Over Defined

It's been a minute...

2008-06-25T15:26:00.000-07:00

I will likely update in the near future, however my updating has significantly slowed with my upgrade to staff reviewer at punknews.org since I don't see much point in putting my reviews here as well. For you now can check here for my punknews.org reviews:

http://www.punknews.org/review/writer/OverDefined

There will be more random pics soon. Moles, drawings of people, etc.

Pet Promise Rescue Run May 24th Columbus, OH

2008-05-11T15:50:00.000-07:00

Reena and I participating in the Pet Promise Rescue Run on May 24th in Columbus, OH. This 5k walk/run is designed to raise awareness and money for pets in need of homes. We will be doing the walk with our dog, Miles and have set up a page on the Pet Promise website to raise money. To view it, check out the details, or donate go to www.firstgiving.com/milesdavis .

This for a good cause that will have immediate benefits for animals in need.

War Pigs - No Hope, No Faith, No Point 7" Review

2008-05-06T06:08:00.000-07:00

Starting a new record label is 2008 is a risky endeavor. Back in the 90s if you wanted to start a punk label you had to get all of the bands you knew together and put out a bargain-priced compilation. Now with the music industry firmly entrenched in the digital age, CD compilations are thing of the past. For a start-up label this means skipping the introductory free ride on the backs of established bands and going right to putting out kick-ass releases. Leave ‘Em Records has gotten its introduction right with War Pigs No Hope, No Faith, No Point 7” as its inaugural release.

Sure to gain initial attention by nicking their moniker from one of Black Sabbath’s most enduring songs, War Pigs certainly draw some influence from their almighty namesake, but are by no means defined by it. In fact, even at only four songs, this is one of the most varied hardcore releases I’ve heard in long time. As most bands have one basic sound, this band seems to revel in switching gears and pulling influences from various eras of punk, hardcore, and even straight up rock and roll.

Take the first track, “Savages”. Opening with a big rock riff that would sound equally at home on a Motorhead or Suicide File record as a Motley Crue record, it soon gives way to a straight-up fast hardcore part, before an awesome half-time groove that could be called a breakdown if it didn’t have such cool guitar work and zero formulaic chug-chug aspects. It’s exceedingly rare to find a band that can eschew the clichés of its genre and do something original while remaining true to its roots, but War Pigs makes it look easy.

The second side opens with a bass line reminiscent of DYS “Wolfpack” before ripping into another fast rock and roll jam that ultimately sounds nothing like DYS. When you think you know where this band is headed they pull out something different that ends up better than expectations. More proof of this can be found in the last track, “Drag Me Down” where the rock and roll groove gets so focused that they manage to throw in some eighth note block chord piano over-top the romping guitar chord progression; unorthodox for sure, but it works. Who knew that piano could make something sound heavier?

A band with influences this varied and chops to boot should have something that will appeal to just about any fan of punk or hardcore. Fans of Fucked Up, Black Sabbath, The Bronx, or any current hardcore bands at all should give this 7” a shot.

War Pigs Myspace
Leave 'Em Records Myspace

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Leave Em is a Columbus-based label run by long-time guy Scotty. He's doing a great job so far with his label. Now he just needs to put out a Triceratops record.

Saves the Day - Bamboozle Roadshow Live Review

2008-05-06T05:50:00.000-07:00

The inaugural Bamboozle Roadshow rolled into Columbus, OH last Sunday (April 27, 2008) with a strangely diverse line-up that was mirrored by the diverse crowd it attracted. Scene girls rubbed shoulders with old hardcore dudes and everyone witnessed a wide range of music from electro-pop scene garbage to pop-punk singalongs. Oh yeah, and Saves the Day headlined while singer Chris Connelly got wasted on stage.

The first band I caught of the night was Metro Station. Playing a mix of modern emo-pop and basic dance music, these four haircuts wowed the little girls and bored everyone else with their vapid songs and vaguely sexual lyrics. After their set I heard rumors of Billy Ray Cyrus lineage, which turned out to be true. Yes, the “Achy Breaky” son and Hannah Montana bro fronts the lamest band you will ever hear. If you are on this site, it is probably in your interest to avoid this band.

Up next was a complete 180-degree turn, with Set Your Goals slamming out a no frills and high energy set. The band does not quite match the fun peaks of their records, but still turned out a competent and engaging set with a strong instrumental presence. They hit all the best tracks from 2006’s Mutiny and “Goonies Never Say Die” from the Reset EP, but none of the covers I have heard they do.

Set Your Goals is often noted for having two stand alone front men that both sing with their own take on the Lifetime and New Found Glory template, however their respective live presence could not have been any more different. Lower voiced Jordan Brown was all over the stage interpreting the lyrics with his hands and constantly calling for crowd interaction. Conversely, higher pitched vocalist Matt Wilson (who is a significantly smaller person than Brown, which I don’t intend as an insult to Brown or Wilson- rather the size difference only serves to enhance the visual discrepancy) was mostly stationary, standing center stage and singing his lines in a mostly uninspired manner. Any imperfections aside, they put on a solid set that had the crowd singing along and running a surprisingly long-winded circle pit for most of the set.

After Set Your Goals, the show returned to its emo-pop start with Armor For Sleep playing Rock Star for 40 minutes. While this band is generally respected for its conceptual and atmospheric take on what is essentially basic modern rock, I usually find them to be just ok (boring). With a recent move to major label waters, the band’s set featured new material complete with triggered drum beats (which is a shame because drummer Nash Breen is the clear standout of the band) and no longer interesting lyrics. At the end of the set, their bassist stood at the edge of the stage and held his bass in the air above his head for at least 30 seconds in a pose similar to what you might expect to see when an epic warrior defeats an entire army by himself. Apparently, Armor For Sleep defeated the hordes and redeemed their people, although all I noticed was that the guitar player was wearing his own band’s shirt.

Headlining the night was of course, scene veterans Saves the Day. Being a long time fan, I have seen the band numerous times both in Ohio and in Massachusetts during my time of residence in both states. This was unfortunately my least favorite STD set that I have witnessed as the band leaned heavily on material from In Reverie and last year’s Under the Boards.

After opening song “The End”, Chris Connelly announced that the band’s printer had run out of paper and they would be performing a set comprised entirely of songs requested by the fans alternating with requests from each band member. While this sounds like it would make for an awesome set, it didn’t. When it was time for fan requests, Connelly displayed a knack for only hearing what he wanted to hear. With all the classics in their catalog I have a hard time believing that fans were overwhelmingly requesting songs like “Wednesday the Third” and “Don’t Know Why”. Drummer Durijah Lang had the best requests with actual fan favorites like “Handsome Boy” and “Sell My Old Clothes, I’m Off to Heaven”.

