Like a well-meaning contestant on American Idol peaking too early, my weekend kicked off so strong there was no way Saturday or Sunday could live up to the standards set for it by Friday night. On this evening, I found myself in a part of LA that has no valet parking, a whole mess of non-English speaking residents, and one of the coolest venues I’ve ever been to in my life: R Bar.
Without a neon sign loudly proclaiming its presence, I almost missed this little club in Koreatown, but once I gave the doorman the password and gained entry, my eyes took in every nook and cranny of the former-brothel-turned-music-club. With gnarled wood aplenty and hidden booths around each corner, the venue had an old-timey speakeasy feel that made the night’s performances just that much more special.
All Day Sucker
Any band that can hook my interest based solely on their soundcheck must be doing something right, and such was the case with LA’s All Day Sucker. From the moment I heard the harmonized strains of Queen’s “Fat Bottomed Girls” during their mic check, I knew this was a band that I could get behind. (Pardon the pun. Or don’t. Whatevs.) Catchy, accessible, and fun, the band kicked off the night in style, and frontman Morty Coyle was almost as fun to watch as he was to hear.
Charly Coombes and the New Breed
After All Day Sucker left the stage, Charly Coombes and the New Breed ascended, and the rock kept on coming. While the group played their first show together a mere 6 months ago, their sound Friday night was tight and polished. The keyboard-driven songs they played off their debut EP, Panic, kept the crowd moving, and the addition of Foo Fighters violinist Jessy Greene to the mix was the icing on the cake.
The night ended with members from both bands taking to the stage to perform a series of covers that even got surprise attendee Kiefer Sutherland dancing. From the Beatles to the Monkees, this impromptu set was the perfect ending to a night of great music that just couldn’t be topped…no matter how hard the rest of my weekend tried.
For more info on All Day Sucker, check out:
www.myspace.com/alldaysuckermyspace
For more info on Charly Coombes and the New Breed, check out:
For more info on R Bar, check out:
Tampa, Florida natives ORDER OF ENNEAD showcased their unique style of extreme metal on 2008’s eponymous album, and they have finally returned to disport their latest effort, An Examination of Being. Originally formed as a side project of the now defunct COUNCIL OF THE FALLEN, ORDER OF ENNEAD draws influence from the black and death metal sub-genres, while incorporating an often-overlooked element of structure to their songwriting.
While Marianne Keith acknowledged during the CD release party for her sophomore album, Cathartic, that the people who help her “schlep” gear probably prefer her solo acoustic sets, seeing the So Cal singer-songwriter with a full band was well worth the effort required by the additional equipment. Easy for me to say, right? Well, had I been approached, I would have gladly contributed to the cause and carried an amp or two in exchange for the full band experience. Or at least a couple of mic stands (I’m a bit of a weakling). The point is, I’m sure I wasn’t the only person in the audience grateful to Keith’s roadies for their efforts Thursday night.
When I think of Italy, I usually think of vineyards, wineries, delicious pasta, beautiful countrysides, futbol tournaments, and beautiful indigenous people who are always happy and always smiling; at least, until they get iced by the Mafia. Okay, so I freely admit that my knowledge of Italy is very much influenced by television and movies. Regardless of that fact, Italy is one of the last countries I would expect to produce a band like N.A.M.B. Mixing elements of Electronica, Psychedelia, Industrial, and Alternative Rock, N.A.M.B. is an interesting experimental band, even if only on paper. So then, how is the final product? The short answer (for all you ADD kids out there) is AWESOME.
I’ve been excited for the release of the new Gorillaz album Plastic Beach for quite some time, so when I finally got my copy for review, I couldn’t wait to hear it, but after the first listen, I was a little frustrated. I didn’t know where the album was going or why Damon had decided to take the band’s sound in a bit of a different direction. This is partially because Demon Days is still in heavy rotation on my iTunes and I know it so well, but also because I have been awaiting this release for the last 3 years. I was expecting to just get the album immediately, and this was not the case. It took me a few listens to fully understand it and get where the album was going, but once I did, I was floored.
First I must say this is probably one of the most cohesive albums I have heard in years. There isn’t a single song on this album that doesn’t belong. The first track, “Orchestral Intro,” perfectly sets up the vibe of the album and then it quickly moves into “Welcome to the World of the Plastic Beach,” featuring the one and only Snoop. Once I had time to take in everything that was hidden underneath the lyrics, I realized that this song does exactly what the title says: welcomes listeners to Plastic Beach.
The collective counterparts that form SHRINEBUILDER can be described as the musical elite of their respective genres. Each of these four men is renowned in their own right; Scott Kelly of NEUROSIS, “Wino” Weinrich of THE OBSESSED, Al Cisneros of SLEEP, and Dale Crover of MELVINS.
To say that I was anticipating this show is an understatement. Years ago, when rumors started circulating of the new Wino project with Al Cisneros on board, I could barely contain my excitement. I grew up listening to these guys, but as Wino said in his SAINT VITUS years, I was “born too late” and most of the groups had disbanded before I was old enough to leave the house.
Photo by: Julie Patterson
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It’s a truly rare occasion for me to not know where to start in reviewing an album. I can usually ramble for hours about any new music I’ve been listening to as long as I can find a listening ear on a patient, nonviolent person. With Field Music’s (Measure) though, there is so much to be said, and I’m struggling with where to start and how much to cover since I feel saying too much would ruin the wonderful experience provided on this album.
I wasn’t sure what to expect when I picked up (Measure) on recommendation from Amazon, but I saw potential, and after a few listens I discovered that these guys are like those friends you have who are so musically trained and gifted that it’s disgusting. The kind who can pick up a blade of grass, hold it between their clasped hands, and play the entire works of Bach in perfect key. OK, maybe I’m exaggerating a tad, but the songs are catchy, dramatic, and intelligent.
Swedish metal trio, KONGH, are preparing for the official US release of their progressive doom-metal masterpiece, Shadows of the Shapeless. Presented via Seventh Rule Recordings, Shadows of the Shapeless originally saw a European issue date in early 2009 through Trust No One Recordings (Isis, Cult of Luna).
While many bands do heavy well, KONGH pull it off better than most. Incorporating styles that mimic everything from Neurosis’ Souls at Zero to Opeth’s Deliverance, Shadows of the Shapeless offers listeners an opportunity to experience the best elements of doom, sludge, progressive, and atmospheric metal, all within the disc’s 57-minute run.
