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.
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.
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.
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.
Eddie