Throughout the member changes that have plagued this band, each new line-up has shown an increased level of professional musicianship. Clearly, today’s Saves the Day (oddly enough featuring two former and current members of Glassjaw) is an experienced and skilled band capable of a wide variety of styles. The first third of their set displayed this as they solidly flowed through their songs with Connelly sounding near perfect on every vocal.

At the halfway point, even with a weak set list, the band was sounding great. Then the drinking started. Off-stage, apparently, Set Your Goals was sending out shots and beers to the band and soon the performance started to suffer. Connelly became that dorky friend that can’t handle his alcohol and seemed overly exited about directing the complex alternating fan/band song request plan. As more shots flowed onto the stage, the breaks between songs grew and the other members grew visibly annoyed with Connelly’s belligerent ramblings. At the 11pm set closing time, Connelly refused to leave the stage repeatedly asking, “isn’t this a college town?” As his band left the stage he managed to sneak in a final solo electric performance of “Jessie and My Whetstone” which managed to put a nice cap on the evening.

While many fans have written off the band over the last few albums, their consistent live show has held them in high esteem with those that have stayed with them. After all of the excellent Saves the Day sets I’ve witnessed in the past, this is the first time I have seen them be anything but professional and solid. Perhaps their set was a symptom of playing in Columbus, Ohio and being less concerned with quality than they would be in “more important” cities like Boston or New York. Ultimately, I hope that Sunday’s performance was a momentary slip and not an omen of the future.

----------------

This review is on Punknews.org as well.

Since Punknews (like any music related website that allows user comments) is infamous for overly negative comments I have decided not to respond to any comments on that site. However, I couldn't let this one pass:

"this review is terrible. of course i only disgree with the saves the day part, the only part i read. i dont disgree with your disagreement, just the writing and mixed reviews of a good/bad show. just because of an unorthodox way of deciding a set list doesnt make them bad. and i would be surprised if the many other times you saw chris how much he had had to drink. dont let the free shots sent to the stage fool you. the guy sings about booze afterall for chrissakes." -Threewords

I don't even know where to start with this. How about the fact that this guy didn't read the whole thing and admitted in his second sentence, but still has the confidence to say the review is "terrible". Next, he think that since I liked some aspects and not others that it was a mixed review and this is not acceptable? What?

Then he obviously didn't comprehend what he read as he claimed that I was upset about how the STD set was decided, but I actually said it seemed like a good idea until Chris Connelly cheated. Then he belittles me and says basically that Connelly has surely been drunk on stage before and that I was too naive to notice, especially since there are 2-3 drinking references in his six albums worth of songs. Also, if you don't capitalize, you can't criticize someone else's writing. Lastly, what is "chrissakes"?

I spent probably 90 minutes writing this review, he spent 30 seconds spewing out garbage. This is the internet.

Punknews.org Staff

2008-04-23T08:55:00.000-07:00

So Punknews.org has asked me to be a staff reviewer. I originally started this blog to write reviews and other things, and just submitted reviews to them to see what would happen, so this is a (welcome) change of plans. For those of you unfamiliar with this site, it is one of the two or three premier punk and hardcore news and review websites. I have been a faithful reader of the site since 2000 and am excited to be writing for it.

What this means is that my review output is going to escalate as I have promised them two a week. I'm not sure if I will still post them here, but most likely will. This also means that I may post less, or I may take this blogzine in a more personal direction with stories and thoughts rather than pure reviews. Time will tell.

Both the Let Down and The Carrier reviews are featured reviews at Punknews.org.

Let Down - We're In This Alone Review

2008-04-20T18:26:00.000-07:00

Imagine you’re watching a hypothetical Larry Clark (director of Kids, Bully, Wassup Rockers, etc) film that follows several misled youth through the wasteland of suburbia. In the vein of a typical Clark movie, you watch a string of offensive and mindless acts before the film hits its climax at an overcrowded hardcore-punk house show complete with deranged teens, fights, and a general feeling of out-of-control youth. As some horrific act takes place that will change the course of the main characters lives, there is a band playing in the background that matches the “scare the shit out of your parents” vibe of the movie. If this hypothetical movie were real, that band would be Let Down.

That’s not to say that Let Down is a scary band, like the way Marilyn Manson or Alice Cooper worried parents and media in the past, rather they are an unfiltered explosion of angst and rage. They display the kind of honest youthful anger that questions the world and refuses to conform (the kind that should be scarier to parents than blood and facepaint). Their goals, if even defined, have little to do with music, but everything to do with just letting go and exuding unadulterated rage.

While I respect Let Down as a concept, it’s not something I would choose to listen to on a daily basis. The music is adequately described by the vague phrase “hardcore punk”, owing as much to early pioneers like Minor Threat and SSD as any modern band and is most sonically reminiscent of Ceremony’s manic bursts.

Unlike many bands of this ilk, as musicians they are surprisingly competent. The drumming stands out and the band is tight, with decently well-written, and well-performed music. That said though, there is little variation, it is basically unrelenting, and for most people, front man Bob Wilson will be the make or break aspect of the band. His delivery is honest and raw but at its worst is reminiscent of an overly enthusiastic little dog at the dog park, yapping constantly regardless of the situation around him. While he is screaming his head off in untainted anger, his high-pitched voice is not the most ear-pleasing sound for 18 straight minutes.

Lyrically, you will most certainly enjoy Let Down’s message if you are of the straight-edge persuastion. With lyrics like “drinking is bullshit”, “that bottles getting smashed in your fucking face”, and “I sit around and count the days until you die in a drug filled haze”, (each line is from a different song) Wilson certainly isn’t beating around the bush.

To put it simply, Let Down is an uncompromisingly pissed off hardcore punk band. If this sounds good to you, then you will love this band. If this doesn’t sound good to you, you should still give them a listen because they stand out strongly against the trend hopping and rock star goals of many of their peers. While it may not be aesthetically pleasing, punk rock and hardcore need bands like this to continually remind those of us involved what attracted us to this slice of culture in the first place.

Let Down Myspace
Six Feet Under Records

The Carrier - One Year Later Review

2008-04-20T18:20:00.000-07:00

There is almost no one who could listen to The Carriers debut full-length, One Year Later and say that it’s bad. It contains solid musicianship, great production, and an overall confident feel. There is even a good grasp of personal voice shining through the clear American Nightmare and Modern Life is War influence, however it ultimately sounds like a band in training, just shy of reaching the dizzying heights they strive for.

Coming across as deeply personal, The Carrier, like many modern hardcore bands, attempts to document the dark times in life; questioning oneself and wrestling with demons. This is evoked not only in the lyrics, but also in the music with varying tempos and near constant use of octave guitar chords, often in harmony. It lends an epic and catastrophic feel to the record. However, when every second is intended to be emotional devastating on a grand level, it detracts from the overall effect, and the record, for the most part, is unable to shed the curse of just sounding like one long song, as good a song as it may be.

