RSS

By Omar Goodness - Hooked on Sonics - 11/09/04

After witnessing what I just did, I'm pretty sure of one thing: the Hot Snakes are not human. Playing every song with impeccable precision and unseen and unheard of tightness, these dudes have gotta be machines. Currently on a mammoth tour behind their frenetically fabulous new album, Audit in Progress, these three guys from San Diego and one from Brooklyn hit the stage at la Sala Rossa for their first show in Montreal to an excited and anxious crowd.

Now, let's get this out of the way. If you don't know this, you either: a) have never listened to HOOKED on SONiCs, b) never been in my car, or c) don't really know me. I am a HUGE fan of the dearly departed Drive Like Jehu. Jehu's one of those bands that completely changed my perspective on music. They were totally ahead of their time and managed to sound like a mangled car crash and a well-oiled machine at the same time. Hot Snakes features one half of Drive Like Jehu; Hot Snakes then puts out records after Jehu's demise; Yours truly enjoys those records; Hot Snakes comes to town...Do the math. Asides from the upcoming Pixies concert, this was my most anticipated show of the year. Yeah, that's all great and all, but did it live up to all my lofty young teenage reminiscent expectations? Good God, yes.

Coming out of the gate with "This Mystic Decade", they picked up steam, almost as if they were warming up. Then the gloves came off, and the beating began. Bursting with nervous energy on record, the high strung post-punk quartet captured said energy, bottled it, and then proceeded to break it over the audience's head. At three different moments of the night, they performed three blocks of the first three songs of each of their three albums consecutively. Without pause. It was incredible, and my brain is still completely mush after witnessing the sonic stampede of "Braintrust", "Hi-Lites" and "Retrofit" (my personal highlight of the show) off of Audit in Progress.

Guitarist/Vocalist Rick Froberg, formerly of the late great Drive Like Jehu, yelped, screamed, bellowed, and mumbled his vocal chords numb. Steady on stage left, Froberg kept the patented Hot Snakes downstrokes a-comin' on his Telecaster while making eye contact with audience members throughout entire songs with his fixated, almost unblinking, crazed glare (yeah...uh...he did this to me a few times, especially during "Suicide Invoice"...creepy is beyond what that was like). Not really much of talkative host for the evening, Froberg explained that as how he wished he had "something interesting to say, but none of us speak French. Sorry."

Guitarist John Reis (aka Speedo of Rocket from the Crypt, and also formerly of the amazingly awesome Drive Like Jehu) provided some backing vocals here and there (though noticeably, and sadly, missing during their breakneck run-through of Suicide Invoice's "XOX"). Launching the band into each of their hyperactive tunes by raising his guitar neck as a signal and then proceeding to chug away, Reis was perfect, note for note. No count-offs, a few rare looks between members, most songs were started immediately after the last one, with Reis signaling the band with that split-second motion.

New drummer Mario Rubalcaba, also of Rocket from the Crypt, did a fantastic job of covering the older songs as well as pummeling through the frantic new ones without missing a bit. The setlist pretty much went "slower song, faster, fast, fast, fast. Repeat," most probably to keep him from keeling over from the manic time he was keeping during most of the songs.

Bassist Gar Wood (ex-Tanner) stood his ground next to Rubalcaba's kit and plucked out his bass lines while rocking his trademark moustache. He hardly moved...at all. Looking a little spaced out, he was rock solid, anchoring the mayhem and adding a great new low end element to songs off of Automatic Midnight and Suicide Invoice that were recorded sans bass.

The crowd was totally spellbound with all eyes on the stage and reacted to everything they played with complete excitement, the songs off of Automatic Midnight, "Hi-Lites", and "I Hate the Kids" especially (side note: I wish I could put into words the sheer amusement of witnessing the interesting avant garde dance moves being performed during the show by the couple in front of me. Saying It was "ridiculously hilarious" does not do it justice).

