Tag Archives: Review

00's, 80's, Claudio Sanchez, Cleveland, Live Shows, Music, Progressive Rock, Review, Rock

Coheed & Cambria / Porcupine Tree / The Dear Hunter – Nautica Pavilion – Cleveland, OH – 08/26/2010 – Concert Review

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Last Thursday evening progressive sci-fi rockers Coheed & Cambria headlined a triple bill with help from The Dear Hunter and UK’s Porcupine Tree.  The triple bill landed on a comfortable cool evening at the Nautica Pavilion, a perfect night to take in a show.  The venue sadly was not packed at all as ticket sales suffered but all who did show up that evening enjoyed three levels of prog-rock any aged fan could appreciate.

A fine mix of Coheed and Porcupine Tree fans gathered around the stage to give the night’s openers The Dear Hunter a chance.  The alt-prog act from Boston, Massachusetts took to the stage while the sun slowly crept away to open up the night.  Upon their first couple songs much of the crowd did not seem to pay attention but soon were sucked in to what sounded like a Mars Volta meets Queensryche.  Their set seemingly became more impressive through the lengthy songs to the point where people started turning their heads to the music.  Not being too familiar with their material I was impressed with what i heard.

UK’s Porcupine Tree took to a freshly vacuumed stage – yes, someone vacuumed the stage prior to them taking it – just after 9pm.  Older fans of the band, that started as just a concept in 1987, gathered around the stage and focused all of their attention to the band and the visuals being show on the backdrop.  Opening with “Ocean’s Razor” it was clear that I had never heard of them before.  I for some reason thought they were a newer act but was just a little bit wrong as I soon discovered they have been around for a little bit.

At one moment lead singer Steven Wilson asked everyone in the house if they sounded ok due to the position of the stage.  He then commented that everyone was treated to two shows – them and the Cleveland skyline.  Comically declaring “that’s one big reverb” got more than one laugh from the crowd but also hinted to the soundboard that they were not happy with their sound.

The videos that played behind Porcupine Tree was full of random clips and psychedelic light shows that periodically would sync up with the music.  At times I would almost fall into a musically fueled trance watching the screen trying to figure out what was going to happen next.  The prog-rock was almost a prog-jam during certain moments of their set was a lot more progressive than I anticipated but delivered a killer set.  I know I was not the only one impressed and I am pretty sure a lot of the younger Coheed fans went home later that night to check them out a little more.

The band thanked the fans for their support, thanked Coheed for their invitation, and then announced that it was the last night of their tour and that they would be retuning home.  For a band that has not really been plastered all over the radio it was refreshing to see an act 23 years in the making take the stage and play their hearts out showing no indication that they will be slowing down anytime soon.  I will be checking these guys out a lot more now that I saw them.

Porcupine Tree Setlist:
Ocean’s Razor
The Blind House
Great Expectations
Kneel & Disconnect
Drawing The Line
Open Car
Russia On Ice
Anesthetize
Trains
Blackest Eyes
The Start Of Something Beautiful
Way Out Of Here
Sleep Together

The headliners of the night, also known as Coheed & Cambira, took to the stage and opened with “In Keeping Secrets of Silent Earth: 3”. Claudio Sanchez and crew tore up the stage with their sci-fi prog rock goodness to all of their adoring fans, well, those who decided to show up. The pit was sparse and the bleachers were not filled that all. It was almost depressing to see the turn out of the evening as many of the older fans who came to see Porcupine Tree headed out after their set.

Coheed did not let that bother them at all playing through with “The Suffering”, a song I sang along to as loud as possible. Continuing with selections from their latest release Year Of The Black Rainbow the band rocked out to “Year Of The Juggernaut” and the acoustic “Pearl Of The Stars” with Claudio whispering to the adoring crowd.  Starting strong the band had a couple of lulls in between songs but kept the momentum going with “Delirium Trigger” and closed out with the always amazing “No World For Tomorrow”.   With fans screaming for more the band took the stage for a couple more songs ending the night with one of my favorites “Wake Up” where the entire place sang along with lighters in the air.

Having seen Coheed many times in my time including last year at Bonnaroo I could not say this was the best show that I have seen by them but was far from terrible.  The fans sang along with practically every song but at times when Caludio turned the vocal duties over to the crowd it almost became difficult to hear them due to lack of a bigger fan base supporting guest duties.  I would have loved to seen more people fill up the venue that evening but at the same time was perfectly contempt with the almost seemingly intimate set.