The Carrier’s biggest strength is their overall sound. At any given spot on the record it just sounds good and the band plays together extremely well. Vocalist Anthony Traniello has an enviable screaming voice, thick and full, but never sounding tough-guy or annoying. If the lyrics are to be trusted, it’s hard to believe that he was 19 at the time of the recording as he has the delivery of a seasoned veteran.

Undoubtedly, many people will love this record, but there are several less than perfect moments, from a near pointless instrumental intro track to some strange choices in the lyric phrasing. As much as I enjoy the first full song, “Wasted” I will forever be bugged by the opening lines stating, “I will not wait for you, and I’ll never wait for you to be the person you promised to be”. Repetition like this strikes me as awkward, and it is small flaws like this that separate the album from what I believe the band is capable of.

Besides the band itself, one aspect of the album worth noting is the superior production. Records on small labels aren’t supposed to sound this good and with this releases and others, Jay Maas and the Getaway Group Studio are raising the bar on what smaller bands’ records can sound like. Every instrument is thick and defined without ever sounding fake and glossy. It sounds just as good in my car and on tiny computer speakers. Also of note is Ken Stewart’s cover art, which perfectly matches the dark sound of the band.

One Year Later shows a young band full of promise. All the ingredients of a stunningly good band are there, but because they strive for so much with their music, it feels like they need a little bit more time in the kitchen to perfect their recipe and hone their execution. I look for this band to remedy their flaws on subsequent releases and become a driving force in the hardcore world.

The Carrier Myspace

McClane (The Band)

2008-04-03T09:58:00.000-07:00

McClane was a awesome band based around Melrose/Boston, MA from 2004-2007. They started out playing fast and dirty punk inspired hardcore before slowing down a little and adding melody. Clearly influenced by Kid Dynamite and early Saves the Day, they were probably the most under-rated band in the area. They wrote a few gems including "Flat Brims are the New Black" and "Seaworthy" and were starting to build a solid following before their untimely demise.

They released three demos in all and I have link for their final and best recording. Five songs of perfect hardcore inspired pop-punk without all the lameness and trend-aping often associated with this type of music. If you are at all into this stuff, download it and you will not be disappointed.

http://www.mediafire.com/?o3rqqynmj2h

Vocalist Andy Frongello was previously in Viva La Revolution and is currently fronting Five Across the Eyes. FATE has a song on the Kid Dynamite tribute record coming out on Copper Lung Records.

McClane Myspace
Five Across the Eyes Myspace

New Blogzine Updates

2008-04-03T09:31:00.000-07:00

I have made a few changes to this blogzine. First off, it's now called a "blogzine". I don't like the connotation of a blog and I feel like this is really my version of a fanzine, just online, like a blog, hence "blogzine". You get it.

Next, I have added labels to my posts. They are on the right and coincide with the style of post, like review, video, download, etc.

Last, I have obtained the URL www.overdefined.com and redirected it here. Also, my user name on punknews.org (the name my reviews are published under) has also been updated and changed to OverDefined. I'm all about internet continuity.

Study Music pt. 1: Arvo Part

2008-04-01T14:14:00.000-07:00

I was just doing some homework for my job teaching LSAT and ACT prep courses and I was having some trouble concentrating so I looked through my CDs to find something that would help. I made three selections, put them on random and was able to plow through my work.

While music can often hold my attention there are certain albums when played in the background can help with concentration, making for great "study music". Since I am starting law school in the fall, I will likely be on continuous lookout for new stuff like this. With that I am starting a new series of posts called, you guessed it, Study Music.

What makes for good study music?

1. It can't be distracting. That means little to no vocals, mostly low key, and not have many sudden soft to loud parts. That means 99% of what you and I normally listen to is out.

2. It has to be performed well and usually, take itself really seriously. It has to make you smarter while you listen to it, without being distracting. Pretentiousness is, for once, a good thing.

All entries will fit these basic guidelines, but of course, there are always exceptions.

My first study music post is on Arvo Part. Part is an Estonian classical composer who currently lives in Berlin. Wikipedia classifies him as "mystic" or "sacred" minimalism. His main stylistic marker is what he calls "tintinnabuli" - like the ringing of bells. He is inspired by early music and his music pulls a deep but calm emotion for the listener. If I listen to without doing anything else (like studying or reading) it's like I can feel the ocean inside of me, which is the basic effect I get from good classical music in general.

He is fairly popular today and his music is readily available in large record stores and on Amazon. His two most popular recordings are Tabula Rasa and Alina. I have both of these and they are great as study music.

Here is a video of "Fratres I" from Youtube. It took me a while to find a good video to post here, but this is good. It's a little more intense than most of what you find in his music.

Arvo Part Wikipedia
Arvo Part on Amazon

Blacklisted Review up at Punknews.org

2008-04-01T09:22:00.000-07:00

I should probably stop posting an update every time one of my reviews get posted on Punknews.org, but I still think it's cool. Check it out here, or scroll down.

This pic also rules. Photo by Kimpossible.

Pulling Teeth Live Set

2008-04-01T09:12:00.000-07:00

Deathwish, Inc. has recently started a live series of free downloads. That's right, entire free live sets of their bands. This is just another one of the reasons they're one of the best labels in independent music.

I usually don't care too much for live recordings, especially of hardcore bands, but the recent Pulling Teeth @ Sound and Fury set they've put up is ripping. I was slow to get into this band, but they are way good. They're trashy and nasty, but always tight. They also have some pretty radical/political lyrics, but don't come across as preachy. In addition they always have awesome artwork. I think this live set is worth downloading and their recent full-length Martyr Immortal is worth picking up. Here is a link for the live download.

"If you have an ounce of hate in your heart, ask yourself: 'What are you so afraid of?"

Pulling Teeth Myspace
Deathwish, Inc.

More Random Pics

2008-03-26T14:39:00.000-07:00

Last week, I caught two shows at Bernies both featuring friends on tour. I saw new Deathwish, Inc. band, The Carrier with Energy on Monday. The Carrier killed it. That band will be worth watching. Check them out at their myspace. The next day, my buddies in All Teeth rolled into town. They were in Columbus for two days and I got to hang out with them quite a bit. The played Bernie's on Wednesday and I actually missed them because I was working. I showed up late and saw these stickers on the wall. These were my two bands in 1999-2001.

I just got the reissue of Alkaline Trio's debut full-length, Goddamnit. I also bought the cd/dvd. The dvd has an awesome documentary about the band's early period with most of the song live from that period plus a full set from the last tour they did playing that album straight through. The remastering sounds nice. I was especially exited to get this as I had the original on vinyl, but it got stolen when we had a party once.

I finally got my Jane Doe print framed over a year after I got it.

