It’s hard to believe Joe Elliott and company have been together almost 25 years. It’s even more incredible to imagine that the band that wrote the legendary Pyromania and On Through the Night albums would end up scarring its career even further—remember “Pour Some Sugar on Me”?—using Max Martin, Andreas Carlsson and Per Aldeheim, the same pop machine writers used by boy bands. One listen to the Martin-penned “Unbelievable” will have diehard fans reaching for the stop button. Like countless bands of its ilk, Def Leppard once ruled the roost, along with four on the floor-style rockers like AC/DC. The band claims it doesn’t need the money, it’s just got some “great songs” it wants to share. I’ve heard none on X, its tenth and most tepid “rocker” to date. The boys claim they don’t want to be considered another heavy metal band. From the sound of this, those comparisons shouldn’t be an issue.
Few Sacramento bands could headline a weeknight show and draw more than 50 people. While attendance isn’t always the best indicator of “good” music, in the case of the 150-plus people who showed up last month to see Die Trying at the Boardwalk in Orangevale, it was.
From the opening chords of “Die Trying” to the drum intro leading into “Lo Pan,” it was evident that singer Jassen and company weren’t about to go out quietly. Guitarist Jack Sinamian and bassist Steve Avery held down a mean groove while drummer Matt pounded the skins like a crazed psychopath. With Jassen’s cocky but confident stage demeanor and his raspy yet alluring voice up front, the band hit its stride by their second song and never looked back
During such numbers as “Never Good Enough” or the aptly titled “F*ck You,” the crowd drowned out Jassen’s amplified voice. Even Die Trying’s newest song, “Salvation,” which made its live debut during the band’s opening set for Papa Roach at the Sacramento Memorial Auditorium in June, sounded like a hit and received an alarmingly positive response.
Although not yet an icon or teen idol, Jassen’s onstage persona echoed that of many rock greats; he proved he can deliver the goods. He moved about the Boardwalk’s stage constantly nestling his feet and crouching over the floor monitors in perfect Ian Astbury form. While not exactly as defined as Appetite-era Guns N’ Roses or as perfected as the Cult’s early years, it’s evident that he’s got something going on.
In attendance were the usual suspects, from such local bands as Still Life Projector, Long Drive Home and 26 Weeks, along with 98 Rock’s Alex Payne. It was the fans ranging from 16-30, however, that made the night so special: It was as if they were never going to see the band again. Unfortunately, that notion was partially true.
Never one to forget his paying customers, Jassen continually thanked those for venturing out on a weeknight.
Since Die Trying just signed a record deal with Island Def Jam, after only one year in existence, odds are the band will be holed up in pre-production and recording for the rest of 2002, to meet an early 2003 release date. With only a handful of shows scheduled, it might be wise to catch the band before it goes into hibernation.
Die Trying plays Capitol Garage on Friday, August 16, with Key to Arson, Singe and Downside. Buy a couple of $5 albums while you’re at it.
Those Flaming Lips put out some strange stuff, but is it catching fire?
The unconventional and successful Lips.
Live! “Unlimited Sunshine 2002” at Sacramento Memorial Auditorium, 1515 J Street on Friday, August 9 at 7:30pm, $32.50 with Cake, De La Soul, Modest Mouse and Kinky.
Yoshimi Battles The Pink Robots, The Flaming Lips’ new album, was just released on July 16 and continues the band’s tradition of psychedelic-leaning, experimental rock. From robots to fairy tales gone awry, it’d be fair to say that there were more outside influences creeping into their strange mix. As the band’s mastermind, Steven Drozd, explains, “We’d like to think that we make children’s albums … I mean half of this stuff is like that anyways.”
Since its inception, The Flaming Lips have always delivered music for the off-center crowd. It’s been a rough ride at times, but current members Wayne Coyne, Michael Ivins and Drozd have persevered doing things their way.
