Originally published in Redefine Magazine.
Direct link to article
The Music Box
Hollywood, CA
October 14, 2010
When a band tours to support an album as enchanting and staggering as The Morning Bender's "Big Echo," it is likely to be a challenge. In this case, the four-piece band could have either constructed a big roar of a live show or kept the beauty simple, like a brisk California breeze. The band chose the latter, and while there were a few songs that could have benefited from a bigger bang, the show at The Music Box in the heart of Hollywood was still delightful. While three out of the four band members are originally from Southern California, the Los Angeles weather somehow knew that the guys started playing music in Berkeley and welcomed them with familiar cloudy weather. The grey skies set a nice, gentle tone for the day and show.
Opening for The Morning Benders was New York's Cults, with its bright melodies and dreamy cadences. Cult's core was vocalist Madeline Follin and guitarist Brian Oblivion, and for the live show, they tripled their army to six, to include keys, drums, bass, and a second guitar. While Cult's song, "Go Outside," has been heating up the blog world all year, the live show fell a little short. The chemistry between the band members was not strong and though Follin danced like she was enjoying the performance, she had an uneasy look on her face. Oblivion provided back-up vocals on the songs, but when he took the lead, his voice sounded unpolished. Between the lovable glockenspiel on "Go Outside" and the spookier "The Curse," Cults showed a lot of potential with its range in sounds. The group just has to work on adding some spark to the live show.
Following Cults was another group from New York called Twin Sister. The band shared some of the awkward tension that Cults had, but it worked better for Twin Sister and its music. The five-piece was lead by vocalist Andrea Estella who was dressed in '80 garb--big hair, milky skin and all. Her vocals were airy and reminiscent of Bjork and the odd tone of CocoRosie. She gripped the mic and kept it close to her as if there was a reason to protect it from others. Her gaze made her seem shy, but also like she was hiding a wicked plan. Songs like "The Other Side Of Your Face" and "Milk And Honey" had a strong '80s vibes similar to those of The Cure and the Sixteen Candles soundtrack. The set ended with a fun, upbeat cover of La Bioda's "I Wanna Be Your Lover."
The anticipation for The Morning Benders was high by the time the band hit the stage at around 11 p.m. The band members must have sensed the enthusiasm in the air and teased the crowd by playing the beginning notes of "Excuses," the charming album opener off Big Echo. Just as the hearts of audience members were filled with joy at the sound of those first notes and before anyone knew it, the band smoothly started playing "Promises." The band was foreshadowing, but it was not quite time for "Excuses."
While The Morning Benders stuck to the basics and did not exaggerate its sound with additional instrumentation, there were a few small details that added a nice touch to the show. On "Hand Me Downs," drummer Julian Harmon multi-tasked between his drum kit and a drum pad, adding a well-rounded, resonating beat. Vocalist Christopher Chu kept his voice warm and not too fervent, but when the other three guys joined him on harmonies, the songs sounded tremendous. The long instrumental sections in "Mason Jar" and "Stitches" sounded nice, but were possibly too hypnotic for the especially energized crowd.
The rawness of older tracks like "Damnit Anna," "Boarded Doors" and "Waiting For A War" were more in tune with people's energy level. Before going into "Waiting for a War," Chu encouraged the audience to bounce around, and people happily complied.
One song from "Big Echo" that should have taken some energy from the former was "All Day Day Light." On the album, the song is a divine high point with fiery zeal. Had the band members magnified the emotions of the song, it would had been an epic sight, but instead they chose to slow it down, which was disappointing. Predictably the last song of the set, "Excuses" made up for the night's bumps, as time seemed to stop for its infamous "da-dums." Chu ditched the guitar for shakers and led the crowd as everyone sang along.
As an added treat, The Morning Benders performed a lovely cover of Fleetwood Mac's "Dreams" for the encore. With ease in their musicianship and harmonies, the guys of The Morning Benders proved their deep understanding and knack for California's cordial, luminous pop sound. While there were a few lulls throughout the night, The Morning Benders bode well without any Hollywood artificial flavoring.
Showing posts with label show review. Show all posts
Showing posts with label show review. Show all posts
Wednesday, October 20, 2010
Thursday, October 8, 2009
Show Review: Starfucker, Deelay Ceelay, Strength
Originally published in Redefine Magazine.
Direct link to article
Bottom of the Hill
San Francisco, CA
October 7, 2009
Whoever decided to send Starfucker on tour with supporting bands Deelay Ceelay and Strength must have had a secret desire to increase the population of Portland, Oregon. After experiencing a night of fun and high-energy music from the three Portland bands, even music fans that already live in a city like San Francisco, which has its own rich and legendary music scenes, could have easily been convinced to pack up their things and move to the city in the Pacific Northwest.
With funky beats and alluring vocals, Strength turned the venue into a disco. The music encouraged audience members to get their blood flowing and dive into a night full of dancing. The three-piece had a vintage rock aesthetic similar to MGMT, but it was much more vibrant. The night had just started, but the band created an atmosphere fitting for a wicked and sultry after-party. Even though the hustle would have been an appropriate dance to accompany each song, the music was in no way tacky. Strength utilized a shimmering synthesizer and drum machine with full force and made "Metal" and "Wilderness" delightfully hip dance tracks.