The term “you get what you pay for” came to mind after the show’s end.  Three amazing bands took to the stage that night with long sets giving all who attended their money’s worth.  I do wish that some of the Porcupine Tree fans stayed a little longer to check out Coheed before calling it a night.  I am pretty sure they would have enjoyed what that amazing band had to offer.

Coheed & Cambria Setlist:
In Keeping Secrets Of Silent Earth: 3
Ten Speed (of God’s Blood And Burial)
Here We Are Juggernaut
The Crowing
The Suffering
Pearl Of The Stars
Everything Evil
When Skeletons Live
The Willing Well 1: Fuel For The Feeding End
Delirium Trigger
No World For Tomorrow
Encore:
Wake Up
Welcome Home

Music, New Release, Psychobilly, Punk, Review

Devil’s Brigade – Devil’s Brigade – CD Review

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Chances are if you have heard of Rancid you already know who Matt Freeman is.  Most notably known for his exceptional bass playing abilities he also is the man behind the gruff gritty vocals sometimes heard on Rancid tracks as well as being a founding member of Operation Ivy.

Not just limiting him solely as a member of Rancid, over the years Freeman has played with legendary X member Exene Cervenka in Auntie Christ, stepped in with Social Distortion, as well as started his own band behind the scenes called Devil’s Brigade.

Devil’s Brigade is a psychobilly/punk rock side project started in 2000 with fellow band mate Tim Armstrong between Rancid tours.  The project yielded a couple of EPs and some of the songs were featured on Hellcat Records Give Em The Boot compilations but a formal album never was released.   After Rancid released Let The Dominos Fall in 2009 Freeman decided that it was time to head to the studio and make something of his project.

At first Freeman was hoping to record a musical about the “Half Way To Hell Club”, a name that was given to those who fell off the Golden Gate Bridge during its construction and fell into a safety net.  Although Freeman skipped the idea of the musical, he did take six of the songs he wrote for the musical along with original Devil’s Brigade songs and decided to put them together on an album.

Enlisting Armstrong as well as DJ Bonebrake, another member of X fame, they entered the studio earlier this year and recorded the self titled release.  With Freeman taking vocal duties he also decided to play stand up bass throughout while Armstrong played guitar and DJ Bonebrake on drums.  Dropping at the end of August, the album will mark yet another consecutive release by a member of Rancid on Hellcat Records proving that they have no intentions of quitting anytime soon.

“I’m Moving Through” opens the album full forced with Freeman’s indistinguishable singing backed by his bass playing immediately grabbing my attention.  “My Own Man Now” really did not sound anything outside of Rancid but nonetheless was still enjoyable and carried that Bay City punk sound I have been fond of half my life.  “Shake Down” followed with Freeman slapping his stand up bass singing about his “25 years of punk, rock, and roll”.

“Bridge Of Gold”, featuring Armstrong and Lars Frederickson, was a noteworthy song about the building of the Golden Gate Bridge and was one of my favorite cuts off the album.  I loved the old barroom jam sound with the piano in the background and just the reference itself to a 1930’s wonder of the world.

“Ride Harley Ride” was a mysterious biker tune with an almost Natural Born Killers feel to it.  “Vampire Girl” repeated “I want to get rid of you” throughout the twangy psychobilly tune.  “Gentleman Of The Road” was another track I really enjoyed with xylophone, a distinct bass line, and outlaw story to follow.  Closing the album was the working man’s “Half Way To Hell”, another track I really appreciated due to the guitar playing and history contained within.

It’s easy for someone to assume that this is just another Rancid release, but once you hear the album your opinion will be changed.  Of course it is going to sound like Rancid here and there, look who’s in it.  Once you actually sit back and listen you will understand that it is a Matt Freeman project full of what he enjoys to do.  He has branched in his own direction with his musical talent just like Lars Frederickson & the Bastards did as well as the Transplants.

The album is enjoyable all around without any lulls in between.  Freeman has no trouble displaying his musical abilities from slapping the bass to screaming in the mic.   I am glad he finally decided to do something with Devil’s Brigade finally.  What was just a spare time thing at one time has incorporated into something so much more.