The year 2002, however, has been exceptionally good for The Flaming Lips. After their new album, Yoshimi Battles The Pink Robots, debuted on the U.K. charts at an astounding number 13, they hit jackpot yet again landing the number 50 slot on the U.S. Billboard. In addition to the numerous accolades achieved from the band’s last full-length, The SoftBulletin, the new album has yielded even bigger prospects, including The Unlimited Sunshine package tour—which stops at Sacramento Memorial Auditorium on Friday, August 9—with Sacramento darlings Cake, De la Soul, Modest Mouse and Kinky. Although the band had released numerous albums to date, it wasn’t until now that international attention would come, other than from the media.
The Flaming Lips’ live experience, not to be missed, features the band’s trademark samples and off-kilter personas. From the instrumental interludes down to singer Wayne Coyne’s vocal warblings, the band delivers a heady mix of synthesized and percussive music. Unfortunately, the only thing plaguing their upcoming show is their short set time.
“We’re playing about 55 minutes a night,” says Drozd, who normally likes to play more luxurious, extended sets. “We’re doing three or four songs from the new album and stuff from The Soft Bulletin, which a lot of people seem to like, one from Zaireeka [the band’s experimental album released on four, separate discs that could only be experienced running four CD players simultaneously] and we’re doing a cover which is a surprise.”
Aided by Mercury Rev studio bassist/producer Dave Fridmann, to whom Drozd refers to as the “fourth member of the band,” the band’s sound and imagery owes as much to space pop as it does to Fridmann. As Drozd points out, Fridmann’s role could be as simple as, “Why don’t you cut this chorus in half? Why don’t you play this faster?” to complete arrangements. “He’s been helping us make records since 1992.”
Perhaps the most striking quality of The Flaming Lips is their inability to cater to conventional song structure. As evidenced on the album’s pseudo-instrumentals, which are aided by various screaming and chanting—“Yoshimi Battles The Pink Robots Part 2” and “Approaching Pavonis Mons By Balloon”—radio singles weren’t even an afterthought.
The closest thing to conventional pop is the album’s opener, “Fight Test,” and “Do You Realize,” which did get sent to commercial radio without much response. Perhaps it’s this quality that keeps The Flaming Lips albums in college station rotation—currently top number 5 on CMJ’s nationwide charts.
After only the first night into the tour, Drozd is already talking about plans for the future. “We’ve been talking to Beck. He’s got a new record coming next month and wants us to be his backing band for a month. In the winter or late fall, we’re gonna do a tour and take a few bands with us.”
From experimental shows—the band did a whole national tour utilizing headphones and FM frequency—to unconventional tour billing, not everything has been smooth sailing for Drozd and company. Dubbed the “headphone dates,” the band played theater-size venues funneling their music through FM waves—each audience member was given a Walkman/radio device to experience the show in stereo. Regarding the dates, Drozd is quick to retort, “I’m not sure how much [the headphones] enhanced the show. If we start playing bigger places, I can’t imagine we’d go through it again. As far as tours, we did a Candlebox tour in 1994 as the support act. We were like the weirdest thing.”
Nah, really?
As of press time, singer/lyricist Wayne Coyne resides in Oklahoma City, while Michael Ivins and Steven Drozd live in New York.
While most couldn’t work under these conditions and living arrangements, it’s these circumstances that somehow further enhance the band’s sound and growth. The Lips’ ability to create boundary-breaking, yet commercially viable, music hasn’t been hampered yet.
Although lovehatetragedy reveals more about the childhood and personal experiences of frontman Jacoby Shaddix, aka Coby Dick, than should be allowed, his inherent passion and fervor reveal much more than a whining, self-loathing 20-something. From the opening track, the aptly titled “M-80,” to the ridiculously catchy chorus of “She Loves Me Not,” comes a nonstop barrage of cathartic metal. On “Decompression Period,” one of the album’s pseudo-ballads, Jerry Horton’s driving rhythms help break the monotony of an otherwise drab experience. Tobin Esperance surfaces as the primary songwriter, writing the bulk of the album’s standout tracks, like “Black Clouds” and “Time and Time Again.” In an otherwise congested, mediocre genre, Papa Roach succeeds in pushing the envelope of melodic nu-metal beyond Infest, its multi-platinum major-label debut, and the self-released efforts that came before it.