While Strength got the energy circulating in the room, Deelay Ceelay heightened the audience's senses even further. A fog machine made the venue hazy and the lights were lowered as the two members of Deelay Ceelay sat at their drum kits. A kaleidoscope of images, lines, and colors moved along to the music on a white backdrop on stage. Without vocals, the duo told a beautiful story that was more than just the fast, loud drums on stage. The darting images on the backdrop and the thoughtfully timed drumming gave a dramatic feel, as if the Earth's time as an existing planet was running out. However, looping piano lines added a peaceful tone, and songs such as "Tea Drinker" and "The Deelay Ceelay Natural Anthem" were calming and stimulating at the same time, making it hard for one to decide whether to dance or just stare at the pretty images. Either way, the absolute consciousness was revived as Deelay Ceelay closed out with a drum performance over T.I.'s hit "Whatever You Like."
Despite the fact that Starfucker are in the process of changing their name to PYRAMIDDD, the band showed no signs of an identity crisis. Three of the four male members did step on the stage wearing dresses and pearls, but it was all in good fun. Neither the band nor the crowd needed time to warm up. Without hesitation, Starfucker jumped right into the dreamy and zesty "Boy Toy," and the audience members happily danced around. The vocals were a bit fuzzy, but also full of joy, which allowed the song to move along swiftly.
"Rawnald Gregory Erickson the Second" best showcased the band's dynamics and set-up. The instrumentation consisted of Josh Hodges on keyboard, guitar, and vocals, Ryan Biornstad on lead vocals, guitar, turntables, and laptop, Shawn Glassford on bass and keyboard, and Keil Corcoran on drums and vocals. Similar to "Boy Toy," the song was lo-fi, but the assortment of instruments and electronic elements made it danceable. Also, scattered drums, which Hodges and Glassford played, increased the excitement and left a more lasting impression than the song in its recorded form.
The majority of the set was made up of songs from Starfucker's latest release, Jupiter, including the cover of Cyndi Lauper's "Girls Just Want To Have Fun." Also off that album was "Dance Face 2000," a mostly all-instrumental track with a thumping beat. During the more jolting tracks, Biornstad fervidly bounced up and down. At other times, he stood still playing his guitar and singing with a blank stare. His subdued state looked a little creepy, but made sense with some of the songs' contours.
Starfucker ended with a two-song encore, but even after the band members left the stage, the venue was buzzing with energy. Collectively, all three bands proved that the people of Portland know how to throw a spectacular dance party.
Direct link to article
Bottom of the Hill
San Francisco, CA
October 7, 2009
Whoever decided to send Starfucker on tour with supporting bands Deelay Ceelay and Strength must have had a secret desire to increase the population of Portland, Oregon. After experiencing a night of fun and high-energy music from the three Portland bands, even music fans that already live in a city like San Francisco, which has its own rich and legendary music scenes, could have easily been convinced to pack up their things and move to the city in the Pacific Northwest.
With funky beats and alluring vocals, Strength turned the venue into a disco. The music encouraged audience members to get their blood flowing and dive into a night full of dancing. The three-piece had a vintage rock aesthetic similar to MGMT, but it was much more vibrant. The night had just started, but the band created an atmosphere fitting for a wicked and sultry after-party. Even though the hustle would have been an appropriate dance to accompany each song, the music was in no way tacky. Strength utilized a shimmering synthesizer and drum machine with full force and made "Metal" and "Wilderness" delightfully hip dance tracks.
While Strength got the energy circulating in the room, Deelay Ceelay heightened the audience's senses even further. A fog machine made the venue hazy and the lights were lowered as the two members of Deelay Ceelay sat at their drum kits. A kaleidoscope of images, lines, and colors moved along to the music on a white backdrop on stage. Without vocals, the duo told a beautiful story that was more than just the fast, loud drums on stage. The darting images on the backdrop and the thoughtfully timed drumming gave a dramatic feel, as if the Earth's time as an existing planet was running out. However, looping piano lines added a peaceful tone, and songs such as "Tea Drinker" and "The Deelay Ceelay Natural Anthem" were calming and stimulating at the same time, making it hard for one to decide whether to dance or just stare at the pretty images. Either way, the absolute consciousness was revived as Deelay Ceelay closed out with a drum performance over T.I.'s hit "Whatever You Like."
Despite the fact that Starfucker are in the process of changing their name to PYRAMIDDD, the band showed no signs of an identity crisis. Three of the four male members did step on the stage wearing dresses and pearls, but it was all in good fun. Neither the band nor the crowd needed time to warm up. Without hesitation, Starfucker jumped right into the dreamy and zesty "Boy Toy," and the audience members happily danced around. The vocals were a bit fuzzy, but also full of joy, which allowed the song to move along swiftly.
"Rawnald Gregory Erickson the Second" best showcased the band's dynamics and set-up. The instrumentation consisted of Josh Hodges on keyboard, guitar, and vocals, Ryan Biornstad on lead vocals, guitar, turntables, and laptop, Shawn Glassford on bass and keyboard, and Keil Corcoran on drums and vocals. Similar to "Boy Toy," the song was lo-fi, but the assortment of instruments and electronic elements made it danceable. Also, scattered drums, which Hodges and Glassford played, increased the excitement and left a more lasting impression than the song in its recorded form.