While I as the Trap House last week hanging out with All Teeth there was a cat caught in a bedroom. The cat kept clawing at the door, so we tried to open it. For some reason, the door wouldn't open more than a couple of inches, but this cat wouldn't give up and kept sticking its paw out. It even managed to turn the light on which was creepy. Check him out.

Nov 5 Review Now on Punknews.org

2008-03-25T20:07:00.000-07:00

http://www.punknews.org/review/7152

Up now. Comment and tell me that my parallels are wrong or that you'd rather get a sandwich.

November 5, 1955 - Bears of the Sea

2008-03-25T10:51:00.000-07:00

Don’t let the name fool you. Although taking their moniker from a Back to the Future reference, November 5, 1955 is neither a joke nor reactionary in any way. Rather, this post-hardcore/experimental group serves as a muscular intellectual outlet for members of fellow MA-based bands Sluts and The Carrier. In contrast, however, to those bands' more straightforward approach, November 5, 1995 ducks and curves through a multitude of angular riffs, odd time signatures, and dense, grooving interludes. In other words, this band has chops and rocks out, but don’t try bobbing your head along during the first listen.

The band is sonically most reminiscent of Shai Hulud and At the Drive-In, bringing the aggression and tone of the first group, with the wildness and experimentalism of the latter. But what immediately sets the band apart from contemporaries is the raw musicianship on full display. Each member has masterful control of their instrument and the band slides effortlessly between complex counterpoints and unified heavy rhythms. Furthermore, the band manages to impart influence from every major player in the punk/hardcore/post-hardcore/emo world. Throughout the many ideas touched on the album, you can hear a little Fugazi, a little Converge, a little Dillinger Escape Plan, a little Botch, etc. However, the fearlessness the band imparts leads to an entirely original sound. Few bands will ever attempt this style, mostly because few bands will ever be this skilled.

Unlike some bands, lack of ideas is clearly not a problem as each track offers countless riffs and sections, all expertly performed with style and precision. It can be a lot to take in at first, leaving the listener numb or exhausted wishing for more repetition and less variation, but upon repeated listening the focus of the band begins to coalesce and appreciation sets in. Underneath the difficult outer layer, this is actually a very enjoyable and rewarding record.

Vocalist and guitarist Jay Maas, who is probably better known for his production work on recent albums by Shipwreck and Soul Control, utilizes a solid melodic scream to frame lyrics that are surprisingly dark for a band with such an odd name and flexible sound. The first track, “The Ambassador of Sarajevo” opens with two and half minutes of instrumental work (including eight different riffs or sections – I counted) before bursting with the damning call,

“Here we are again. Let me be the first to say, you’re weak beyond repair”

The acrid tone of these words is matched by a raw intensity of delivery. Later on standout track “Jelly Side Down”, Maas deals with unnamed family issues in a startlingly honest way reminiscent of Daryl Palumbo’s lyrical purging on Glassjaw’s debut, Everything You Ever Wanted to Know About Silence. While the musical chops of the band will likely remain the focus, the lyrics and vocal approach are just as strong and effective.

Unfortunately, this will probably be one of the best, unheard records of 2008. With an odd band name and album title, ultimately demanding music, and seeing release on Metal Blade imprint Ironclad, November 5, 1955’s debut release, Bears of the Sea will likely be passed over by the crowd who would most enjoy it. This is a shame because it offers a refreshing take on the current landscape of music and displays musical sense light-years beyond 99% of current bands. If you like smart and aggressive music that never rests on cliché, do yourself a favor and check this band out, although it may take a few listens.

November 5, 1955 Myspace
Ironclad Recordings

Blacklisted - Heavier Than Heaven, Lonelier Than God

2008-03-23T09:49:00.001-07:00

*Preface to Review: This record hasn't even been released yet, but between Blacklisted's blog and message board discussions, the amount already said about this record is bigger than most albums ever get. Because of that, this was a tough review to write. I attempted to write it from my perspective without letting outside influences persuade my thoughts and opinions.*

Hardcore is a difficult genre to exist in. Fickle fans, guaranteed financial failure, and quick stylistic turnovers lead to a short life expectancy for bands. The majority of bands that experience any success burn brightly for a time and fade away quickly or just stagnate, rarely releasing more than a handful of quality records. It’s exceedingly rare for a band to grow and improve in an environment crowded with the prevalent “I liked their first 7 inch better” mentality, but when dealing with Blacklisted, these trends simply do not apply.

Blacklisted was already a good band and deservingly popular when they were derailed by sudden health problems and broke up during the ’06 Sound and Fury Fest. Then, to everyone’s surprise, like some sort of ultra-strength super-zombie, the band arose from its fresh grave as a tighter, bolder, and more focused beast capable of incendiary live shows, and released the universally praised, Peace on Earth, War on Stage 7”. A year later, with the hardcore hype machine running on maximum, the question becomes, “Can Blacklisted keep up with its own momentum?”

Absolutely. With its verbose title and intense blasts of ridiculously powerful songs, Heavier Than Heaven, Lonelier Than God, acts both as a continuation of the style found on POEWOS and as a next step for the band, adding a newly displayed 108 and Quicksand influence. As a bonus, there is a clearly enhanced level of musicianship and Kurt Ballou’s production actually improves on his work with POEWOS. The band is tighter on the heavy parts and even more manic on the fast parts. They even expand their repertoire with some great textural work on “Circuit Breaker” and some faint Greg Ginn styled guitar soloing on “Matrimony”. This is the record Blacklisted has been hinting they could make.

The album opens with “Stations”, starting with a few seconds of guitar noise before one hit and an explosion of speed and aggression. It’s followed with a buildup to a completely satisfying and hard-as-fuck groove while front man George Hirsch sings,

“I feel hopeless when I just wish I could feel a little less”.

As the band has grown tighter and more focused over time, Hirsch has gone through a similar progression. While always having possessed a thick and strong screaming voice, he has elevated his style to consistently include melody. The bluesy inflections he puts over the heavy parts add exponential power over typical straightforward screaming. With more and more hardcore bands, like War Hungry or The Mongoloids experimenting with this approach, it can often sound forced and awkward, but Hirsch utilizes it effortlessly and appropriately.

The template for “Stations” remains consistent throughout the album, as the band stays focused and tight while Hirsch publicly addresses his demons. He deals with doubt, ponders insanity, and acidicly questions the idea of marriage,

“Now that he said ‘I do’, can you finally please your mother?”

before declaring,

“I just want to love myself”

Throughout the eleven songs, we witness Hirsch on a quest. Like jazz saxophonist John Coltrane, he never seems satisfied, constantly exploring himself through his work. Coupled with this constant search for self he displays a rare honesty, unafraid to show weakness or strength. He is both strong-willed and undeniably vulnerable. At once able to damn the flaws around him and then turn around and question his own existence. In the a-side closer, “Circuit Breaker” the band breaks down into a rare slow groove as Hirsch tries to convince himself “I have nothing to prove, I have nothing to prove”. This may or may not be true, but damn if it isn’t powerful.
With eight of the eleven tracks clocking in at less than two minutes, the band displays a knack for getting to the point. Some fans may be dismayed at the album’s length, but the band actually proves itself as an expert at self-editing. Every riff is set up the right way and played for just the right amount of time. They say what they came to say and get out. This lends itself to a profound effect on the listener and to added replay value.