This year’s sixth California World Music Festival, an annual event that hosts a plethora of divergent acts from around the globe, held court at the fabulous Nevada County Fairgrounds in Grass Valley. Nestled on a few acres of rich soil and forest, the site was breathtakingly exceptional. So was the festival’s roster: From Mickey Hart & Bembe Orisha, local fiddle player Alasdair Fraser, Sol y Canto, the Wayfaring Strangers, Alice Peacock and the Nields, among others, you could experience a little from many cultures.
Entering the grounds, you couldn’t help notice the organizer’s attention to detail. Ornate drapery adorned the front of the main stages, there was a magnificent array of exotic foods—no stone was left unturned. Even the sound, a common problem at larger outdoor venues, did justice to the acts that drifted through the course of the day. Those who brought their children had a full course of kid-themed events throughout the three-day event—face painting, crafts, games, puppetry, musical workshops.
Still, it wasn’t until Zimbabwe’s Thomas Mapfumo & the Blacks Unlimited, one of Sunday’s premier headlining acts, took the stage that the festival hit its stride. Backed by a five-piece band—much smaller than his regular touring troupe—Mapfumo’s politically infused Chimurenga music was awe-inspiring. The band played material from the great Mapfumo catalog, including the latest double-CD offering, Chimurenga Rebel/Manhungetunge. The 2,000-plus spectators seemed to coalesce into one big dancing frenzy from the infectious, two-stroke backbeats that characterize Mapfumo’s sound.
Mapfumo has become a world-music icon, with over 20 albums to his credit. Judging by the immediate reception to his first couple of songs, folks already knew and appreciated his great body of “struggle music,” as it’s called. Here, rather than discussing world topics in great detail, Mapfumo and company kept the music coming.
Marred by a late start time—his set started almost 30 minutes behind schedule—Mapfumo’s set was cut short by almost 25 minutes. Not even obvious crowd approval and incessant applause could bring the band back for a quick encore. With her hands tied, the emcee moved on to the next act.
It was late Sunday night and I, along with countless others, decided to move on as well—toward the parking lot.
As good as the festival was, Mapfumo deserved a few extra songs. We knew it, and he knew it.
Live! Friday July 12, at Capitol Garage, 1427 L. St., with the Swords Project. Call for time and cover.
Hardly another posthumous slowcore act following in the footsteps of its idols, Windsor for the Derby has been releasing music since 1994, embracing the greater attributes of its contemporaries. Like many of Michael Gira’s projects, Windsor has embraced elegance over posturing and has captured melody though sparse arrangements—as on the fine opening track, “The Same,” or the closer, “Donkey Ride.” The Emotional Rescue LP succeeds with lush acoustics, piano and saxophone. “Now I Know the Sea” and “Awkwardness” are a few additional tracks that hint at this Austin, Texas-based quartet’s love for seminal Chicago textural acts such as the Sea & Cake. Windsor is currently on tour with Portland-based prog band the Swords Project throughout July; it’ll be interesting to see how its sound translates into the live setting. Odds are the show will be a real treat.
Ex-Faith No More frontman Mike Patton brings Tomahawk, his latest twisted combo, to town
7:30 p.m. Saturday, July 13, at Arco Arena, One Sports Parkway, $38.75-$42.75. Opening for Tool.
Live! 7:30 p.m. Saturday, July 13, at Arco Arena, One Sports Parkway, $38.75-$42.75. Opening for Tool.