The majority of the set was made up of songs from Starfucker's latest release, Jupiter, including the cover of Cyndi Lauper's "Girls Just Want To Have Fun." Also off that album was "Dance Face 2000," a mostly all-instrumental track with a thumping beat. During the more jolting tracks, Biornstad fervidly bounced up and down. At other times, he stood still playing his guitar and singing with a blank stare. His subdued state looked a little creepy, but made sense with some of the songs' contours.
Starfucker ended with a two-song encore, but even after the band members left the stage, the venue was buzzing with energy. Collectively, all three bands proved that the people of Portland know how to throw a spectacular dance party.
Thursday, September 17, 2009
Show Review: Arctic Monkeys, The Like
Originally published in Redefine Magazine.
Direct link to article
The Fox Theater
Oakland, CA
September 16, 2009
With songs like "Still Take You Home," which break the ice by stating, "Well it's ever so funny/ 'Cause I don't think you're special/ I don't think you're cool/ You're just probably alright/ But under these lights you look beautiful," one would get the impression that England's Arctic Monkeys are either fun, witty guys or complete jerks. Those familiar with the band's repertoire know that the former is true, and the countless number of wily remarks they make plays a big part in the equation that make their albums memorable. Likewise, performing as a five-piece, the Arctic Monkeys neither showed cockiness nor obnoxious behavior. There was some of the English lad-aloofness, but mostly, the band members were gracious, well-rehearsed, and simply confident.
Before the Arctic Monkeys presented the audience with a collection of songs off their latest album, Humbug, and fan favorites from their two other releases, Los Angeles' The Like launched into the night with a 30-minute set of sweet harmonies and sweltering swagger. The all-female band, dressed in '70s mod dresses, was an impressive balance of The Cardigans' pop sound and the edginess of Emily's Sassy Lime. However, "He's Not a Boy" and "Narcissus in a Red Dress" recalled the sounds of earlier times. The former encouraged the audience to clap along to the dreamy aesthetics of a '60s beach party, while the latter created an aura of mystery inspired by spy movie narratives.
Following The Like's set of delightful, danceable songs, the members of the Arctic Monkeys subtly walked on stage to a modest song intro and went straight into Humbug's "Dance Little Liar." It was a deceiving start, and while the song title suggests dancing, it demonstrated the more reflective moods on their new album. Much like England's gloomy weather, as well as the typical weather in the San Francisco Bay Area, the band appeared melancholy. About halfway through the song, the energy picked up, and without pause, the band followed with the more known and engaging "Brianstorm." Strobe lights also helped accelerate the pace, and the audience in the crowded theater enthusiastically started to move.
Before taking a break to address their fans, the band played two more songs off the new album -- "Crying Lightning" and "Potion Approaching." With snappy opening chords, the latter played with the emotions of those who were expecting to hear something from the band's first album, Whatever People Say I Am, That's What I'm Not. However, as soon as the pounding drums started sounding like a death march, the somber sound made it evident that it was not yet time for the real dancing to commence.
For the first time of the night, lead singer and guitarist Alex Turner thanked Oakland and lightened the mood with his accent. "I've never been here in me life," he said playfully.
Throughout the show a few fans waved a British flag and the moment that every fan was waiting for arrived with a segment that included "This House is a Circus," "Still Take You Home" and "I Bet You Look Good on the Dancefloor." Fans began crowdsurfing, and Turner provided some laughs by picking up a jacket from the pit and declaring that it was a gift for him to keep.
The biggest surprise was dropped with the performance of a Humbug B-side, "Sketchead." Turner said that it was the band's first time performing the song live, but it was not certain if that was in fact true. Nonetheless, the song was much like the post-punk, tongue-and-cheek tracks from Whatever People Say I Am, That's What I'm Not, which were performed previously. It was slightly dark in a vampire manner, but fun, fast, and catchy. The way Turner spitted out the word "sketchead" seemed as if it were a nice way of calling out somebody who he would normally describe using more profane words.
Another notable moment was the band's cover of the Nick Cave song, "Red Right Hand." In true Arctic Monkeys spirit, the interpretation was more intense and rushed than the original.
Whether a song was quick and fervent like "The View From the Afternoon" or calm and romantic, such as, "Only Ones Who Know," the band was always on point. The band members communicated well with each other, and it is obvious that they posses genuine passion and work ethic. On every song, they built up tension, leaving the audience hanging for a few moments, and then delivered with loud interludes before going back to a chorus.
The hour-and-a-half-set worked in the same suspense as each individual song. The band left the stage after "Do Me a Favour," as fans wondered if the encore would include the favorites "Fluorescent Adolescent" or "Fake Tales of San Francisco." Even though the show was in Oakland, "Fake Tales of San Francisco" would have still been appropriate, but it was not included in the set. Instead, the encore was composed of "Secret Door," "Fluorescent Adolescent" and "505." The crowd welcomed "Fluorescent Adolescent" with cheers and open arms. Always keeping fans on their toes, the Arctic Monkeys included a new section in the song, which seemed to stop time as Turner sang with a gentle croon. Leading into the nostalgic "505," the band delicately and humbly parted ways with an audience that would not have minded hours more of music.
