of people that Fun Fun Fun Fest is turning into Austin's new love out of the other two big ones (Austin City Limits and South by Southwest), and if they keep up the weekend - sans the rain - with this amount of great music and low egos - sans Danzig - then the festival will, and I hope, have many years to come.
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3 South ruled!
Still unsure what the hell was going on here...
Bankrupt and the Borrowers
Fuck Buttons
Atlas Sound
Youth Brigade
loved the rain! :\
WHY?
Coalesce
HEALTH
Mission of Burma
Gorilla Biscuits
yes, that small blur was one of many stage divers...
Two quick things. There's a rule in journalism about disclosure and accepting gifts. I have no problem with a complimentary (or like three) Sweet Leaf Tea. Since I've moved to Austin, I just want to hook an I.V. of that sweet sweet nectar into my veins.
On that note. The day began with interviews. First with drummer Dave Turncrantz of Russian Circles. If you haven't checked out Geneva, or anything this band has done, I suggest you do so.
After the interview, I head over to check out Russian Circles' tour-mates Coliseum. A heavy, blunt force of rock and roll in the vein of Clutch. It's got groove, but it has punch at the same time. Rock enthusiast - I say check them out.
I then had my interview with Dead Confederate. The band says they will be releasing a live album for free with a limited (I forget the number) pressing of it on vinyl.
My interview ran early which let me go check out Crystal Antlers. Simply great, acid tripping Touch and Go pop. Definitely a new favorite, the band comes highly recommended after today's performance.
I run over half way through the set to catch the very beginning of Young Widows. Another band that deserves their due. In our interview, guitarist/vocalist Evan Patterson talks about being minimal and direct, and this is what you will find off the band's last record, a gem, Old Wounds. Wonder why Thursday took them on tour? You should go find out.
After Young Widows set, I went over to Times New Viking. They definitely sounded better this time around, opposed to first seeing them on their opening slot with Deerhunter. An indie band that is just fun, and completely minimal. A pop acid trip lo-fi thrill.
After a great interview with Evan of Young Widows, we headed over to Russian Circles. Talk about an awesome show, with one bad pedal malfunction. I felt bad, but the crowd was having it with or without the mishap.
Continuing on the instrumental stream, I went and caught the first half of Red Sparowes' set. Great band. Another instrumental rocker worth checking out. The band lends itself to slow builds, so those with short attention spans should stay away, but for those looking for something in the vein of Mono meets the Six Parts Seven, go for it!
I went over to check out a few songs at MC Chris' set. The crowd was loving it. It was weird just seeing him and his laptop, and that's it. He held the crowd's attention for tour, and seemed like a fun set.
I caught two No Age songs. They sounded a bit cleaner live, which was a surprise, but the crowd definitely came out for these guys. I ran across the park to catch some of Dead Confederate's set. Great stuff, but what can you expect from this band otherwise live? After about three songs, I ran to catch the end of Melt Banana. Language barrier aside, what a spaz-fest that was. The crowd was into it, and the band were on par with them. Sometimes music can be just insanely fun. If that's what you're looking for - emphasis on the insane - then check out Melt Banana.
Now it was time for DEATH. So here's the story, this acclaimed "before there was punk" punk band from Detroit was going to set the precedent a few years before we would know what punk was in the mid-70's. The material saw limited release, but their full recordings were just released by Drag City this year for the world, and youngsters like me, to experience. The band sounded great, but it was just this Motown surf-punk. Good, but I believe the hype got us all.
After DEATH, I checked out the indie-hype that is Neon Indian. You know what? I though it was pretty good. It's very electronic, but not in a way that seems pretentious, or hipster. Well, maybe it does to some, but I think it's another creative step in technology. How long will they last in our new playlists? I'm not sure, but worth checking out.
I had to head to the media tent to charge my camera battery, but went over to see Fucked Up thereafter. I witnessed something called punk rock. The band. The crowd. The tyranny of their interaction with each other. This was only the last four songs of the set. It was beautiful. Sue me.
I'm not a Face to Face guy, but the crowd was having the whole set. I see why they've had such influence, and it's great to think they still have a hold on both faces young and old. I'm sure I'll see the same tomorrow with Youth Brigade and Gorilla Biscuits.
It was time for The Jesus Lizard. The crowd opened up and I quickly found my way from the front taking shots of the band's frontman jumping into the crowd upon the first few bass lines, to the side trying to catch the mayhem. It was awesome. As old as those guys are, and as outdated as the sound may be, they still sound as sinister as on record, and even look as evil live.
I walked on over for three songs of Destroyer. There was a real intimate feel to the set, even though he was playing right behind the stage where The Jesus Lizard was drowning out almost the entire park. Songs still sounded as raspy live, and with just him and his guitar, the feel of the show was great. If I were a bigger Destroyer fan (check out Destroyer's Rubies), this would be an amazing set.