Mike Patton’s past as frontman for one of the more important rock acts of the late ’90s still haunts him. After he joined Faith No More, the band moved from Bay Area cult status, rising from defunct clubs like the I-Beam and the River Theater, to take over the world within the year, with tour invites from Metallica and Guns N’ Roses and a gargantuan following overseas. Then Patton lost interest, and Faith No More broke up.
But Patton kept moving; maybe it’s because of his ADD. Since the first demo tape by Mr. Bungle—one of his many side projects—got released, Patton’s been anything but sedentary. He started his own record label, Ipecac, named after a solution that induces vomiting, and he’s drummed up a few musical projects—Maldoror, Peeping Tom and Fantomas among them.
Since 1999, Patton and partner Gregg Werckman, who once ran Jello Biafra’s Alternative Tentacles label, have been waving a finger in the face of conventional labels. Forget the profit motive; Ipecac has become a haven for Patton’s personal indulgences. “Ipecac 2002 is a full-figured year,” he enthuses, “with releases by Skeleton Key, Isis, Dalek, Moistboyz, Ruins, Young Gods, Steroid Maximus, Phantomsmasher, Yuka Honda and, hopefully, General Patton vs. the X-ecutioners.” The label acquired the Melvins’ back catalog and is striving to push the avant-garde envelope with confusing, dissimilar releases by the Kids of Widney High, Eddie Def and Kid 606.
“It’s a strange thing,” Patton says, “but somehow bands just seem to find us. I listen to an unhealthy amount of music in my everyday life as it is—so when something jumps out at me and seems appropriate, I jump back at it. Right now we’re actually a bit over-committed—too many great bands and not enough time in the year to release them all. Whenever you dig deep and get your hands dirty, you can always find something sick and twisted to put out.”
Patton will bring his new band, Tomahawk, to Arco Arena on Saturday, July 13, opening for Tool. Tomahawk, which features ex-Jesus Lizard guitarist Duane Denison, ex-Helmet drummer John Stanier and ex-Cows bassist Kevin Rutmanis, is touring to support its latest album, Tomahawk, released last Halloween.
As Patton explains the band’s genesis: “It begins and ends with Duane, our guitarist. So blame it on him. He initially approached me with some material that was more or less composed, and I added my special sauce. We then set out to find two miserable wretches who could share our vision and help bring it to life. Duane seduced John and I reeled in Kevin. They provided the solid foundation we needed.”
Tomahawk’s unconventional music is a twisted mélange of surf, rock and spaghetti western, and the band’s practice regimen is twisted, too. “The tunes on the record are Duane’s,” Patton says. “The rest of us just do our best to screw them up. A skeletal idea usually begins with Duane in Nashville. Then I fill in the blanks with vox, electronics and arrangement ideas in San Francisco. We then pass the tapes on to New York and Los Angeles to Dr. Stanier and Rutmanis for further examination.”
“We’ve done something in the neighborhood of four to five tours,” Patton adds, “maybe 150 to 200 shows? I never count these things; it can be too depressing! This Tool tour should be a hoot. It lasts about 2 1/2 months. I’m particularly looking forward to playing Arco, the sacred site where my Laker boys ripped the Kings’ heart out in game seven on their way to a three-peat!” [Editor’s note: Ahem, white courtesy cluephone for Mr. Patton—they grow tomatoes around here, and the locals know how to throw them.]
“But no touring plans after that,” Patton concludes. “Time to hibernate in the studio for the rest of the year.”
Deftones side project Team Sleep gets ready to saw a few logs of its own
A graphic from Team Sleep’s upcoming Maverick release, which got bumped from July to “sometime after next year’s Deftones album.”
Most side projects are abysmal, lacking scope. Perhaps they’re done for ego, or money. That isn’t the case with Sacramento’s Team Sleep, which features extremely gifted Deftones vocalist Chino Moreno and the drumwork of Hella’s Zach Hill.