Direct link to article
The Fox Theater
Oakland, CA
September 16, 2009
With songs like "Still Take You Home," which break the ice by stating, "Well it's ever so funny/ 'Cause I don't think you're special/ I don't think you're cool/ You're just probably alright/ But under these lights you look beautiful," one would get the impression that England's Arctic Monkeys are either fun, witty guys or complete jerks. Those familiar with the band's repertoire know that the former is true, and the countless number of wily remarks they make plays a big part in the equation that make their albums memorable. Likewise, performing as a five-piece, the Arctic Monkeys neither showed cockiness nor obnoxious behavior. There was some of the English lad-aloofness, but mostly, the band members were gracious, well-rehearsed, and simply confident.
Before the Arctic Monkeys presented the audience with a collection of songs off their latest album, Humbug, and fan favorites from their two other releases, Los Angeles' The Like launched into the night with a 30-minute set of sweet harmonies and sweltering swagger. The all-female band, dressed in '70s mod dresses, was an impressive balance of The Cardigans' pop sound and the edginess of Emily's Sassy Lime. However, "He's Not a Boy" and "Narcissus in a Red Dress" recalled the sounds of earlier times. The former encouraged the audience to clap along to the dreamy aesthetics of a '60s beach party, while the latter created an aura of mystery inspired by spy movie narratives.
Following The Like's set of delightful, danceable songs, the members of the Arctic Monkeys subtly walked on stage to a modest song intro and went straight into Humbug's "Dance Little Liar." It was a deceiving start, and while the song title suggests dancing, it demonstrated the more reflective moods on their new album. Much like England's gloomy weather, as well as the typical weather in the San Francisco Bay Area, the band appeared melancholy. About halfway through the song, the energy picked up, and without pause, the band followed with the more known and engaging "Brianstorm." Strobe lights also helped accelerate the pace, and the audience in the crowded theater enthusiastically started to move.
Before taking a break to address their fans, the band played two more songs off the new album -- "Crying Lightning" and "Potion Approaching." With snappy opening chords, the latter played with the emotions of those who were expecting to hear something from the band's first album, Whatever People Say I Am, That's What I'm Not. However, as soon as the pounding drums started sounding like a death march, the somber sound made it evident that it was not yet time for the real dancing to commence.
For the first time of the night, lead singer and guitarist Alex Turner thanked Oakland and lightened the mood with his accent. "I've never been here in me life," he said playfully.
Throughout the show a few fans waved a British flag and the moment that every fan was waiting for arrived with a segment that included "This House is a Circus," "Still Take You Home" and "I Bet You Look Good on the Dancefloor." Fans began crowdsurfing, and Turner provided some laughs by picking up a jacket from the pit and declaring that it was a gift for him to keep.
The biggest surprise was dropped with the performance of a Humbug B-side, "Sketchead." Turner said that it was the band's first time performing the song live, but it was not certain if that was in fact true. Nonetheless, the song was much like the post-punk, tongue-and-cheek tracks from Whatever People Say I Am, That's What I'm Not, which were performed previously. It was slightly dark in a vampire manner, but fun, fast, and catchy. The way Turner spitted out the word "sketchead" seemed as if it were a nice way of calling out somebody who he would normally describe using more profane words.
Another notable moment was the band's cover of the Nick Cave song, "Red Right Hand." In true Arctic Monkeys spirit, the interpretation was more intense and rushed than the original.
Whether a song was quick and fervent like "The View From the Afternoon" or calm and romantic, such as, "Only Ones Who Know," the band was always on point. The band members communicated well with each other, and it is obvious that they posses genuine passion and work ethic. On every song, they built up tension, leaving the audience hanging for a few moments, and then delivered with loud interludes before going back to a chorus.
The hour-and-a-half-set worked in the same suspense as each individual song. The band left the stage after "Do Me a Favour," as fans wondered if the encore would include the favorites "Fluorescent Adolescent" or "Fake Tales of San Francisco." Even though the show was in Oakland, "Fake Tales of San Francisco" would have still been appropriate, but it was not included in the set. Instead, the encore was composed of "Secret Door," "Fluorescent Adolescent" and "505." The crowd welcomed "Fluorescent Adolescent" with cheers and open arms. Always keeping fans on their toes, the Arctic Monkeys included a new section in the song, which seemed to stop time as Turner sang with a gentle croon. Leading into the nostalgic "505," the band delicately and humbly parted ways with an audience that would not have minded hours more of music.
Monday, April 7, 2008
Phantom Planet revives small crowd with wit, cover songs
Originally published as an online exclusive April 07, 2008 for The Orion.
Direct link to article
Los Angeles' Phantom Planet swept a small crowd off its feet with an intimate set and incomparable charm Sunday night at the Bell Memorial Union Auditorium.
The night got off to a slow start with Chico's People of the Oaks and Anaheim's Takota.
People of the Oaks, one of Chico's newest bands, played to a crowd of about 60, with half of the people sitting on the ground. The all-star band, with members of West By Swan, Birds of Fire and Casing the Promisedland, tried to entice the audience with fuzzy guitars and poignant vocals but had little luck.
