2002

Heroes of FM radio’s glory days go casino

Eddie April 4, 2002 0 Comment

I was too young to experience the enormity of stadium shows in the ’70s. It was during this time that the lads of Kansas experienced monstrous exposure with two classic-rock radio staples, “Dust in the Wind” and “Carry On Wayward Son.” However, despite its classic-rock reputation, Kansas was not a classic-rock act, but rather a progressive-leaning ensemble with a penchant for the lengthy opus and a multitude of stringed instruments, particularly the violin. Anyone attending the band’s concerts would soon realize the breadth of musical knowledge found within.

Although Kansas was signed to Kirshner, promoter/mogul Don Kirshner’s custom label through Epic, its first couple of albums went relatively unnoticed. It wasn’t until such albums as Leftoverture and the multi-platinum Point of Know Return that the band hit its stride. From clubs to stadiums, arenas to ballrooms, Kansas has consistently delivered quality music and stellar musicianship above everything else.

A recent Saturday show at Caesar’s Tahoe featured all original members sans original bassist, Dave Hope—replaced by the able Billy Greer—and the welcome return of original guitarist/songwriter Kerry Livgren. From the night’s opener, “Belexes,” an obscure track from the band’s self-titled 1974 debut, to the closing etude of “The Pinnacle” from Masque, the night’s set list couldn’t have been any more spectacular. Singer Steve Walsh held fast at the keyboard and remained reserved while violinist/singer Robby Steinhardt commandeered the showroom stage with reckless aplomb. Phil Ehart played tracks like “The Wall” with considerable taste and reverence for the original versions, while bassist Greer provided a solid foundation and spot-on background vocals.

The band’s humble beginnings mirrored that of an early Peter Gabriel-fronted Genesis or Tales of Topographic Oceans-era Yes, where 10-minute-plus songs were commonplace. Like Yes, this show could’ve been Kansas’ version of The Masterworks tour, where Yes played only its most daring, over-the-top, extended songs.

The show, one of a handful of U.S. dates listed on the band’s Web site, was an anomaly in its tour schedule. Were it not for a billboard sign and weekend billing, Kansas might have been hard-pressed to fill the 1,500-capacity showroom. As it stood, the band played to a full house of boomer-aged fans hell bent on hearing the night’s closers, the hits. Perhaps the majority of the crowd didn’t appreciate the subtleties of the “Icarus” suite as much as I did. After all, progressive music isn’t setting the retail world on fire these days. Perhaps just seeing some living legends produce their vintage, unabridged versions didn’t make the grade. Nevertheless, I had a splendid evening and was able to experience, for a brief moment, a slice of their past.

(SN&R)

Andrew W.K.

Eddie April 4, 2002 0 Comment

Whenever Rolling Stone gets wet about an artist and lists it in its “Artists to Watch For” feature, you can’t help but notice. Unfortunately, Andrew W.K. is the inside joke that nobody—including his haphazardly assembled band of New York hair gypsies—gets. I Get Wet is either anthemic party rock (check out the tepid “It’s Time to Party” or “Fun Night”) or obnoxious bar banter. If “I Love NYC” is a tribute, it certainly wasn’t commissioned by the city. And if NME doesn’t stop heralding Andrew W.K. as the second coming of Nirvana, the fate of England’s music scene may be in danger. Donald Tardy, ex-drummer for death-metal stalwart Obituary, may be the band’s only saving grace. Notes Andrew W.K in a recent interview, “This record is about ‘not stopping’ in every sense of the word.” Pressing stop is, however, the greatest joy you’ll receive from this piece of trash.

(SN&R)

Wurdulak

Eddie March 28, 2002 0 Comment

Wurdulak is another project from the overworked and underpaid Killjoy, frontman for seminal late-’80s horrorcore outfit Necrophagia. He’s enlisted some excellent players from both obscure and better-known bands, including Iscariah from Immortal on bass, Jehmod from Bloodthorn on drums, and Maniac from Mayhem providing his trademark howls and sepulchral screams. The remaining members—Ihizahg from Perished, Frediablo from Gorelord and Fug from Soul Forsaken—provide a wall of guitars. Wurdulak is mid-tempo black metal akin to Hecate Enthroned, Eibon, Satyricon or Ancient Rites, featuring lyrical contributions by Bard Faust and Maniac. Fans of Onslaught or early Slayer will enjoy “Containment of Inferno” or the epic opener “At One With the Beast.” One listen to Wurdulak’s latest should be enough to elicit a desperate rash of unacceptable behavior. A must-have for Killjoy enthusiasts.