Already touring in support of the release, Freeman has gathered up a touring band and will be joining fellow label mates the Street Dogs and Left Alone.

Devils Brigade Tour Dates:
Sept 7 – San Antonio, TX – White Rabbit
Sept 9 – St. Petersburg, FL – State Theatre
Sept 10 – Ft. Lauderdale, FL – Revolution
Sept 11 – Orlando, FL – Firestone Live
Sept 12 – Jacksonville Beach, FL – Freebird Café
Sept 13 – Charleston, SC – The Oasis
Sept 14 – Atlanta, GA – The Masquerade
Sept 16 – Washington, DC – Rock and Roll Hotel
Sept 17 – Philadelphia, PA – Theatre of Living Arts
Sept 18 – New York City, NY – The Gramercy Theatre
Sept 19 – Pawtucket, RI – The Met Café
Sept 21 – Buffalo, NY – Town Ballroom
Sept 22 – Pittsburgh, PA – Diesel
Sept 23 – Cleveland, OH – Grog Shop
Sept 24 – Hamtramck, MI – Small’s
Sept 25 – Chicago, IL – Reggies Rock Club
Sept 26 – St. Louis, MO – Firebird
Sept 28 – Dallas, TX – The Loft
Sept 29 – Austin, TX – Red Seven
Oct 7 – Tempe, AZ – The Clubhouse
Oct 8 – Santa Ana, CA – Galaxy Theatre
Oct 9 – Los Angeles, CA – El Rey Theatre
Oct 16 – San Francisco, CA – Slim’s
Oct 19 – Portland, OR – Hawthorne Theatre
Oct 20 – Seattle, WA – Chop Suey
Oct 21 – Boise, ID – Knitting Factory Concert House
Oct 22 – Salt Lake City, UT – Club Sound
Oct 23 – Denver, CO – Marquis Theatre
Oct 24 – Colorado Springs, CO – Black Sheep

Columbus, Folk, Good Times, Live Shows, Music, Photography, Review, Road Trip, Rock, The Awesome

The Gaslight Anthem / Chamberlain / Tim Barry – Lifestyle Communities Pavilion – Columbus, OH – 07/28/2010 – Concert Review

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Last Wednesday Columbus, Ohio was the place to be if you were looking for an amazing rock show.  New Jersey’s The Gaslight Anthem headlined the Lifestyle Communities Pavilion with special guests Chamberlain and Tim Barry and I must say, all who packed the floor knew well in advance that they were in for a good time.  It was a show I had been looking forward to since it was announced in the Spring and luckily I was able to be a part of it.

Even if it down-poured on the way down there and careless drivers kept trying to crash into my vehicle my friends and I made it down to Columbus with some time to kill.  Having never been to the Lifestyle Communities Pavilion before I was not sure if it was an indoor or outdoor venue.  Turns out it was both but due to a baseball game at the neighboring stadium the show was going to be played inside.

While wasting some time I enjoyed a tall, cheap, and ice cold Natural Light (no I did not get paid to say that) as I conversed with friends and the people around me at the A&R Music Bar that stood left to the concert hall.  Turns out we were not the only folk who traveled to see the show.  One group of guys, who I swear I knew one of, were from Cleveland and another few came all the way from Indianapolis.  I also got word that someone else I knew was traveling from Charleston, WV.  When it is a show like the one we all had tickets to, it was worth the drive no matter how far away.

Making way into the indoor section of the Lifestyle Communities Pavilion I was impressed with what I saw.  The inside was not only super clean but nicely laid out with a split level floor as well as an upper floor where one could see the stage just about anywhere you hung out.  My only vice was that my photo pass only allowed access to the photo pit for Tim Barry, not that I am complaining.  I just had never encountered a venue so strict with their press before.  Regardless I was beyond pleased to be in the building that was about to host three exciting acts even if it were going to be indoors.

Tim Barry took to the stage with a beer in hand and a baseball cap shut down over his head.  While most know Barry as the punk rock lead of Avail there were many who had no idea who he was.  There seemed to be a lot in the crowd who were expecting more than a man and his acoustic guitar to fill the opening slot.

That soon changed as the Richmond, Virginian working class hero kept close to the mic stand and strummed his guitar playing “This November”.  The punk turned folk rocker told everyone how busy he has been being on the road touring since January and pointed out at one time that he was not afraid of death at all but feared failure and especially being on stage playing a bad show.