"You Got Me" received the most interest with fast, tight drumming and guitar buildups. But vocalist Ryan Prado's attempt to combine a nostalgic feeling with a pinching, nasal effect, brought back memories of dismal pop punk bands popular earlier in the decade.
Band members vigorously moved around the stage, but they seemed as disinterested as the audience. In between songs, Prado talked with his back to the crowd.
Takota made its Chico debut with an array of sleek, piano driven and anthemic pop rock songs.
The six-piece dove into a mellow love song as soon as vocalist Grant Arnow mentioned Chico's reputation of parties and beautiful women. He pointed at a few women in the front row and serenaded them with silky vocals.
Arnow asked audience members to pump their fists in the air during the band's most rock-powered song. Loud guitars and pounding drums gave Arnow confidence as he boastfully sung the chorus and raised his hands in praise.
By the time Takota finished its set, the crowd doubled and anticipation grew for the indie rock sounds of Phantom Planet.
The members of Phantom Planet left the pretentious attitudes of Los Angeles musicians at home and modestly walked on stage with matching jeans and black sweatshirts.
The band quickly went into a track from its forthcoming album "Raise the Dead" and lifted the spirits of stiff audience members. Band members' peppy smiles were contagious.
Phantom Planet followed with two tracks from its earlier records and the animated motions of vocalist and guitarist Alex Greenwald inspired audience members to dance along. During "1st Things 1st," Greenwald turned from side to side, as if he was having an engaging conversation with a group of people.
In between songs he appealed to the audience with humorous tour stories and carefree attitude.
After the fourth song, Greenwald announced that the band was going to take requests, claiming members no longer write set lists.
"Request any song that has been written by this band," he said, a statement that would later not be observed.
Long-time fans asked for songs from early Phantom Planet albums, but instead the band fulfilled a request for the newer song, "Do the Panic."
The band was out to please everyone and continued its set with two older songs.
After "Last Glance," guitarist Darren Robinson took time to replace a broken string and Greenwald took advantage of the time to make sure the audience was having a good time. He asked people to show their excitement by doing the wave.
One audience member was feeling the music so much that he shouted out "Smells Like Teen Spirit." Phantom Planet lightheartedly took the statement as a request and played the grungy Nirvana track.
The spirit of cover songs caught on and another audience member requested "Walk This Way" by Aerosmith and the band had no problem playing it. The songs were big audience pleasers and brought laughs between the band and crowd.
"We're not a joke band," Greenwald said.
The night was far from ending as the Phantom Planet played a track from its new album and the band's biggest hit and "The O.C." theme song, "California."
The band was about to end with the mellow track "Anthem," but at the last minute band members had a request of their own.
Phantom Planet played one more cover and ended with Radiohead's "Paranoid Andriod." Greenwald closely matched Thom Yorke's somber vocals and the audience looked mesmerized.
Freshman Megan Tansey, who has been a fan of the band for six years, enjoyed requesting songs and asked for "Big Brat," which the band did play, she said. She wished more people had seen the band's spontaneous set.
Phantom Planet made the best of the small crowd and showed the good spirits and professionalism of a rehearsed, veteran band.
Direct link to article
Los Angeles' Phantom Planet swept a small crowd off its feet with an intimate set and incomparable charm Sunday night at the Bell Memorial Union Auditorium.
The night got off to a slow start with Chico's People of the Oaks and Anaheim's Takota.
People of the Oaks, one of Chico's newest bands, played to a crowd of about 60, with half of the people sitting on the ground. The all-star band, with members of West By Swan, Birds of Fire and Casing the Promisedland, tried to entice the audience with fuzzy guitars and poignant vocals but had little luck.
"You Got Me" received the most interest with fast, tight drumming and guitar buildups. But vocalist Ryan Prado's attempt to combine a nostalgic feeling with a pinching, nasal effect, brought back memories of dismal pop punk bands popular earlier in the decade.
Band members vigorously moved around the stage, but they seemed as disinterested as the audience. In between songs, Prado talked with his back to the crowd.
Takota made its Chico debut with an array of sleek, piano driven and anthemic pop rock songs.
The six-piece dove into a mellow love song as soon as vocalist Grant Arnow mentioned Chico's reputation of parties and beautiful women. He pointed at a few women in the front row and serenaded them with silky vocals.
Arnow asked audience members to pump their fists in the air during the band's most rock-powered song. Loud guitars and pounding drums gave Arnow confidence as he boastfully sung the chorus and raised his hands in praise.
By the time Takota finished its set, the crowd doubled and anticipation grew for the indie rock sounds of Phantom Planet.
The members of Phantom Planet left the pretentious attitudes of Los Angeles musicians at home and modestly walked on stage with matching jeans and black sweatshirts.
The band quickly went into a track from its forthcoming album "Raise the Dead" and lifted the spirits of stiff audience members. Band members' peppy smiles were contagious.
Phantom Planet followed with two tracks from its earlier records and the animated motions of vocalist and guitarist Alex Greenwald inspired audience members to dance along. During "1st Things 1st," Greenwald turned from side to side, as if he was having an engaging conversation with a group of people.