After a successful West Coast tour, Team Sleep’s self-titled debut will be released by Maverick, Deftones’ longtime label, next year. Although the band’s members have busy schedules—Hill is also working with Primus’ Les Claypool; Moreno is busy writing songs for the next Deftones opus; DJ Crook and guitarist Todd Wilkinson are working on a yet-to-be-named project—Team Sleep managed to find time to write and record its CD, some of which was mixed by Terry Date, the noted record producer who’s worked hard-rock alchemy with Deftones, Soundgarden, White Zombie, Pantera and others.
“Terry is very subtle,” Wilkinson says, “and he really doesn’t get involved too much in song structure—mostly just sounds.”
Wilkinson, a guitar player from Sacramento, played his first proper live shows on the band’s last tour. He’s one of Moreno’s best friends, dating back to their high-school years. “I started playing when I lived with Chino about 10 years ago,” Wilkinson recalls. “He showed me how to play a few simple songs—mostly Smashing Pumpkins. From there, I experimented on my own. Using a four-track [home recorder] has influenced the way I play a lot; instead of learning how to play well, I learned how to layer parts. I’m influenced mostly by moods, not any guitar stuff specifically.” Wilkinson cites Smashing Pumpkins, Dinosaur Jr., Built to Spill, the Cure and Elliott Smith as influences.
The first shows of Team Sleep, which may tour later this summer, featured as support act a reunited Phallucy—a band that included Deftones drummer Abe Cunningham. Like any good tour, the shows had high and low points. “Knowing that certain people would be at the L.A. show made me nervous,” Wilkinson says. “It bugs the shit out of me, because I really shouldn’t care what they think, but I let it get to me still. Also, I had a lot of family there. I’m sorry for being so vague with the ‘certain people’ and ‘they,’ but I think you can imagine to whom I am referring.”
Not really. The usual crowd of L.A. music-biz hangout artists? Madonna?
“The best show was, for a number of reasons, San Diego,” Wilkinson continues. “It was the night after L.A., about midway through the tour. We woke up in San Diego and parked at the beach on a warm day. Everyone felt as though the pressure had been relieved, and we had fun all day. The club was a little corny, but it was a fun show. Because we were relaxed and confident, we got loose. I think that made us perform better.
“The worst was Santa Cruz,” he adds. “Sonny [Mayugba, guitarist for Phallucy and Daycare and editor for snow/skate magazine Heckler] kept trying to get me to play a solo during the last song. I did, and it sucked. It was getting close to Christmas and we were burned out. It was still fun, though—we just lacked the energy.”
Wilkinson says that all of Team Sleep members now live in Sacramento, now that DJ Crook moved here from Los Angeles. “It’s hard to get us all in one room at the same time,” he says, adding that occasional collaborations still occur. “I’m trading tapes with Dan [Elkin] from Pocket for Corduroy,” he says. “Me and Crook are working on other stuff that may or may not become Team Sleep. I’m lucky because I have many friends who are both cool people and not involved with other bands but, however, good musicians.”
The band’s chosen moniker is said to describe the band’s ethos and soundscapes. It evokes a bond between the members, based on Wilkinson’s humble beginnings as a high-school pal of Moreno’s. “The vibe of the music is somewhat sleepy,” Wilkinson says. “And I suppose that we are a team.”
Harlow’s usually isn’t the place to catch local music live. Sure, local promoters bring in offbeat national acts and locals during weekdays. But Harlow’s, on weekends, relies on such cash cows as Double Funk Crunch, Wonderbread 5, Tainted Love and others to pull in a crowd willing to pay from $10 to $20 to hear covers.
So Thursday’s last-minute show with Team Sleep, the new project featuring Deftones frontman Chino Moreno, was an anomaly on the club’s June calendar. Listed as a Soul Clap gig with special guests, the only promotion—sans a few color handbills at record stores—was a small mention on the Harlow’s calendar the night of the show. Unless you were hooked into Team Sleep’s e-mail list or visited www.teamsleep.com, you probably missed this rare appearance. But over 300 fans did show up.