Out of a totally flawless performance, I guess the only complaint would be the fact that they never really loosened up. Playing with their machine gun intensity was fantastic and all, but more open-ended songs like "Salton City", "Our Work Fills the Pews" or even the pounding outro of "Hatchet Job" would've added a nice turn of events to the setlist. Still, they roared through a solid set and left the stage literally soaked with sweat (seriously, the amount of sweat seeped into Froberg's shirt alone was kinda sick). Needless to say, these guys have stamina and the show flew by in a blur. I don’t think I’ve witnessed a band this inhumanly tight in my life.

How they play so hard, so fast, and still remain completely in-check is unbelievable. Plus the fact that due to Froberg's opposite coast distance from the rest of them, making band practices few and far between, makes that feat even more impressive. This was one of those shows that leaves you speechless after. Days later, the effects are still setting in and I'm still reveling at how amazing they were.

Mind-blowing.

(Catch an interview with John Reis on HOOKED on SONiCs within the coming weeks and hear how he convinced me that he helps operate on snakes at the San Diego zoo in his downtime. Bassist Gar Wood videotaped the interview to post on their website...uh, their website is updated practically once a year, so don't hold your breath.)

By Oli Pulleybank - Boozehound Radio - 11/02/04

November 2nd saw a completely different kind of punk rock show hit Montreal (see Suicide Machines review). Waving the flag of anger, intellegence, reason and disbelief, Bad Religion came into town and rocked La Belle Provence with some left-wing indignation. After openers Rise Against played 6 songs for a total of 20 minutes (?), the crowd was given a half-hour to cool their heels before the lights finally dimmed. The band walked out on to the dark stage and began to play the overture (yeah I know, what punk band has a fucking overture?) from their new album The Empire Strikes First, and the crowd geared up for what they knew was coming next, the blistering track "Sinister Rouge".

The reaction the band got for "Sinster Rouge", the first real track off their new album, kind of showed exactly what is so amazing about this band. After almost 25 years of playing punk rock, the fact that they could write a song that is faster, angrier, catchier and smarter than almost any other punk song of 2004 should put all the new bands to shame. What amazed me was that the crowd reaction was as strong, if not stronger, for songs off their last two albums than it was for their old hits. "God's Love" got as many fists in the air as their classic "You", and "God's Love" wasn't even in a Tony Hawk game! They played for an hour, mixing a lot of new stuff with some of the old stuff, but interestingly they didn't stick to just the old classics. Songs like "Modern Man" and "Come Join Us", though solid songs, wouldn't wind up on any greatest hits album, but fit in perfectly with the set.

Ultimately, as a reviewer I am pretty biased because I've always had a thing for Bad Religion, and their 1996 Album The Gray Race was the first CD I ever bought, so yeah, it is no surprise that I thought the show rocked. But I still think that this is a band whose message is important, whose songs are great and whose show is fantastic. To see lead singer Greg Graffin, a late 30's college professor with a PHD in biology, screaming out the chorus to "Fuck Armageddon This Is Hell" is a treat no matter who you are. Catch them next time because though they're pushing 40, they haven't lost it at all and are still one of the best live punk acts out there.

Download Sinister Rouge from the Bad Religion official website. Tune in to Oliver O'Pulleyblank on Boozehound Radio Sundays from 6-8pm, which delivers first-rate counselling to alcoholics everywhere.

A well-balanced diet just makes everything function better. Much like how cheese just seems to go with crackers, and milk with your cereal, the Junior Boys, Ratatat and Mouse on Mars together made a meal that just made you feel good by the end (bad analogy I know).

Opening the show was Hamilton, Ontario's Junior Boys who played as a duo, mixing new wave beats and melodies that could be felt in the chest. Using synthesized drum beats to accompany sweet, almost ambient guitar and vocals, the Junior Boys set the mood for Ratatat. A pleasant birthday wish was given out to Junior Boy Matt Didemus who was turning 25.

Ratatat, another hybrid duo featuring prerecorded electronics and live guitars, hit the stage using synthesized melodies and drumbeats that lead the battle between the guitar and bass. Live guitar harmonics and diverging guitar solos filled the performative void not provided by the synth, creating a sound that resonated in you head. Out of New York, the two have both been active in various projects. Evan Mast, is the co-founder of record label Audio Dregs, and guitarist Mike Stroud has toured with acts like Ben Kweller and Dashboard Confessional. Without a live drummer, their performance had a feeling of two friends privately rocking out together on guitars. There was a certain seriousness towards the vocal-less pop songs. Purely instrumental bands tend to have a natural sense of introversion. Still, without vocals and a live drummer, Ratatat continued to capture the audience with intense catchy pop tunes.