In between songs he appealed to the audience with humorous tour stories and carefree attitude.
After the fourth song, Greenwald announced that the band was going to take requests, claiming members no longer write set lists.
"Request any song that has been written by this band," he said, a statement that would later not be observed.
Long-time fans asked for songs from early Phantom Planet albums, but instead the band fulfilled a request for the newer song, "Do the Panic."
The band was out to please everyone and continued its set with two older songs.
After "Last Glance," guitarist Darren Robinson took time to replace a broken string and Greenwald took advantage of the time to make sure the audience was having a good time. He asked people to show their excitement by doing the wave.
One audience member was feeling the music so much that he shouted out "Smells Like Teen Spirit." Phantom Planet lightheartedly took the statement as a request and played the grungy Nirvana track.
The spirit of cover songs caught on and another audience member requested "Walk This Way" by Aerosmith and the band had no problem playing it. The songs were big audience pleasers and brought laughs between the band and crowd.
"We're not a joke band," Greenwald said.
The night was far from ending as the Phantom Planet played a track from its new album and the band's biggest hit and "The O.C." theme song, "California."
The band was about to end with the mellow track "Anthem," but at the last minute band members had a request of their own.
Phantom Planet played one more cover and ended with Radiohead's "Paranoid Andriod." Greenwald closely matched Thom Yorke's somber vocals and the audience looked mesmerized.
Freshman Megan Tansey, who has been a fan of the band for six years, enjoyed requesting songs and asked for "Big Brat," which the band did play, she said. She wished more people had seen the band's spontaneous set.
Phantom Planet made the best of the small crowd and showed the good spirits and professionalism of a rehearsed, veteran band.
Saturday, February 23, 2008
Judgement Day holds world's fate by string
Originally published as online exclusive Feb. 23, 2008 for The Orion.
Direct link to article
Some may fear the Apocalypse but Oakland's Judgement Day, Chico's Red Giant and Blood of Cain attracted over 100 brave souls for a night of epic music Friday at Monstros Pizza.
The performance, hosted by the Chico Area Pyrate Punx, showed Chico music fans like their metal music in a variety of flavors.
Blood of Cain served its brutal, winding metal sound first. The room was packed by the end of the first song.
A large group of high school students occupied the space in front of the band and created a circle pit. The rest of the crowd stood on the outskirts of the room hoping they would not get bumped.
The band played a new song that will be on an upcoming album, said vocalist Frankie Swa.
The song started with strong guitars that sounded like a roll of thunder. Swa's roaring vocals invited audience members to move around. Guitarist Kirk Williams added some high-pitched screams and in return audience members gave shouts of approval.
The remainder of the night would not see any vocalists, but the music did not become any quieter.
Williams strapped on his guitar again and played with his other band Red Giant.
The 4-piece band would not necessarily be considered metal, but played loud and fast music. The first song began at a steady pace but quickly changed tempo.
Audience members were dazed by the dramatic, atmospheric music. They followed along with the band's lingering songs, and just as fans were getting into the song, the band abruptly changed themes.
The second song began with a drumbeat that sounded like crashing waterfalls. Guitars and bass kicked in and loudly built up to an eerie sounding song.
Freshman Sontian M-Stinson was expecting Red Giant to play hard metal music, but he still enjoyed its set, he said.
"I liked the music," M-Stinson said. "It was melodic."
However, M-Stinson attended the show to hear Judgement Day, he said. He invited Michelle Dodge and junior Jon Patton to share the live music experience.
Dodge knew nothing about Judgement Day, but was impressed by M-Stinson's description of the band's music, she said.
The 30-minute set change between Red Giant and Judgement Day dragged out the anticipation among audience members. The waiting became tiring as Linkin Park played over the sound system, an unlikely soundtrack for a show of independent artists.
Judgement Day was worth the wait as the band's energy emerged with the stroke of its first musical note.
Hearing the stunning sounds of a violin, cello and drums made everyone's ears perk up.
The band played mostly songs from its new acoustic EP and upcoming full-length album, said violinist Anton Patzner.
"Mark of Vishnu" began with a loud drumbeat that resembled the sound of a marching squad. The song smoothed out with the slick sounds of the violin and cello. A dramatic feeling was in the air, but the song ended with a light, nostalgic theme with just the violin and cello playing.
Band members added to the powerful effects by closely examining their instruments while they hit each note as if the future of the world depended on precisely executing each song.
The band attempted to play an acoustic song with just the violin and cello but was interrupted by technical difficulties.
The troubles continued and an unexpected 8-minute intermission took place.
As soon as the band was back on track, Patzner announced that Judgement Day would be playing in April at Lost on Main. To his surprise, Patzner received disapproving sighs from audience members, mostly made up of teenagers.
The band ended with a loud, crashing song, but the audience asked for one more song.
Judgement Day fulfilled the request by playing a song from the band's first full-length album, "Dark Opus." Patzner dedicated the song to the underage audience members who will not be able to attend the band's 21 and over show in April.
The audience was satisfied with the last song, and the experience was even life changing for some.
This was the first time junior Tim Kerber had seen Judgement Day and he thought the band's performance was mesmerizing, he said.