I was most impressed to hear Barry not only play “Prosser’s Gabriel” but also state to the crowd before the song that he was planning on playing a free show on the parking lot in Virginia that lies over the burial site of Gabriel Prosser.  The punk at heart bad ass was not kidding and even mentioned being told to bring along a lawyer because he knew he would get arrested.  By the time the song was over just about everyone in the venue had their eyes on the one man show.  Other tracks I enjoyed seeing live were “Avoiding Catatonic Surrender” as well as the end of the set chilling “Dog Bumped”.  During that final song I could not help but scream along in approval (queue in Johnny Cash At Folsom Prison applauds) with the crowd during different moments of the track.

Barry might be a tough mother you-know-what, but he is also sincere and genuine as seen when he thanked the crowd for letting him play once it was time for him to exit.  While the next act was getting set up Barry was actually walking around amongst the crowd where my two friend’s spotted him and bought him a beer.  I was told that Barry said not only thank you to them but also yelled “that’s the biggest damn beer I ever seen!”

Tim Barry Setlist:
This November
Moving on Blue
Idle Idylist
Church of Level Track
Prosser’s Gabriel
Avoiding Catatonic Surrender
Dog Bumped

Chamberlain hit the stage next and as much as I thought I was going to enjoy their set I didn’t.  I have heard their material and recognized when certain songs were played like “Try For Thunder” and “Mountain Of A Heart” off The Moon My Saddle but just was not impressed.  They sounded much rockier than what I am used to on their studio album and not to mention the lead singer was just acting off key.  I am not the only one who noticed that either.  Luckily for the band my thoughts about them were not shared with the rest of the crowd.  They loved them and erupted with approval when the band stated they were happy to be back in Columbus.

The band played through a good set including “Manhattan’s Iron Horses”, “Stars In The Streetlight”, and the impressive live sounding “Raise It High” which I later picked up a 7″ of at their merch table.  They were solid and on point but again I just was not feeling it (until the last song).  I really need to give these guys another chance live as I love their albums and especially adore their previous act Split Lip.

The rock band of the night, hell -the year, Gaslight Anthem took the stage while Jay-Z’s “Empire State Of Mind” blasted over the PA with all smiles to the packed house.  Wasting no time the band jumped into their latest album’s title track “American Slang” followed by “Boxer”.  Brian Fallon and crew looked so happy to be on stage and gave the crowd the show they paid for continuing with my favorite track off American Slang “The Diamond Church Street Choir”.  During the song I was curious to see if Fallon would be able to sing his Billy Joel-like ending and to my satisfaction he nailed it.

Keeping the momentum the band moved along with “Old White Lincoln”, “Even Cowgirls Get The Blues”, as well as “Mile Davis and The Cool” and “The 59 Sound”.  Needless to say the entire crowd helped sing along throughout the set as well as danced, moshed, and just lost all control.  After “Film Noir” Fallon spoke to the crowd but be it my bad ears or him strumming his guitar a little too hard, I could barely understand what he was saying. He mentioned to the crowd something along the lines that his Mom loved and shared this band from 1959 that featured a bunch of African-American men playing on an album with some guy named Elvis.  The band immediately broke into “Wherefore Art Thou, Elvis?” – Again, the place went insane.

After about six more songs including “Blue Jeans and White T-shirts” and “The Queen of Lower Chelsea” the band finished up their set with “Great Expectations”.  Knowing that there would be an encore in just a few moments I was already fully satisfied or so I thought.  With the crowd cheering in a soccer like chant of ” Gaslight Anthem” followed by claps the band returned to the stage and announced they would be playing a few more songs starting off with a cover of Lucero‘s “The War”.  All I could think was how awesome it was going to be to hear their version when all of the sudden Tim Barry came out and sang along.  I was speechless.

The encore, which lasted longer than most opening acts I have seen in my day, also included “We Came To Dance”, “Senor and the Queen”, and another cover from a band called The Who.  It has been quite some time since I have seen an entire venue participate during a song but the moment “Baba O’Riley” started that all changed.  The Gaslight Anthem’s version was exceptional and the moment they finished Fallon screamed “Yeah! So much fun!”  He was correct in that statement, it was.  I thought the show was over and that was the band’s farewell but they kept playing and I was not complaining one bit.  Ending with “The Backseat” it was clear that I was not the only one who had just witnessed an amazing performance by a young and growing talented band.