(SN&R)

Stretching out with Frank

Eddie March 28, 2002 0 Comment

Sacramento’s greatest trio, Frank Jordan, plays what’s being billed as an “extended set” this Friday at the all-ages venue Capitol Garage. The gig marks the release of the band’s triumphant new EP, Enemies, an eight-song CD from Tustin, California-based indie label Cornerstone R.A.S. The disc features three new studio tracks, plus five tracks that were taped at a showcase in Burbank for LiveUnsigned.com. Singer/guitarist Mike Visser has never sounded more focused than he’s sounding these days on the band’s recurring melodies; such new songs as “Redefine” and “No Valid Lie” could easily be mistaken for lost Jeff Buckley outtakes, circa Grace. Drummer Devin Hurley and bassist Matt Ontjes make for an odd pairing, too, with Hurley’s open shuffling beats and Ontjes’ minimalist lead bass lines. Frank Jordan’s ability to fuse dischordant emo stylings with traditional rock sounds should translate into a fine evening of music. Opening the show is the ever-popular ENT, which may or may not have been named for J.R.R. Tolkien’s talking trees. Capitol Garage is located at 1427 L St.; doors open at 8 p.m. The cover charge is rumored to be $5. Call 444-3633 to confirm.

(SN&R)

Neil Halstead

Eddie March 14, 2002 0 Comment

Neil Halstead, the former singer-songwriter-guitarist for Slowdive who still plays with Mojave 3, sounds at ease here. Halstead’s latest album is his first attempt at a solo project. The nine-song album reportedly came about as the result of a failed personal relationship, which culminated in the usual outpouring of new material. While literally sleeping at the studio where Mojave 3 was recording its most recent album, Halstead was able to lay down some tracks that would eventually become Sleeping on Roads. Such numbers as “Two Stones in My Pocket” and “Driving With Bert” feature a beautiful recurring trumpet line, and are some of the best material that Halstead’s written. Aided by Ian McCutcheon, Nick Holton and others, Halstead has succeeded in making a well-balanced, relaxed solo debut.

(SN&R)

Hessian blood spilled in Orangevale

Eddie March 14, 2002 0 Comment

The return of Connecticut’s Hatebreed to Orangevale’s Boardwalk was greatly anticipated by the throngs of hardcore metal kids in attendance. Wednesday’s show, a five-band tour de force featuring Poison the Well, Bane, What Feeds the Fire and Sworn Vengeance, showcased some of the greatest talents in hardcore. Recently signed to Universal Records, Hatebreed—whose last full-length offering on Victory Records landed the band several coveted tours, including Ozzfest, Sepultura and even the mighty Slayer—finally made good on its promise to return to the Sacramento Valley.

Poison the Well was the obvious draw of the night. The Florida-based five piece, touring in support of its latest Trustkill Records release, elicited an overwhelming response from the crowd, which numbered over 300. Fusing melodic vocals with bludgeoning guitar lines and incessant, plodding drum attacks, PTW’s delivery heralded the official arrival of a major force on the hardcore scene.

After only four years and two full-length releases, PTW has seen its audience grow exponentially. Singer Jeffery Moreira led the band through a fast-paced set of new and vintage material. Guitarists Ryan Primack and Derek Miller worked alarmingly well together, as evidenced on tracks from the new album, Tear From the Red. And drummer Chris Hornbrook, whose subtle drum nuances, coupled with Mike Gordilla’s rock-solid bass playing, made for an outstanding rhythm section.

Hatebreed was on tour to support the aptly titled album Perseverance, which hits stores on March 26. After touring solidly for almost four years, Connecticut’s most consistent hardcore act was back to prove who is boss. Although some of Poison the Well’s fans had left, the 200 or so left standing were treated to some of Hatebreed’s finest moments. Even material from its Under The Knife EP and some obscure, early tracks found their way onto the setlist.

Jamey Jasta’s abundant energy led the band through a quick set of original material. Guitarist Lou Richards and bassist Chris Beattie displayed more energy during the brief set than most bands do in their lifetime. After two full-length releases, a slew of vinyl releases and appearances on numerous compilations, the band was rife with anticipation to play music from its new album, which also caused some serious circle pits.

Hatebreed’s latest album, featuring such standout tracks as “Spill the Blood,” should make more than a few critics’ top 10 lists and top the CMJ Hard Rock charts for another couple of weeks. If you’re looking for the soundtrack to your next act of vengeance, you’re gonna have to own this one. Let the blood spill.

(SN&R)

Flying by instruments

Eddie March 7, 2002 0 Comment

The stars must be aligning in all the right places for drummer Zach Hill and guitarist Spencer Seim, aka Hella, arguably Sacramento’s most explorative instrumental group. After only a few months on the scene, the duo landed a deal with 5RC, an imprint of the Olympia, WA-based indie label Kill Rock Stars, which in turn recently linked a distribution deal with Touch and Go Records—just in time for Hella’s magnificent debut. Hold Your Horse Is will be out on March 19, but Hella will have copies for sale at its March 9 CD release show at the Capitol Garage. Also on the bill are labelmates Xiu Xiu, Godzik Pink and Slimmoon, which are touring the country together. If you’re looking for a diverse bill with a cross-section of indie fare, you best get yourself down to the Garage at 1427 L St. The show starts at 8 p.m., cover charge is $6, and the show is all ages.