What ultimately separates Blacklisted from the rest of the pack of contemporary hardcore bands is their approach. They don’t try to write the hardest riff or the cleverest lyrics. They don’t worry about what that the kids in the flat-brimmed hats with arms crossed at the side of the stage will think of them. Instead, they just go for it, creating music rooted in emotion, exorcising their demons, and transcending the narrow confines of their genre. Acting coaches are commonly heard to utter the directive “commit” to aspiring thespians that can’t break through the barrier of real emotional performance. In this sense, Blacklisted “commits” like few others in heavy music.

Blacklisted Myspace
I'm With Blacklisted Blog
Deathwish, Inc.

For Science Review Published on Punknews.org

2008-03-12T16:16:00.000-07:00

Punknews.org published another one of my reviews. This time, my For Science review. Check it out here, or scroll down to read it.

Fried Chicken Leg Bone on Vehicle Travelling West on Morse Rd. (Random Pic Part 2)

2008-03-10T13:20:00.000-07:00

I was driving west on Morse Rd., a large and heavily congested 6 lane road, a week ago. I was stopped at a light and looked to my left and noticed something funny on the bumper of a mini-van next to me. Is that what I think it is? Take a look...

This car had been driving at least a few blocks at 45 mph with this mostly eaten fried chicken leg on it's bumper. Here's a close up.

Camera phones rule.

Summer Sluts Tour and Pics

2008-03-09T15:30:00.000-07:00

As I wrote about previously in my post about All Teeth, I spent August of '07 filling in on guitar for Sluts. For those of you that have toured, you know that it's an odd animal and hard to explain (not that I have really done it that much). It basically alternates with being awesome and then really shitty. Right before this tour I had a nasty bout with strep throat and was still feeling bad the first few days. Every day that I was feeling crappy meant we played awesome that night.

We played in Portland, OR at "Awesome Fest" at the Satryicon, which actually was awesome. I saw a bunch of cool bands including I Quit and more All Teeth. We played on a nice stage and Mike Poulin (Sluts vocalist) spent the entire set on the dance floor. It made for an interesting show, the funny thing being that with the front man on the floor and not on the stage, there were no eyes on the stage. I could have gotten naked and killed someone and no one would have noticed. This is the flyer for the show. I think it's really cool. I like the space-flying triceratops.

After that show all kinds of crazy shit happened. I thought about writing about it, but it's really best to keep it quiet. It was definitely wild, though.

The next picture is at beach we stopped at on the way from San Francisco to Watsonville, CA. The drive was beautiful and we stopped randomly along the side of the road and walked down this huge wooden stair case down to the beach. The show in Watsonville was crazy. There were probably 250 kids packed into this tiny room in teen center. A really cool band of young kids called Spinal Breaker played. They were a crazy grindcore band and gave me a shirt. The screened it themselves and it was done very badly. It has so much extra ink on it that I'm afraid to wash it because it might ruin the washer or other clothes. It just sits at the bottom of my hamper.

In Sacramento we played at a skate park fest. The fest went from about 12-9 and we played around 3. There was a river right by there and we went swimming. I hadn't showered in days so I actually felt cleaner after swimming.

Mike Straight convinced me to go down a ramp on a skateboard. I haven't been on a skateboard since high school and was never that good in the first place. It made a for a good laugh for everyone. I'm glad there are no pics.

This last pic is in the van. I don't know when it was from, but probably somewhere in California. This is really typical of something you might have seen in the Sluts van this summer. Mike Poulin's face says it all.

Sluts has a new record coming out on Top Shelf Records. It is being recording by Kurt Ballou. It will probably be good, but we'll see.

Sluts Myspace

For Science - Tomorrow's Just Another Day

2008-03-09T13:38:00.000-07:00

It’s hard to discuss For Science without mentioning The Ergs. Formerly sharing a member, basic sound, label, and tours with the New Jersey pop-punk heroes, For Science seemed to have taken their place as The Ergs’ little brother. The two bands together could even be said to have started a revival of Ramones-core styled punk, albeit with more stylistic flexibility than predecessors like Screeching Weasel and The Queers.

While being constantly lumped together with such a highly-revered band as The Ergs can be a positive thing, with their second full-length, Tomorrow’s Just Another Day, For Science has moved out of their contemporaries’ shadow and proven they can stand on their own by continually experimenting with their sound and displaying a knack for consistently clever and emotional lyrics.

For Science’s biggest strength lies with vocalist John Slover, who’s diverse and sometimes out of control singing consistently takes center stage. Unafraid to land north or south of perfect intonation or even to belt out a surprisingly vulnerable outburst, his style is a breath of fresh air in an era defined by pitch correction and more-perfect-than-real recording styles. Throughout slower acoustic songs and wild old school punk tracks, Slover gives his all, emotionally eclipsing any lack of singing talent with heart and poetic lyrics. Even his flaws, like sometimes putting too many words in a line or forcing an awkward rhyme, turn out to be more endearing than having any real negative effect on the listener.

In addition to consistent song quality, For Science is unafraid to switch it up stylistically. The opening track, “Even” might initially throw off older fans with Slover lightly singing a repetitive lyric over a continually building guitar line. It’s an odd choice to open an album, but it works and sets the emotional precedent for the rest of the record.

Standout track, “Living Well”, brings back the traditional high energy For Science sound with Slover singing in his signature “about to lose it” style,

“They say you have to suffer for your art, so I guess what that means is losing what you love. They say that absence makes the heart grow fonder, but I think my heart is growing fond enough”

Later in the record, Slover laments an overly complicated life, wishing to own only a “color tv and a mattress on the floor”. With lyrics like this, he consistently displays a talent for shining a spotlight on the vulnerable and reflective moments in life. Like a great short story writer, he can dish out strong relatable lines that hit home without coming across as overly dramatic.

While the songs are catchy and well written and the band mostly benefits from a raw and less-than-perfect sound, the production style leaves some to be desired. The vocals are mixed low and equalized in a strange way and the drum sound is flat. This sound may have been the band’s goal, but I would prefer a clearer production style.

While Tomorrow’s Just Another Day is ultimately a flawed record, it is undeniably fun and worth a listen by any fan of catchy punk rock.