The band exited the stage, the lights came on, and that was it – the show was over and it was time to go on our separate ways.  Immediately the saying “the memories will last a lifetime” rolled thought my mind and I could not agree more.  Throughout all of the shows I have seen this year this one will stand out a little more over the others.  I was treated to an amazing performance by a band I have been a fan of since they were playing small clubs as well as finally grabbed the chance to see a good man named Tim Barry.  That night is what live music is all about to me and I am grateful to have been there.

The Gaslight Anthem Setlist:
American Slang
Boxer
The Diamond Church Street Choir
Old White Lincoln
Even Cowgirls Get The Blues
Bring It On
Miles Davis & The Cool
The ’59 Sound
Red In The Morning
Angry Johnny & The Radio
Film Noir
Wherefore Art Thou, Elvis?
Blue Jeans & White T-Shirts
Stay Lucky
Boomboxes & Dictionaries
The Spirit Of Jazz
The Queen Of Lower Chelsea
Great Expectations

Encore:
The War – Lucero cover w/ Tim Barry lending vocals
We Came To Dance
Senor & The Queen
We’re Getting A Divorce, You Keep The Diner
Boba O’Riley – The Who cover
Here’s Looking At You Kid
The Backseat

90's, Electronic, Folk, House, Music, New Release, Review, Solo, Techno

Quick Reviews: Sh*t Robot, The Chemical Brothers, J. Tillman

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I have been getting tons of material lately for review consideration so I thought I would try something new and shrink down my usually lengthy reviews.  Nothing fancy, just trying to get the word out on some amazing bands and releases.  Enjoy.

Sh*t Robot – From The Cradle To The Rave

Marcus Lambkin, aka Sh*t Robot, has taken his time releasing his debut album – literally it has been 20 years in the making.  The Irish born punk rocker turned DJ has made a name for himself in the NYC club scene and even though has never recorded an album before has made a huge name for himself by just doing his thing.  I should also mention that Lambkin helped build that which is now DFA Records from the ground up.

From The Cradle To The Rave reflects Lambkin’s life as a DJ and more.  Opening track, co-written by LCD Soundsystem‘s James Murphy, “Tuff Enough?” is an electronic anthem of sorts with simple beats and synthesizer that was actually written about an upcoming expectancy.  “Losing My Patience” featuring Hot Chip‘s Alexia Taylor was a fun track that I think many of the dance clubs will have no problem spinning. “Simple Things (Work It Out)” was an entertaining experimental dance track of sorts with almost a spoken word feel to it.

My personal favorite cut on the album was “Take ‘Em Up” featuring another musician from LCD Soundsystem, Nancy Whang.  This song not only screamed retro 80’s but also heavily reminded me of what would happen if Daft Punk decided to sample a Sonic The Hedgehog soundtrack.  Whang’s vocals are perfect for this track more suitable to be played at a roller rink.

From The Cradle To The Rave is proof that sometimes taking your time is a good thing.  This release is for all the folk out there that still enjoy the clubs.  Full of electronic goodness that reaches back to the days when techno was all the hype in the 90’s as well as hints at some Kraftwerk.  The album is solid front to back without over doing it.  Where I don’t frequent those types of clubs anymore I still got a kick out of that which is Sh*t Robot.

The Chemical Brothers – Further

Seeing a band like The Chemical Brothers come out with new material makes this guy right here happy.  As a longtime fan of the British duo (Tom Rowlands and Ed Simons), I was thrilled when Further was released and even more intrigued when I heard that alongside the album would be visuals to accompany each of the songs. While I still have yet to obtain the videos I can tell you that they are available on DVD and iTunes for download.

Further is different from previous releases as it is mostly instrumental with Rowlands taking it upon himself to sing on a couple tracks as well as features Stephanie Dosen (Massive Attack) who lends her vocals as well.  I honestly prefer when they collaborate with other musicians on their previous releases but still enjoyed listening to tracks like “Escape Velocity” and “Another World”. “Swoon” was a trip in itself that I could not help but tag along with.