"I'm a better person by being here," he said.
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Some may fear the Apocalypse but Oakland's Judgement Day, Chico's Red Giant and Blood of Cain attracted over 100 brave souls for a night of epic music Friday at Monstros Pizza.
The performance, hosted by the Chico Area Pyrate Punx, showed Chico music fans like their metal music in a variety of flavors.
Blood of Cain served its brutal, winding metal sound first. The room was packed by the end of the first song.
A large group of high school students occupied the space in front of the band and created a circle pit. The rest of the crowd stood on the outskirts of the room hoping they would not get bumped.
The band played a new song that will be on an upcoming album, said vocalist Frankie Swa.
The song started with strong guitars that sounded like a roll of thunder. Swa's roaring vocals invited audience members to move around. Guitarist Kirk Williams added some high-pitched screams and in return audience members gave shouts of approval.
The remainder of the night would not see any vocalists, but the music did not become any quieter.
Williams strapped on his guitar again and played with his other band Red Giant.
The 4-piece band would not necessarily be considered metal, but played loud and fast music. The first song began at a steady pace but quickly changed tempo.
Audience members were dazed by the dramatic, atmospheric music. They followed along with the band's lingering songs, and just as fans were getting into the song, the band abruptly changed themes.
The second song began with a drumbeat that sounded like crashing waterfalls. Guitars and bass kicked in and loudly built up to an eerie sounding song.
Freshman Sontian M-Stinson was expecting Red Giant to play hard metal music, but he still enjoyed its set, he said.
"I liked the music," M-Stinson said. "It was melodic."
However, M-Stinson attended the show to hear Judgement Day, he said. He invited Michelle Dodge and junior Jon Patton to share the live music experience.
Dodge knew nothing about Judgement Day, but was impressed by M-Stinson's description of the band's music, she said.
The 30-minute set change between Red Giant and Judgement Day dragged out the anticipation among audience members. The waiting became tiring as Linkin Park played over the sound system, an unlikely soundtrack for a show of independent artists.
Judgement Day was worth the wait as the band's energy emerged with the stroke of its first musical note.
Hearing the stunning sounds of a violin, cello and drums made everyone's ears perk up.
The band played mostly songs from its new acoustic EP and upcoming full-length album, said violinist Anton Patzner.
"Mark of Vishnu" began with a loud drumbeat that resembled the sound of a marching squad. The song smoothed out with the slick sounds of the violin and cello. A dramatic feeling was in the air, but the song ended with a light, nostalgic theme with just the violin and cello playing.
Band members added to the powerful effects by closely examining their instruments while they hit each note as if the future of the world depended on precisely executing each song.
The band attempted to play an acoustic song with just the violin and cello but was interrupted by technical difficulties.
The troubles continued and an unexpected 8-minute intermission took place.
As soon as the band was back on track, Patzner announced that Judgement Day would be playing in April at Lost on Main. To his surprise, Patzner received disapproving sighs from audience members, mostly made up of teenagers.
The band ended with a loud, crashing song, but the audience asked for one more song.
Judgement Day fulfilled the request by playing a song from the band's first full-length album, "Dark Opus." Patzner dedicated the song to the underage audience members who will not be able to attend the band's 21 and over show in April.
The audience was satisfied with the last song, and the experience was even life changing for some.
This was the first time junior Tim Kerber had seen Judgement Day and he thought the band's performance was mesmerizing, he said.
"I'm a better person by being here," he said.
Thursday, February 22, 2007
Battle of the titans: Elvis vs Elvis at the 1078
Originally published Feb. 22, 2007 in The Buzz
Music lovers crowded 1078 Gallery in downtown Chico Friday in hopes of reuniting their lost love of the Elvises, as 17 Chico bands covered songs by Elvis Presley and Elvis Costello.
The Zombats kicked off the night with Presley's "Trouble." With lyrics like, "If you're looking for trouble, you came to the right place," it was the perfect way to start the gruesome battle. The Zombats' moody sound seemed to in fact, bring Presley back from the dead.
Following The Zombats' one-song argument in defense of Presley, a red record player was turned on to spin both Presley and Costello records.
The faint volume and hiss of the record player gave an eerie feeling of lost love. It was as if the room transcended everyone decades into the past.
Up next was Rev. Junkyard Moondog with his rebuttal in defense of Costello. Before playing "Pump It Up," Moondog proclaimed he was going to prove that while "real rock comes from the heart, real heart comes from the rock."
He took the rocks suspended form his neck, tied with strings, and literally rocked out, inspiring the first crowd sing-along of the night.
Chico State University student Martin Svec cited Moondog as his favorite performance of the night.
Although Svec attended the show in support of Costello, the Gorgeous Armada's Presley performance also ranked high in his book, he said.
The Gorgeous Armada took the stage and welcomed everyone to "the memorial," calling its performance an interpretive dance.
The band gathered around one microphone and hummed "Fools Rush In (Where Angels Fear to Tread)."
Band member Handsome Gorgeous, dressed in boxers and a bathrobe, placed a chair, labeled "toilet," in front of the stage. He took a drink out of a bottle in hand and choked down some pills. As legend says, he proceeded to die on the toilet.