For Science Myspace
Insubordination Records

Kids on the Street review

2008-03-04T09:52:00.000-08:00

1999. Swing. The Cherry Poppin' Daddies.

There are few trends that are as easily laughable as the sudden "swing" fad in the late '90s. Somehow riding in on the coattails of the third wave of ska explosion, bands like CPDs, Big Bad Voodoo Daddy, and Royal Crown Revue all danced in for their 15 minutes. These groups took a highly evolved art form (jazz) and dumbed it down to pop levels, the likes of which hadn't been since the 1950s. For a few minutes there, everyone was buying these records, saying "daddy-o", and learning to swing dance.

Looking back on it, I can't say that "swing thing" lasted more than a few months. Each of these bands had there one hit, did a few tours, and were then relegated to the has-been circuit of state fairs and smooth jazz festivals. Even as its now acceptable to admit that you were once played trombone in a band called Skabba the Hut or The Skammunist Party, or even to pull out pictures of you at the '91 Motley Crue concert with your giant hair, the wing-tips and Brian Setzer Orchestra CDs are safely hidden in the closet. Good luck finding anyone to admit that they were into it.

Now, the point of this post isn't to lament or mock a trend that almost made playing the trumpet cool, no not at all. Today's topic is really about the Cherry Poppin' Daddies pre-swing album, Kids on the Street.

Before releasing their swing style breakthrough sell-out crap-a-thon, Zoot Suit Riot , the Daddies were considered to be a ska band, since in the 90s if you had horns and weren't Rocket From the Crypt, you were a ska band. They played the ska circuit, released their records DIY, and built a cult following all over the country.

The funny thing thing is though, as one of the most pigeonholed bands of all time, they display a wider variety of styles than 99.% of bands. Kids on the Street features two ska songs, two swing songs, a punk song, two country songs, a Who-styled song, a grunge song, a new wave song, a Smiths-style song, and even a few more. And in complete disregard of any credibility I may have with anyone, every song is great.

One could argue that they were trend-hopping and just hoping that something would stick, but taken as a whole, it's something entirely different. The first clue that this band has their own distinct personality might be their name. It is clearly one of the most offensive band names ever to have a mainstream hit and somehow they got away with it. As ridiculous a name as it may be, it's fitting as it mirrors a dark undercurrent ever-present through their lyrics. On KOTS, they cover such topics as homeless youth "selling fake hits of acid to a college asshole", shit-talking: "say it to my face you fucking coward", and weird creepy sex: "rent bloody movies, laugh and screw". And that's just in the first three songs. Front man and main songwriter Steve Perry (yeah, same name as the Journey singer) always pulls inspiration from the shadowy parts of his mind. The music is often upbeat, but the lyrics are usually dark and often fucked up.

As a musician and fan of many genres I appreciate what the band has pulled off here. They revel in complex ideas, but always stay catchy. All performances are perfect and the production is top-notch. There's something redeeming in every song and they never fail to hit the mark. It's unfortunate that their name will always be relegated to the annals of the failed swing revival as they really offered so much more. But really, they did release an all-swing album, so it was their fault.

Kids on the Street is currently out of print. So this will be one of the rare times I offer an entire download as I think it's wrong to post such things in a blog. If you're at all interested, download it, you will find something you like, just like you know, don't tell anyone.

http://www.mediafire.com/?0wvy2umm13m

Reign Supreme/Trapped Under Ice Review

2008-03-02T14:39:00.000-08:00

Last night I checked out the Reign Supreme and Trapped Under Ice show at the High Five Bar (on the corner of High and Fifth!- so clever!) in Columbus, OH. I went more so just to check out these bands than as a big fan of either, and still caught some good sets and saw some old friends.

The first band I saw was Empire, a new local hardcore band that has a very straight forward Blacklisted hardcore style. The four-piece was solid, but still clearly in the early stages of developing as a band. The front man was charismatic and the music well written. I think this will be a band to watch.

Dead and Buried was up next and played the role of a passable hardcore band. Decently executed and within the confines of the genre, but upon writing this 20 hours after the gig, I have no solid memories of their set.

The surprise of the night was Trapped Under Ice. Hailing from the new hotbed of hardcore, Baltimore, MD, their set was fierce and energetic, even down a guitarist and with a fill-in bass player. The front man was manic and skilled at interacting with the crowd although he had a definite difficulty always getting his voice into the mic. The final half of their set seemed like awesome riff after awesome riff and drew the biggest crowd response of the night. I picked up their demo 7” and hear a definite Biohazard influence.

Reign Supreme, hot off the release of their American Violence E.P. on Deathwish, Inc, finished out the show with 20 minutes of perfectly executed, but slightly by the numbers, hardcore. Front man, Jay Pepito has a powerful voice and stage presence and the band was more than solid behind him, displaying talent and maturity. While this band does deserve to be playing in the big leagues, my real gripe is that they often settle into rehashing riffs and breakdowns that have been done a million times before. I want to like this band as they are sonically awesome, but for me, the content suffers from generic and overdone ideas. Hopefully on their next release they step up their game and takes some chances.

Myspace links:

Reign Supreme
Trapped Under Ice
Empire

The Art of Luke Powers

2008-03-02T13:17:00.000-08:00

I want to share the art of friend/acquaintance, Luke Powers. He's a local Columbus artist and currently has some pieces displayed at the main branch of the Columbus Metropolitan Library. I have posted some of my favorites of his work. To see more or contact him, he has a Myspace page at myspace.com/citizenofpopcornland.

I met Luke before I saw his art and was blown away upon discovering it. I'm not so big on discussing or analyzing art like I am music, but I feel that his work utilizes some of the most interesting aspects of current art and expands on it.

By the way, all of these images are copyrighted and belong to Mr. Powers.

My Life Long Tragedy review published on Punknews.org!!!!!!

2008-02-26T09:43:00.000-08:00

The review I wrote of Life Long Tragedy's new album has been posted on Punknews.org. I am pumped. Go here to see it or scroll down to read it. For those that don't know, Punknews.org is like THE major punk and hardcore website.

Deathwish also has it featured on their news page.

Screen Shot:

Dan Pingicer

2008-02-25T11:05:00.000-08:00

At the office job I worked from '06-'07 there was a guy in accounting named Dan Pingicer, a cool guy and a bit of a character. Upon becoming Myspace friends with him I found a hilarious picture of him supposedly taken while he was drunk at a hockey game. I got bored one day and pasted his face on other pictures. It should be noted that I did not use Photoshop, but MS Paint, so forgive the crudeness. The first picture is the original. There are more of these but are lost somewhere in my gmail account. Enjoy.