Heavy on the synthesizers and easing back on the drum machines throughout make for a very chill album to listen to.  This is one of those types of albums I can see myself not growing tired of anytime soon.  For those of you out there that still has a soft spot for the duo who hit the charts with “Block Rocking Beats” back in the day don’t hesitate to pick up Further.  The duo still has it and has dropped one great album to dance the night away to or even just sit back and get lost in.

J. Tillman – Singing Ax

Beautiful is just one of the many words that can be used to describe J. Tillman‘s latest release Singing Ax. Not just a member of Fleet Foxes, the folk artist has been very involved in recording material with others as well as himself since around 2004.  His latest offering is a vinyl only release that was recorded by Tillman almost entirely by himself in just three days.  The result is a calm yet captivating collection of songs that couple compliment any campfire gathering or just a quiet afternoon of solitude.

Opening track “Three Sisters” pretty much set the bar up high for the entire album for me.  While listening to TIllman’s singing I could only anticipate on what he was going to sing next and patiently waited the story, backed by acoustic guitar playing and drum machine, to unfold.  “Diamondback” continued with a calm retreat of a pleasant tale that had me closing my eyes and absorbing the intimate song.  In fact I found myself doing that a lot while listening to Singing Ax.  Later on I was treated to the album ending “A Seat At The Table” a song, to me, that almost was a musical rendition of a storm rolling in complete with thundering drumming towards the end of the track.

Tillman dropped an amazing album that barely carried any further supplement aside from his singing and acoustic guitar.  Honestly nothing more was needed as the folk chill release was presented perfectly.  I can only imagine what a live performance would entail.  Luckily for me he is touring with Phosphorescent and is making a stop in Cleveland in just a short couple of weeks.  Fans of Nick Drake and even a younger Neil Young I think will really enjoy this album as well as anyone out there that is just looking for a musical form of relaxation.

Folk, Music, New Release, Punk, Review, Rock, Solo

Sundowner – We Chase The Waves – CD Review

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A sundowner can be a lot of things (a car, drink, plane, type of wind), but in this case the Sundowner I am referring to is an amazing solo project by Chris McCaughan, the guitarist and vocalist of punk act The Lawrence Arms.  

We Chase The Waves is Sundowner’s second album and like the first, it is far from punk rock and more of a brush with folk music that brings forth good moods and instant sing alongs.  Recently dropping on Asian Man Records, We Chase The Waves might just be the album that gets me through the rest of the summer.

Starting as a side project, McCaughan wrote a few songs in his free time and played intimate shows around the Chicago area taking the moniker Sundowner.  With help from fellow band mates and friends the project turned into a band of sorts with Sundowner’s debut being released in the spring of 2007 on Red Scare Records.  Just three years later McCaughan and friends decided for a follow-up and recorded We Chase The Wave in their homes, literally, in just eight months.

Passionate and compelling are the two words that describe McCaughan’s wiring styles on the CD.  The guy is a natural storyteller and just has a way with words. From the moment “In The Flicker” started off the album I was beyond mesmerized.  The song was nothing more than an acoustic jam amongst friends but I was addicted, I wanted more, and before I knew it the ten track album was wrapping up.

Tracks like “As The Crow Flies” impressed the hell out of me even though the song was nothing over the ordinary.  The way the song presented itself to the listener, told the story, and ended it on a positive note not only begged for another listen but might have very well inspired a certain someone typing out this review…

“Baseball’s Sad Lexicon” took words from the 1910 poem of the same title by Franklin Pierce Adams telling the tale of the Cubs succeeding over the Giants thanks to a game winning double play (the only way I ever would have known this was by reading the CD insert and Google).  As an ode to McCaughan’s beloved Chicago Cubs he did a great job rendition of the classic poem.

“Mouth Of A Tiger” was a stern and ever so low opinionated track with lyrics like “I’m as lucky as a funeral” and “I’m not looking at the glass half full”.  I adored the singing style on the song match up with the acoustic and lap steel guitar playing.  Full of everyday truth and plain old honest opinions, the song begged to be played on repeat.

We Chase The Waves was an amazing start to finish album with no lulls in between.  McCaughan nails it dead on with his catchy melodies and fine storytelling that will grow on you regardless if you are a fan of him, The Lawrence Arms, or not.  Don’t look at Sundowner as a side project by a punk rock guy, look at it as a talented musician who has created something that more people need to know about.