I went back to catch the end of The Jesus Lizard set, and as I was leaving the park to go catch a showing of Let Them Know with Mark and Shawn Stern down at The Ritz, I caught a glipse of Ratatat closing out to a huge crowd, and heard The Jesus Lizard start an ambient encore where the end of their set's feedback began to dwindle.
One thing I will say about this festival is the diversity. There's so many different bands, and that creates two things: discovery and smaller crowds. Instead of huge crowds for one closer, the crowds were split evenly across the park. There's so much good music going on this weekend, that if you're not feeling one stage, the other stages are minutes away. There's no way you can walk away from this festival this weekend without finding some new, or older, music to add to that iPod for your drive to that 9 to 5 on Monday.
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This is going to be a bit a problem as a closer - what a tribute...
Hey guys! Hope you've enjoyed the week. There's been plenty happening on the front page today. Julia has an awesome new feature, Blake is giving us some music to check out, and we're streaming the new Destry album. I won't bog you all down with more, so I'm holding my interview with John Nolan until Monday. First thing though - promise!
I will be covering Fun Fun Fun Fest in Austin this weekend, so be sure to check out the front page and this blog for photos, recaps and reviews. Looks to be a great weekend, with great acts. Here's my schedule so far. If you think I should try and see someone in particular, leave me a comment, and I'll do my best to fit it in. I always am interested in the buzz.
Saturday's schedule:
12:30 - interview with Russian Circles
1:05 - Coliseum
1:30 - interview with Dead Confederate
2:15 - Young Widows
2:40 - Times New Viking
3 - interview with Young Widows
3:35 - Russian Circles
4:20 - Red Sparowes
4:35 - MC Chris (little bit into his set)
5:05 - Dead Confederate
5:10 - No Age (will be back and forth from this and DC, can only shoot first three songs on this stage)
5:15 - Melt Banana (umm...will be a cluster fuck of running around at this point)
6 - DEATH
6:35 - Neon Indian
6:55 - Fucked Up
7:30 - Shearwater
7:45 - Face to Face
8:35 - The Jesus Lizard
8:45 - Destroyer (will have to come see later in the set)
Sunday schedule (interview with Coalesce at some point)
12:35 - Pack of Wolves
1 - Bankrupt and the Borrowers
1:40 - This Will Destroy You
2:15 - Fuck Buttons
3 - Atlas Sound
3:30 - Youth Brigade
3:50 - Why?
4:50 - Coalesce
5:35 - The Riverboat Gamblers
5:40 - Lucero (later in the set)
6:05 - HEALTH
6:35 - Mission of Burma
7:30 - Crystal Castles
7:40 - Gorilla Biscuits
8 - GZA (performing Liquid Swords)
8:30 - Of Montreal (to take pics, watch a few songs)
8:30 - Danzig (after O.M.)
8:45 - Whitest Kids U Know (try to catch on the way out)
yup...busy weekend! lot of great music, who knows who I will catch and who I won't! Stay Tuned!
To beat a dead horse (don't come after me PETA), this year has been fantastic when it comes to music. If you don't already have at least a top five, then you're either one closed minded listener, or you have way too many choices to weed out.
Depending on which one of the aforementioned you are, here's more music coming at you, compliments to staffer, reviewer and Absolutepunk funny man, Blake Solomon. Haven't heard the rumours?
Well, here's five albums that he thinks flew under the radar for whatever reason.
1.) Alexander The Great – Faces Change --- It’d be petty of me to spit on you for something as small as not knowing a band. And it would be even pettier (that’s a word, so suck it) if said band was on some tiny Bloomington, Indiana label, since let’s face it, even with the Internet and all, nobody thinks about Indiana. But maybe we should. ATG make Manchester Orchestra look like wide-eyed beginners. Faces Change is packed with the emotion of real life, which is more rare than it sounds: songs about divorce, drunken walks home with one-night stands, snow! It’s the sound of Americana’s future.
2.) Years – Years --- I guess Years is my favorite instrumental record of 2009. However, that title feels too constrictive. The way “Are You Unloved” jumps from simple-sounding looped acoustic guitar into stutter stepping electronics can make any self-assured critic run home to their Sigur Ros records, if only to understand something for a second or two. Being that this is the side project of Do Make Say Think’s Ohad Benchetrit, you are right to expect quality. Just don’t expect Years to hang its hat on that powerhouse’s signature whatever-it-is-they-do sound. This is almost a pop record (see the undeniably catchy horn section on “The Major Lift”). And lately it seems that almost-pop records are always the best.