The audience cheered in disbelief.
every move of the dance was like watching a suspense movie. You knew what was going to happen next, but you did not believe it would actually happen.
The Gorgeous Armada proved that a lot can be said without even saying a word.
On the other hand, words can get a point across as well. The Shankers made it clear whose side they were on.
"I think Mr. Costello sucks," said lead singer Johnny Shanker.
The Shankers' fast-paced renditions of Presley's "That's All Right" and "Heartbreak Hotel" got the audience on its feet and asking for more.
Following with the same opening song, Gruk gave Presley's' "That's All Right" and "Jailhouse Rock" a faster-paced punk spin.
Lead singer Rachel Loveless began each song with melodic vocals, but quickly changed the pace with aggressive screaming, switching back and forth.
While Gruk made each Presley song its own, it was not hard to choose between Presley and Costello, said drummer Sean Cummins.
"Presley is slight more punk rock," he said.
To prepare for the performance, the band listened to original songs repeatedly and searched for guitar tabs on the Internet, Cummins said. While they wanted to play the songs as close to the original, the had fun practicing them at different speeds.
Gruk's aggressive performance made a solid case for Presley, but by the end of the night Costello won 9 to 8. However, that is based on the number of bands who chose a side.
No winner was officially announced.
The only clear winners where 1078 Gallery and the Suburban American Tract Home compilation, which raised $600 from the door.
The night proved that Chico has respect for rock's forefathers and talent of eclectic styles of music. Each band brought its own style to the table, but it would have been nice to see no repeated songs.
While Jessica O'Donnell attended the show to support Costello, she would have liked to seen a band perform Presley's "Blue Suede Shoes," she said.
O'Donnell and others will just have to wait for the next time Presley and Costello cross paths. Judging by the night's close race, a rematch might come sooner than later.
Music lovers crowded 1078 Gallery in downtown Chico Friday in hopes of reuniting their lost love of the Elvises, as 17 Chico bands covered songs by Elvis Presley and Elvis Costello.
The Zombats kicked off the night with Presley's "Trouble." With lyrics like, "If you're looking for trouble, you came to the right place," it was the perfect way to start the gruesome battle. The Zombats' moody sound seemed to in fact, bring Presley back from the dead.
Following The Zombats' one-song argument in defense of Presley, a red record player was turned on to spin both Presley and Costello records.
The faint volume and hiss of the record player gave an eerie feeling of lost love. It was as if the room transcended everyone decades into the past.
Up next was Rev. Junkyard Moondog with his rebuttal in defense of Costello. Before playing "Pump It Up," Moondog proclaimed he was going to prove that while "real rock comes from the heart, real heart comes from the rock."
He took the rocks suspended form his neck, tied with strings, and literally rocked out, inspiring the first crowd sing-along of the night.
Chico State University student Martin Svec cited Moondog as his favorite performance of the night.
Although Svec attended the show in support of Costello, the Gorgeous Armada's Presley performance also ranked high in his book, he said.
The Gorgeous Armada took the stage and welcomed everyone to "the memorial," calling its performance an interpretive dance.
The band gathered around one microphone and hummed "Fools Rush In (Where Angels Fear to Tread)."
Band member Handsome Gorgeous, dressed in boxers and a bathrobe, placed a chair, labeled "toilet," in front of the stage. He took a drink out of a bottle in hand and choked down some pills. As legend says, he proceeded to die on the toilet.
The audience cheered in disbelief.
every move of the dance was like watching a suspense movie. You knew what was going to happen next, but you did not believe it would actually happen.
The Gorgeous Armada proved that a lot can be said without even saying a word.
On the other hand, words can get a point across as well. The Shankers made it clear whose side they were on.
"I think Mr. Costello sucks," said lead singer Johnny Shanker.
The Shankers' fast-paced renditions of Presley's "That's All Right" and "Heartbreak Hotel" got the audience on its feet and asking for more.
Following with the same opening song, Gruk gave Presley's' "That's All Right" and "Jailhouse Rock" a faster-paced punk spin.
Lead singer Rachel Loveless began each song with melodic vocals, but quickly changed the pace with aggressive screaming, switching back and forth.
While Gruk made each Presley song its own, it was not hard to choose between Presley and Costello, said drummer Sean Cummins.
"Presley is slight more punk rock," he said.
To prepare for the performance, the band listened to original songs repeatedly and searched for guitar tabs on the Internet, Cummins said. While they wanted to play the songs as close to the original, the had fun practicing them at different speeds.
Gruk's aggressive performance made a solid case for Presley, but by the end of the night Costello won 9 to 8. However, that is based on the number of bands who chose a side.
No winner was officially announced.
The only clear winners where 1078 Gallery and the Suburban American Tract Home compilation, which raised $600 from the door.
The night proved that Chico has respect for rock's forefathers and talent of eclectic styles of music. Each band brought its own style to the table, but it would have been nice to see no repeated songs.
While Jessica O'Donnell attended the show to support Costello, she would have liked to seen a band perform Presley's "Blue Suede Shoes," she said.
O'Donnell and others will just have to wait for the next time Presley and Costello cross paths. Judging by the night's close race, a rematch might come sooner than later.
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