Lastly, the most captivating band of the night, Mouse on Mars set up with drummer/singer Dodo Nkishi front and centre, and with masterminds Andi Toma and Jan St. Werner on either side. Having played around for 10 years, the band had accumulated quite a devoted following. It was obvious the show was much anticipated by the audience, with Mouse On Mars having a reputation for putting on great shows. On tour from Germany, the band is currently going around Canada and the United States with the two preceding bands. Their set maintained a certain funk and groove that made everyone move. They played a solid show capturing the audience in a way that has not been seen in a while. Surprises including a guest appearance on stage by Ratatat guitarist Mike Stroud, and gracefully dealt with inconveniences such as having to perform plastic surgery on the snare drum, kept the show rolling and entertaining. Mouse On Mars never missed a beat with their performance, playing a diverse range of their songs. Their sound ranged from a mix of up-beat indie rock to drum and bass and funk.

Each band of the night attempted to blend both electronics and live guitars into a nice complementary mix of talent from around the world. The three will finish off their tour in Toronto, Cleveland, and Chicago, before returning to their respective homes.

-aw ----

http://www.mouseonmars.com/

http://www.audiodregs.com/ratatat/

http://www.si20.com/~simon/juniorboys/

Ashley Wong hosts Dump the Body In Ricki Lake Thursdays from Noon-2. She's pretty down with Southern Ontario Hardcore... y'know, like, the End or whatever.

By Oli Pulleybank - Boozehound Radio - 10/08/04

You know that band the Killers? With that song? You know, that one that goes like…Somebody told me…That you have a girlfriend…who looks like a boyfriend or some shit like that? With that crazy 80s beat thing? Yeah, well I went to their show.

Basically, the Killers would have been a dang good band in 1985. Their best stuff sounds like a good mix of Duran Duran and Depeche Mode, but I don't think the Killers'll be much more than a flash in the pan in 2004. Their songs just are a little bit too familiar and too formulated. It kinda seems like that one song will be played at 00's nights at bars 15 years from now, whereas the band will land on VH1's One Hit Wonders Countdown. But my predictions for their long-term viability aside, I have to say that I just wasn't that impressed with the show.

I first got a little bit peeved when they did that thing where they set up the whole stage and then wait for 25 minutes not doing anything and you can tell the band is just sitting backstage blowing a few more lines and thinking secretly how cool it is that there is a bunch of people out front who have to wait until they're good and ready. When they finally did come out, the crowd went crazy as only a group 15- to 24-year-old fans of 80s revival music can, as some people even went so far as to yell "woo" in a high-pitched manner.

Then the band started playing and the people were swaying and the security guard told me I couldn't smoke inside. They did get a lot of sound out of a guitar, bass, drums and occasional synth, and sounded pretty tight throughout the set. Thing is, the band is from Las Vegas, and though their sound is pure 80s, their act is pure lounge. From the disinterested crooning of the singer to the smiling, suited drummer, the band's onstage demeanor was right out of the Reno Hilton's Cocktail Hour. Trouble is, this music is ripe for dancing and I feel you gotta put a bit of energy into the whole thing to get the show going. It was fucking hot in there and the band was all in suit jackets, but it didn't look like anybody broke a sweat. Then after 25 minutes when the singer announced he was tired and wanted to play one more song, I felt sorry for the saps that paid $30 or whatever the going rate was. So they broke into Somebody Told Me, and of course it was stuck in my head for the next fucking 48 hours.

So here's the scoop: the band played well, they didn't put any energy into the set, the songs were fun but nothing new and I got a hunch they ain't never gonna sell out Club Soda again. So next time they come around you can head out to Rainbow and see 'em if ya feel like you missed out on something big from the 80s. Or you can just spend your $25 dollars at Café Campus on a fucking Tuesday. At least you'll get three pitchers and laid.