(SN&R)

Tapa the papas

Eddie February 28, 2002 0 Comment

Spanish band Migala will make a rare appearance at Old Ironsides this Saturday, March 2. The Madrid-based band’s latest release, Arde, which came out last summer on Sub Pop, features some of their friends from the boutique indie label Acuarela Records, which released Migala’s first two discs. Migala fuses swaying rhythms and beautiful spoken-word rants over delicate clean-channel guitar, as demonstrated on Arde’s “Suburban Empty Movie Theater” or the lovely “El Caballo del Malo.” If Tindersticks met up with the Aqua Velvets in a dark alley, this band might be the result. Also on the bill are For Stars, a San Francisco band that records for Future Farmer (which has released discs by Jackpot, The Mother Hips, The Toadmortons, and numerous Bay Area acts), and Victory Gin, Sacramento’s closest relative to Jeff Buckley or Sonoma County’s sadly defunct Mason Lane. The show starts at 9:30 (get there early to catch Migala), door charge is $7, and the show is 21 and over. Old Ironsides is located at 1901 10th St.

(SN&R)

La Makita Soma

Eddie February 28, 2002 0 Comment

La Makita Soma, a mostly instrumental five-piece band from Chicago, is all about the vibes. The vibraphone, that is. Unlike Mercury Program and such fellow Windy City post-rock acts as Tortoise et al., LMS might have worked as a score in Orwell’s original 1984 film adaptation featuring John Hurt. Occasionally the group dips into prog-like jams reminiscent of Magma, early Kansas or Gong (“Lexington & Campbell”), then enters indie-pop territory on “South on Western.” At times, there’s even a 5ive Style influence. Travis Stewart (guitars, vibes, trumpet) and Mark Ludemann (bass, vibes, keys) are able musicians who effectively meld disparate instruments with great effect alongside Derek Irvin (drums), Dan Snazelle (keys, bass) and Todd Marek (keys). “Spaceship” even features a nice freestyle by Hi-Fidel. After all these spaced-out keyboard jams, you may want to ease up on the pharmaceuticals.

(SN&R)

Slayer in the city

Eddie February 21, 2002 0 Comment

Opening for Slayer must be the pinnacle of any self-respecting hardcore or metal band. Unfortunately, a Slayer audience is extremely hard on bands that don’t cut the mustard. An endless barrage of expletives and middle-finger salutes usually follows until the poor band’s only saving grace—its final song.

Diecast, a five-piece hardcore/metal combo from Boston, handled the task during a recent show at San Francisco’s Warfield Theatre with considerable ease. Showcasing material off its latest CD, Day of Reckoning, Diecast plowed through 30 minutes of well-calculated mayhem. The band’s subject matter—apathy, inner persecution, perseverance, unification—worked well with the crowd.

Singer Colin Schleifer commanded the stage with considerable bravado. Such tracks as the bludgeoning “Disrepair” and “Singled Out” sounded larger than life; unlike most opening bands, Diecast was treated to an extraordinarily good house mix. Drummer Jason Costa, the only long-haired boy of the bunch, looked like a shoe-in for the vacated Slayer drum throne rather than the drummer for an East Coast hardcore outfit. Costa’s warp-speed double-bass patterns and—get this—traditional-style drumming (e.g., Buddy Rich, Gene Krupa, Art Blakey) were bludgeoning to say the least. Diecast’s dual-guitar assault set the Warfield Theatre ablaze and rocked the house into submission.

This show signaled the temporary return of Slayer’s original skinsman, Dave Lombardo, who’s been busy with spazzcore heavyweight group Fantomas. Opening with “Disciple,” a track from last year’s God Hates Us All, L.A.’s original spawn of Beelzebub and hell’s house band, Slayer, proved that it’s still the progenitor of death metal. Guitarists Jeff Hanneman and Kerry King, aided by a wall of Marshall stacks, traded leads during such staples as “South of Heaven,” “Mandatory Suicide,” “Hell Awaits” and “Angel of Death,” the night’s closer. Even such obscure tracks from an early EP as “Captor of Sin” and “Chemical Warfare” sounded fresh and alarmingly updated in the live setting.

Perhaps the only disquieting factor was singer Tom Araya’s lack of enthusiasm. Sadly, his father passed away during the tour; the band postponed several dates before its Warfield show. Although Araya didn’t make mention of his recent loss, it was apparent than he wasn’t ready to partake in his usual between-song banter. Fortunately, the enthusiasm of the crowd and the performance of the entire band—Lombardo in particular—more than made up for any of Araya’s facial expressions and sparse rapport with the crowd.

To this longtime Slayer fan, the band’s work ethic and ability to carry on was impressive—as was Araya, who didn’t hide his emotional pain under a death-metal guise.

(SN&R)