3.) Junius – The Martyrdom of a Catastrophist --- I look good draped in purple. And while that may be irrelevant to anything ever in the history of the world, it’s still the first thought that pops into my brain when Junius start playing. (Writer’s Tip: Always use your first idea.) We had to wait too long for Martyrdom, but if such a lapse in releases is par for the course, at least we’ll have time to learn how to both say and spell Martyrdom. This break is also necessary, though, because the group’s Depeche Mode-on-Godspeed! manifestations require more than a passing thought or two. Eerie found recordings, bellowing vocals, and guitars that have this crazy tendency to rocket upward without leaving the grime behind make Martyrdom incessantly interesting. Each 6-minute song reveals new, exciting nooks for exploration. I’m still not sure what’s actually going on, but I’m starting to think that’s kinda the point.
4.) Why? – Eskimo Snow --- I met Yoni Wolf two days after my 21st birthday. He was sitting alone before a show in some shitty town that you’ll never visit. I’m super straightedge, but it was Flag Day so I took the night off. Looking terrified as I ambled up to him and sat down, Yoni proceeded to patronize me until my slurs of, “When your music comes on, it just speaks to me,” and, “I hope this isn’t weird, but you’re my soul mate,” ceased to vomit from my gin-soaked mouth. All he said was, “Thanks for listening.” And that’s all I needed. I was happy that this man of one million words needed only three to send me on my way. On the standout “This Blackest Purse,” Yoni asks, “Mom am I failing or worse?” And if I had heard that song when I met him last year, I would have simply bear-hugged him. Nobody else makes hip-hop on pop pills like the Wolfs and Co. But really, nobody takes the inner psyche and twists it into something so instantaneously breathtaking like Mr. Wolf. You don’t care and that’s fine. But isn’t it cool that I care so much?
5.) Gray Young – Firmament --- A man who is now a ghost told me about Gray Young. And only after this man disappeared did I find it apt to indulge in the band’s emotional ambience. For songs at a time, the group let benign guitars ring and ring, but before the lull is permanent voices or tricky percussion hit the spotlight switch. It makes for some pretty involved listening. To be honest though, I know very little about that which makes Gray Young tick. But I do know that those old fogeys The Appleseed Cast are bald with jealousy somewhere in the Midwest.
Pretty good little discussion today. Some very valid points made in there. For the record: Yes, I know Al Gore didn't invent the Internet.
It has been ten long years. Let's see, I'm 23 now. so I was 14-15(?) at the beginning. Wow, the days of Blink-182, my introduction to Drive-Thru Records and two years away from discovering Thursday's Full Collapse.
Then came high school - eating up some of my favorite bands today: Thursday, Brand New, Further Seems Forever, Less Than Jake, Rx Bandits, Refused, At the Drive In, Taking Back Sunday, Blood Brothers...and the four years progressed onward, each year discovering something new.
Discovery changed in its progression over the past ten years. First it was sticking to labels of favorite bands and who was opening for the headliners I was going to see. Then it became, well, what are my friends listening to.
Then the Internet thing happened. Then before I knew it, I was in college. I was working for KLSU. I was going to way more shows. I was spending way more time interacting with friends who were playing music. All these channels happened at once. As soon as I discovered one band, I was listening to three new ones.
In the last two years, something happened. A brick wall. I've listened to mainstream. I've listened to punk. I've listened to rock, metal, folk, hip-hop. Now it takes something special to grab my attention. I'd say in the last few years I've been rediscovering the past like everyone else, and reliving the bands that made me the music freak I am today.
I'm not so sure if there's a definitive answer as to what this decade was about. I'm not sure if there will be an answer as to what lies ahead. One thing is for sure though - music is going to exist in some form, whether we love it, hate it or obsess over it. We have more records that will make good and bad memories when listening to because of its ties to certain times in our lives. We have more bands to discover, and ones to relive.
I think we get caught up in the hype of the fast paced ones and zeros sometimes. Just listen to the half and whole notes, the crescendos, the timbre - listen to what you love, and fuck all the rest.
Yes, I said scene instead of seen. It was a foolish mistake, but I think a subconscious one, so therefore I'm not changing it. Create your own memories, the music is just background anyway.
Alright. We get it. We showcase bands like All Time Low and Boys Like Girls and Cash Cash. For what we cover, we also bring news about bands you would find on Pitchfork. We also bring you news on bands found on the cover of Rolling Stone. This site is only as worthless as you make it out to be.
I've always loved Absolutepunk.net for its ability to introduce me to new bands and showcase those I think deserve showcasing. I also have a different taste than Jason, than Anton, than Blake - but sometimes we agree, and that's the point in talking about music!
I agree with my RIYL section and words that I had to say about the new Say Anything album. I picked The Jesus Lizard as a door opener to people who may want to check them out. I interview bands like These Arms Are Snake because I think they have great things to say.
You guys worry about too much bullshit sometimes, instead of just listening and enjoying why we're all here to begin with.
So, yes, this is out of line, but sometimes some of you just need to shut the fuck up!
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