Life Long Tragedy - Runaways

2008-02-25T10:47:00.001-08:00

Life Long Tragedy’s 2004 debut LP, Destined for Anything, was very much a product of its time. Double bass drum reliance, a smattering of cliché “posi” lyrics, and an overuse of gang vocals marred what was otherwise an enjoyable, if not a very original, hardcore release. In 2006, after signing to Deathwish, Inc, LLT released a split with Final Fight, which saw both bands heading in a Modern Life is War-esque direction, with slower grinding songs and a more personal and profound lyric style.

However, with Runaways, LLT sets aside any previous adherence to trends and lays out a highly original and emotionally affecting record. They ignore convention and display a willingness to take risks, most immediately noticeable with a raw and guitar-heavy production style. There is no reliance on gimmicks or studio tricks, just a pure outbreak of energy and angst, sonically reminiscent of Converge’s You Fail Me, stripped of its technique and mathy tendencies.

One standout track, “Hey Death”, showcases all aspects of the band’s newfound maturity. They can blast out a fast part, be catchy, and then fuck it all up with a slow and seething plea with death over a haunting bass and drum counterpoint before building to a final cathartic explosion of intensity. Many bands lose focus on the art of subtlety when attempting to be this profound, but LLT employ it liberally. Each instrument stands alone, unafraid to play with or against the others or even to drop out entirely. This is a rare trait in hardcore and lends a powerful and organic feel to the record.

On side two, LLT revisits “Sweet Innocence” from their split with Final Fight. While I am normally not a fan of bands rerecording songs, they manage to pull off a new take that fits well in the sequencing. The original recording is slow, but here they slow it down even more wringing every last ounce of desperation out of an already desperate song. No longer does it sound like a tribute to Modern Life is War, but showcases a band chasing its own dark muse.

Runaways is the sound of the moments in life when you look around and decide everything is fucked. In this record’s world, darkness prevails and the plasticity of our culture is ever apparent. The raw sound and exasperated intensity of this record will alienate less educated and adventurous listeners but will reward active and repeated listens.

Life Long Tragedy Myspace
Deathwish, Inc. website

"Fun Fest" Somewhere Outside of San Fran

2008-02-24T08:15:00.000-08:00

This past summer I went out on tour, playing guitar, with the band Sluts from Massachusetts. We crashed the Warped Tour every day selling merch and played shows at night. There are a million amazing stories from this tour and I plan on writing about a few of them at a later time. One of the best parts of the tour was playing all throughout California with All Teeth and Count the Hours (RIP I think). All Teeth are one of the craziest bunch of kids I've ever met and are awesome, especially since they booked all the west coast dates.

Anyway, like all small tours, there are good shows and there are bad shows. I don't recall exactly the routing at this point, but we ended up way out in the suburban wasteland of CA, about 30 minutes from San Francisco to play "Fun Fest". Fun Fest was about 50-60 kids in a backyard with the bands playing on a concrete patio under a little tent. There was no backdrop or anything so it sounded awful. Everyone there was in high school and there was a mom chaperoning the whole event. PLUS, the mom was running a raffle to give away a free ear piercing. She actually pierced someones ear outside in the backyard.

It was probably 100 degrees out and Sluts played less than stellar. All Teeth was up next and managed to turn the whole thing around. Now, this is one of the strangest bands you will ever see. First off they have two singers, Jake is a huge tattooed covered dude that wears giant t-shirts that go down to his knees and the other singer, Dave, has cerebral palsy. Before you jump to conclusions, you should realize that they put on one of the most fun live shows I've ever seen. See, Dave uses his disability to get away with things most people could not get away with. At one show he flung water all over the crowd right on the first note. At almost every other show he threw the mic in the crowd, sometimes connecting with people's heads. But then, he puts on his little boy smile, apologizes, and gets away with it. He did this at almost every show of the tour.

Today, I was on youtube and decided to look for an All Teeth video. I found one from Fun Fest. The best part is, I watched it twice, then watched it again to see if I was in it (so vain). I am, in fact I'm practically the star. See if you can spot me. (Also keep in mind, that this show was really stupid, outside and in a backyard. Most every other show of the tour was way way better.)

Lastly, All Teeth is coming all the way from Ukiah, CA to Columbus, OH to play at The Trap House on March 18! I haven't been there yet, but they have been doing tons of hardcore shows in Columbus. myspace.com/welcometothetrap

For more on Sluts visit myspace.com/slutsdotcom

For more on All Teeth, visit myspace.com/allteeth666

Graphs and Points - Downloads

2008-02-23T14:43:00.000-08:00

Slightly selfishly, I am posting both of the Graphs and Points recordings as free .zip downloads. Click the links and follow the directions.

Graphs and Points was my band in Boston and also featured Michael Burgos, Ryan Heenan, and for awhile Masato Hasoi. I recorded the demo and Jay Maas at Getaway Group recorded Thanks for the Send-Off, our second release which was finished in January of 2007. If you are unfamiliar with the band, the music is basically pop-punk with a seriously geeky Steely Dan undertone.

Thanks for the Send-Off

1. Fucked Up
2. Ghosttown
3. Wearing Her Down
4. Through These Veins
5. Buried in the Wind
6. Another Choice
7. Call if Off
Download here.

First Demo (no artwork)
1. Borrowed From the Minor
2. Sincerely, I
3. Not Tonight, Not Ever
4. Graphs and Points
5. Friend or Faux?
6. Sonnet
7. Obliterated Hopes
Download here.

Dave Douglas/Fatty Arbuckle

2008-02-23T14:21:00.000-08:00

Dave Douglas is a modern jazz trumpet player. Fatty Arbuckle was a silent film actor who was accused of rape and murder, later exonerated, but was never able to recover his career. A few years ago Douglas put music to a few of the films and released the highly enjoyable CD/DVD Keystone. Here is a video from the sessions starring Arbuckle and his dog, Luke. Although the combination might seem odd, I find it to be poignant and entertaining.

For more on Arbuckle visit: http://en.wikipedia.org/wiki/Fatty_Arbuckle
For more on Dave Douglas visit: www.davedouglas.com

A few random pictures...

2008-02-23T13:46:00.000-08:00

Having a phone that takes quality pictures is especially handy for someone like me since I would never carry a camera around normally. If you scrolled through the pictures I've taken on my phone, you might not notice anything out of the ordinary...unless you look closely.

Here are two instances of being at the right place at the right time and having a camera handy.

There first is a cop playing a drum set in a middle school. I was helping to teach an after-school jazz class at a Westerville Middle School and all of a sudden an administrative person and two po-po walk in. They were just walking through the school and wanted to check out what was going on. Then one cop says, "Hey, Jones (or whatever a cops name would be) here can play drums." So we all convince him to sit down and he plays about two and half choruses of Watermelon Man before getting up, totally out of the blue, and they leave. Luckily, I took a picture.

