Sunday, July 27, 2008
Sunday, June 22, 2008
Our Last Night (Epitaph) at Zumiez Couch Tour 2008
Our Last Night (OLN) played Zumiez Couch Tour 2008 on June 22, 2008 in the parking lot of Monmouth Mall, Eatontown, NJ. They opened for Alkaline Trio and played a short 30 minute set. Unfortunately, I didn't get to see the headliner. The only thing I've heard about OLN was the hype about their 14-year old singer, Trevor. I listened to several of their songs before the gig to get a taste of their style. I was curious to see how they fared on stage.
The parking lot setup was basically a simplified version of Bamboozle with tents surrounding the perimeter and a portable skate park that was constructed to the right of the medium-sized stage. When I arrived, I went over to the ramps to watch the skaters for a little bit since there wasn't much else to do. It wasn't too impressive. I also expected a little more out of the Flip Skate Team as they performed their "demo." I don't think that falling down every 10 seconds is much of a demo.
Anyway, the real reason for this blog is to briefly give my opinion on OLN. I'll start with the positive. For a young group of guys, their stage presence was fairly decent. If you play screamo / post-hardcore, you need to move on stage, and they did. The bassist stole the show with his slightly borrowed antics of twirling his bass around his back and flipping it up over his head. Trevor had tons of energy and if head banging was an Olympic Sport, he'd get a 9.2. Although, his main move seemed to be standing up on the monitor and holding his arms out, seemingly commanding the audience to thrash.
With this genre of music - at least for me - there needs to be some element that perpetuates the song besides moshing and screaming. I loved the technical playing in their guitar work, but I still need some sort of musical dopamine to hook me into the song. This can be achieved with melody, a memorable rhythmic pattern, anthemic lyrics, or even a gimmicky hook. Something. I felt like this was missing to some degree. If I'm going to suffer some sun poisoning, it better be worth it!
One huge negative aspect for me was how Trevor wasn't really the lead vocalist. Much of the melodic lines were sung by the guitarist while Trevor growled and provided some reinforcement in spots. This confusion I think is most detrimental. I know many would argue this point and even provide examples of how it can work, but I think that it would be more effective for a band to have a solid identity with a focal point for vocals. Other negatives for the set include a weakness for pitch control in the melodic sections and (to be blunt) saying dumb things between songs.
Overall, I think these guys have potential and with being so young, they have plenty of time to mature. The odds are against them, but if they have longevity, I'd love to hear what they sound like in 5 years.
~Robert
Wednesday, June 18, 2008
H2O - Nothing to Prove (2008, Bridge 9)
=james
Monday, June 16, 2008
Billy Bragg - Mr. Love & Justice (2008, Anti-)
You know, for someone with such a thick – nearly Dickensian – British accent, Billy Bragg is an old pro at Americana-influenced songs, whether R&B, Country, Soul, or Folk (just take a look at his work with Wilco on the Woody Guthrie interpretations Mermaid Ave. 1 & 2 or the Band-ish “Sing Their Souls Back Home” on this album). This record, his first in 6 years since 2002’s fairly disappointing outing with his band, the Blokes, England, Half-English, shows that influence wonderfully, especially on songs like “M for Me,” which is produced to capture the sounds of the room and make it sound that much looser and folkier, which is exactly where Bragg is at his best. His lovelorn, forlorn and wartorn lyrics are hurt by production that’s too clean and playing that sounds too rehearsed. He’s much better when there’s a little grit like “I Almost Killed You” or “Something Happened.” That said, he’s perfectly at home singing both of the political (“Sing Their Souls…,” “O Freedom,” “The Johnny Carcinogenic Show”) and the personal (“If You Ever Leave” has one of the more devastatingly aching choruses in recent memory). Bragg came to fame playing by himself, a man and his amp, and it’s arguable that some of his best songs still lay back in that era, which makes me incredibly curious about the second disc on the deluxe version of this record, which includes every song recorded in that format, but, as it is, I only got the regular version (money’s a bitch like that, huh?). Either way, though, Mr. Love and Justice is a fine record and a great example of what a man can do with his influences, no matter where they’re from.
=james
Saturday, June 14, 2008
Atmosphere - When Life Gives You Lemons, You Paint That Shit Gold (2008, Rhymesayers)
Thursday, June 12, 2008
The Night Marchers - See You in Magic (2008, Vagrant/Swami)
5 out of 5
This right here is perfect garage punk rock & roll. It’s got the swagger and the snarl, it’s got the slash and precision of switchblade-wielding robots, and it’s got lines like “Let’s be best friends on your floor” and tongue-firmly-in-cheek song titles like “I Wanna Deadbeat You,” “Open Your Legs” and “Panther In Crime.” Just like front-man John Reis’s beloved “band who invented Rock n Roll,” Rocket From the Crypt, The Night Marchers owe just as much (if not more) to 50s rockabilly attitude & 60s “Nuggets” sounds as they do to more modern punk pursuers, and this record really actually does sound a lot like RFTC just without the horns. In fact, Reis is even here going by his RFTC handle, Speedo. But where another modern band with a foot firmly planted in the past, the Bronx, are dirty and disheveled, all torn jeans and old punk t-shirts (and maybe still a little drunk from the night before), the Marchers are a James Bond (or an early-Elvis)-like suave: slicked back, sensuous, and never without a drink in hand, though never really drunk. Reis & Co. are also not quite as Euro-perfect as a band like the Hives, and that’s not meant in the slightest as a jab. One of the best tracks on the album, in fact, “Branded,” is pure American West, a gypsy-cowbilly shuffle with a little bit of menace – imagine Yul Brenner’s character in Westworld singing a song of love and devotion. And “Open Your Legs” is a double-Elvis-entendre, with Sullivan Show hip-shaking rhythm amped to skate punk speeds. And “You’ve Got the Nerve,” is Rolling Stones cock-of-the-walk blues rock, but where Jagger sang about having a woman under his thumb, Speedo sings “You’ve got nerve/ Don’t cut me loose/ You’ve got nerve/ And I want the abuse.” Now if only Martin Scorcese would obsess over The Night Marchers…
=james