Although Team Sleep stalled for what seemed an eternity—the show didn’t start until after 11—the band did not disappoint. With ex-Pocket for Corduroy guitarist Dan Elkan joined by Todd Wilkinson and Moreno, the guitar firepower emanating from the stage was larger than life, like an indie version of the Allman Brothers Band. On songs such as the opener “Blvd Nights” and crowd favorite “Solid Gold,” Team Sleep played with renewed vigor compared to its last Colonial Theater show—and appeared confident in its material.
Drummer Zach Hill, with his single-kick calisthenics and tricky stickwork, was the true star of the night, though. Unlike his current band, Hella, whose set lists usually time out around 20 minutes and feature a nonstop barrage of neo-prog rock played at 150 beats per minute, Hill showed his ability to lay down deep, cutting grooves behind his fellow bandmates, plus Rick Verlaine and DJ Crook. On tunes like the off-kilter “King Diamond” and “Kool Aid,” Hill was even afforded the opportunity to take center stage and mix up the beat contingent.
Among the many local celebrities in the audience was Moreno’s Deftones bandmates Chi Cheng and Abe Cunningham, plus members of Will Haven, Tinfed, and various 720 Records bands. Moreno’s followers, who made up more than half the audience, knew all the words to some of Team Sleep’s unreleased material, tracks like “Mercedes” and “Acoustic One.” Chalk that up to the wonders of Internet streaming. Team Sleep’s upcoming release is due in the fall.
A friend described the show in three words—“majestic,” “engaging” and … well, the other one eludes me. For the sake of argument, a simple “magnificent” will suffice.
Sacramento’s never really had much of a coffeehouse club circuit. Sure, if you counted places like Capitol Garage or Bella Bru for their ability to both serve a hot cup of joe and book live music, you might argue otherwise. But unlike San Francisco’s scene, the chances of finding a venue that was content with mostly acoustic music was next to nil.
So leave it to Art Luna—the owner, booker, cook and manager of Luna’s on 16th Street downtown who, over the years, has developed a loyal following of Lunaheads who will support live music from national and local acts—to carry the torch. From such out-of-town acts as Bitch & Animal and Norway’s Poor Rich Ones to locals like Sean Hayashi and Jacob Golden, Luna has maintained a high level of artistry without affecting the cover charge. His door prices range from free to $5.
A recent Wednesday night showcased two bright young local talents, Ruebi Freyja and Sarah Nelson. At one time Freyja was a Luna’s employee/waitress; Nelson is better known—until now—as the longtime girlfriend of Jackpot’s Rusty Miller. Unlike any other Wednesday night, the talent quotient, polished or not, raised the bar for these informal gatherings to new heights.
Freyja couldn’t have looked more at home, nestled as she was comfortably atop a barstool on Luna’s tiny 5×5 stage. Her set was akin to early Mazzy Star or Hope Sandoval’s latest work; it worked well given Luna’s spacey decor and earthy vibe. At times she stared at the ceiling as if to exclude the audience, only to return with a delicate chorus and a somber anecdote. At others, her strumming was augmented by the sweet sound of ceiling fans and the usual café business. It was during these moments of near-silence that Freyja, in all her splendor, shone brightest.
Nelson played a nice set of porch-styled odes that might best be compared to Lori Carson in her Golden Palomino years, or post-Poi Dog Pondering Abra Moore. Although some of Nelson’s endings were rather abrupt or, better yet, had no ending, there was an inherent charm in her onstage demeanor and her ability to work the crowd. Aside from the contributions of one rowdy friend, her set was thoroughly enjoyable. With her legs crossed and her hair slightly disheveled, Nelson’s “couldn’t-give-a-fuck” attitude couldn’t have been more apropos.
For the 30-plus patrons who filled the handful of tables, the show was more than a $4 commitment; it was a chance to realize what a treasure we have right here in Midtown.
Eddie