The second and third pictures are from Goodale Park. I take our dog, Miles, there every day and often there are other people there with their dogs- you know like a dog park. Anyway, this day was especially cold and there was a couple -both man and woman- wearing fur coats. Enjoy.

Album Covers on a Career Arc

2008-02-20T11:38:00.000-08:00

There aren't many bands that make a career of good albums. Shit, there aren't many bands that make one good song, so for a band to be consistently good requires a serious level of talent and dedication. Furthering that, there are a few of bands who always have awesome album art, a even fewer that when taking all the covers together, look really cool and match each other. There are two bands that this works for, Converge and Hot Water Music. Each has stayed consistent with their music and very much so (with some excluded exceptions) with their album art. Much of Hot Water Music's album art was done by Scott Sinclar, with most of Converge's work done by vocalist J. Bannon, Derek Hess, and others.

Check it out:

Converge and Hot Water Music

The Loved Ones Album and Show Review

2008-02-20T11:30:00.000-08:00

The Loved Ones are a band with an amazing pedigree, featuring ex-members of The Explosion and Trial By Fire, with front-man Dave Hause having spent time road-dogging for Kid Dynamite (check out the Kid D. DVD Four Years in One Gulp for hilarious interviews with Hause about “old man Yemin”) and playing guitar in Paint it Black, before shedding his hardcore past and writing gruff pop-punk gems. The Loved Ones first full length, Keep Your Heart, holds a high degree of acclaim with disciples of “orgcore” (www.punknews.org), but to many people this is a band that has “that song”. Everything on KYH sounds pretty much the same, with a few standout songs, but “Jane” is the song every band wishes they could write. The kind you can sing along the first time you hear it and after that it’s stuck in your head for the rest of the year.

For a band like the Loved Ones to release a new record, there is doubt whether it will be good. For one, it won’t have “Jane” on it, so that’s a strike against it (as shallow as a statement as that may be) and with KYH being full of 3-4 chord songs (and there’s nothing wrong with that- if I had a dollar for every time I heard someone dis punk because of “three chord songs”- stupid stupid argument, maybe an entry for later) they have two clear paths to take. Write the same record again (probably going to be boring) or try to mature their sound (usually makes for a fucking lame album). Luckily for us, Build and Burn sounds like an album where the band ignored any expectations and delivers a solid well-rounded effort.

Staying true to their roots, the album opens with a focus on the best part of the band: Hause’s voice and catchy melodies. I love when punk songs start with just guitar and vocals and Hause does it right with an ode to the average man,

“I’ve been working longer hours watching money streaming in, I’ve been trusting crooks and liars like I don’t have any friends”

before the band kicks in with a high-energy verse and all fears have been assuaged. Suddenly, the curveball comes, with a Springsteen-ish Americana chorus. The Loved Ones are still a punk band, but manage to work in a newfound alt-country influence that works to elevate the emotional impact of their three-minute blasts. The track closes with the repeated mantra,

“There are songs that will beg to keep your heart”

which is a nice allusion to their first album, giving them a strong thematic arch running through their entire catalog, something few bands can claim.

The rest of the album continues in this fashion mixing pop-punk with a slight country sound focusing on Hause’s ear-pleasing gravelling voice belting out easily relatable lyrics with catchy melodies. There is no “Jane” on this record, instead we get a solid full album front to back. An interesting highlight is “Louisiana” which starts as a straight up country song with a simple repeated lyric pattern. The repetition builds to a huge emotional impact that, like Springsteen, glorifies the workingman of America. Build and Burn is a strong success musically and emotionally. Also, kudos to Fat Wreck for packaging the vinyl with a CD.

In addition to this being an album review, I caught the Loved Ones last night in Columbus at the Basement! Normally, I wouldn’t mention who I went to the show with, but Cody Smith, who has just returned to the US from four weeks touring Europe with Columbus’ own Americana-rock heroes Two Cow Garage (www.myspace.com/twocowgarage) accompanied me to the show. The venue wasn’t exactly crowded but considering the ten degree weather, attendance was high enough to ensure an enjoyable experience.

We arrived just in time to check out The Gaslight Anthem (myspace.com/thegaslightanthem), who are hyped beyond belief right now. I understood the band to be a big emotional sing along style band along the lines of Against Me, but instead they are more like another roots-rock band mixing in some punk and emo here and there. There were some people in the audience singing along, but it wasn’t the cathartic experience that many expected. They remind me of Tim Kasher’s The Good Life with some Get Up Kids thrown in to appeal to the punk and emo kids. They were good, but it wasn’t my thing. My only gripe though is, if they’re from New Jersey, why does the singer have a southern drawl when he talks? Weird.

The Loved Ones were next and opened with Build and Burn’s opener “Pretty Good Year”. I had heard bad things about their live show, but was pleasantly surprised to hear a solid band running through the best of their material. Dave Hause’s vocals held up well, especially for a singer of his style, although occasionally his gruffness with result in a strange “yip” sound, but he sounded great for the most part. The small audience was crowded around the stage without much audience participation. There were a few kids really going off and the members of the band clearly played to these kids, to me a sure sign of a mature band.

Midway through the set, Hause asked a kid what he wanted to hear and no surprise, “Jane” was played with the highest crowd participation of the night. Oddly enough, it was the sloppiest song of the night for the band. The band closed with “Louisiana” which worked well even though it was a newer song with the album only coming out a week before.

One of the most enjoyable parts of the set was Hause himself. He would single out fans that were particularly into it, playing a guitar solo to one kid and giving him the fist pound afterward, and then grabbing another exited kids head and singing right in his face. He was even cool about the sparse attendance saying that he was glad to see anyone there as this was their first time headlining Columbus and the fact that it was ungodly cold outside. Later, as some kids were leaving during the set, he called them out and asked where they were going to much audience laughter. It helps out the music when the front man is likeable.

In closing, if you like punk rock with great melodies, check out the Loved Ones. If you like the Loved Ones, check out this tour (the Philly shows has The Ergs and LeGrecia on it!).

myspace.com/thelovedones
For the Fat Wreck Chords page on the album with mp3 downloads go here.

Generic first post and mission statement.

2008-02-14T09:54:00.000-08:00

Lately, I have found myself with much to say and a general lack of an appropriate forum. I know I have enough friends that are at least curious on what I have to say about things to make this page worth writing and I intend to make it worth reading.

I envision that my typical post will take the shape of a personal story from my past or be an opinion piece on music -theoretical or specific (album or show reviews, look back on a career, etc). I know I have turned quite a few people on to many bands so I see this as an opportunity to add to that, spread the love if you will. Also, I will not be posting rapidshare-esqe links to download music for free. I will post links to stream music, but that's it. If you like an album, you should buy it.

I will not be writing about what I made for lunch, my inner-most feelings or any of that other bullshit that generally drags blogs down.

That was the dryest thing I've ever written. It will get better, stay tuned.