With 15 songs clocking in at just more than 20 minutes, the Ex Models’ latest release is the perfect soundtrack to eating a bunch of diet pills and spazzing out. Although this New York quartet has been around for only a short time, these self-appointed guardians of the current wave of spazz-core bands aim for the hip as much as the psyche. Imagine Devo’s first releases after a couple pots of strong Colombian coffee, or any of Alice Donut’s fare, mixed up with the vibe of Liars or Sonic Youth’s Goo, and you’ll start to understand Ex Models’ sound. From “Pink Noise” to “The Mystery of Brine,” the juxtaposing rhythms and off-kilter vocal arrangements owe as many nods to punk’s forefathers as they do to bad disco and 1970s acid rock. Pass the, uh, coffee.
“You wanna see Metallica at the Fillmore? I got an extra ticket,” said my good buddy from 98 Rock.
“Uhhh … let me think [pause for one millisecond]. Yes!” I exclaimed, realizing this was an invitation no self-respecting metalhead could refuse.
After a lengthy hiatus from music, Metallica made a triumphant return with a sold-out, four-night stand at San Francisco’s hallowed Fillmore Auditorium. The only way to get tickets was through the band’s fan club, by winning tickets on the air or by having a friend who worked in the music business.
Although rumors had run amok that Metallica traded its earlier sound (along with its onetime long manes) during the ReLoad era, the band proved otherwise, returning with a renewed vigor along with a slew of old-school classics and some blazin’ new material.
St. Anger, the band’s first recorded output of all-new material in several years, will be released on June 10. Though Metallica’s longtime label, Elektra, is keeping the album securely under wraps so it won’t be booted all over the Internet, the band managed to slip a couple of new tunes—“Frantic” and “St. Anger”—into its mostly vintage set list.
From the opening song, “Battery,” to “Master of Puppets,” the title track of the band’s third album from 1986, Metallica showed no signs of slowing down the pace. Singer-guitarist James Hetfield and guitarist Kirk Hammett worked the crowd into a frenzy during “Ride the Lightning” with their rhythm-guitar onslaught, while new bassist Rob Trujillo (the ex-member of Ozzy Osbourne’s band and Infectious Grooves who replaces Jason Newsted) pushed drummer Lars Ulrich to new extremes.
This night’s set list, unlike the previous three nights, showcased the band’s speed-metal agility and musical dexterity. On such slower, more subdued moments as “One” and the intro to “Welcome Home (Sanitarium),” both fans and band could catch a quick breather before being cast headlong into the thrash-metal fray of the first encore, “No Remorse,” and the fan-favorite second encore, “Breadfan,” the latter an obscure Budgie cover.
Because these shows were dubbed “rehearsals,” errors and mistakes were commonplace, and fans were encouraged by Hetfield to tell each individual band member when he messed up. Even the encore, “Breadfan,” was forced to a false start three times because of “tuning” problems while Ulrich jokingly berated the band.
Unlike the upcoming “Summer Sanitarium 2003” stadium-tour package—which features Linkin Park, Deftones, Mudvayne and Limp Bizkit—planned for July and August, these shows gave some hard-core fans a chance to experience the band up close and personal. (SN&R)
Following a number of visits from the fire marshal, the Capitol Garage now can hold regular shows again, with a posted room capacity of 150. The small all-ages venue had been chafing under local laws, newly enforced in the wake of the Great White fire in Rhode Island that killed 99. Capitol Garage’s previous capacity, 84, included band members, guests, staff, security and concertgoers; a rigid enforcement of that number drove the cover charges up markedly.
Last Saturday’s Capitol Garage show marked the return of Sacramento’s Hella, along with Relapse Records act High On Fire, which played locally for the first time. The Bay Area-based trio just completed a short mini-tour with Motörhead and the Dwarves and is doing a couple of shows during May to keep its chops up.
From the opening “Nemesis” to the crushing closer, a cover of Venom’s “Witching Hour,” vocalist and guitarist Matt Pike proved exactly why High On Fire—just like his former sludge-rock band Sleep—has garnered fervent critical acclaim recently.
Most of the material was drawn from the band’s latest release, Surrounded by Thieves; High on Fire also played a new, unreleased track. During its interpretation of Celtic Frost’s “The Usurper,” introduced by Pike as a song for black-metal fans, it was hard to find an audience member without his or her teeth clenched, hands doing the universal metal “devil-horns” sign, or who wasn’t causing some kind of ruckus.
The rhythm section was no chump act, either. Drummer Des Kensel laid down a ferocious percussive undercurrent against bassist George Rice, which had virtually everyone in attendance headbanging in unison.
It wasn’t until the caffeine-injected set from Hella that the audience realized just how much energy it didn’t have. Drummer Zach Hill—whose long list of side projects includes work with Primus’ Les Claypool and members of Dillinger Escape Plan, Deerhoof and Team Sleep—made everyone tired just from watching the syncopated bass-drum patterns slamming headlong against his trashed amalgam of broken cymbals and guitarist Spencer Seim’s incessant guitar lines.
If the caliber of the night’s show was any indication of things to come, the all-ages Capitol Garage should assume its rightful place alongside such San Francisco staples as Bottom of the Hill and Slim’s in no time. Bands are stopping in the River City and drawing crowds once again without being hemmed in by the constraints of overzealous city officials. The Garage’s calendar is filled for May, June, July and beyond, so you have no reason to stay home.
Hella will release an EP on Suicide Squeeze on June 10, a reissue of the release already available on 12-inch vinyl, and High On Fire is preparing for a possible King Diamond tour and a new October release.
Of all the half-assed attempts at hard-core metal these days, Shai Hulud—along with a handful of others—manages to create uplifting, melodic hardcore that connects with the heart and soul of the genre. That Within features the capable pipes of vocalist Geert van der Velde pitted against the grainy, distortion-soaked guitar delivery of Matt Fox. On “Scornful of the Motives and Virtue of Others” and album standout “Being Exemplary,” one can sense the urgency and immediacy of the band’s politically charged agendas. Drummer Tony Tintari and bassist Matt Fletcher make up the band’s rhythm section, which throws a healthy dose of aggression against a backdrop of melodic vocals. If tracks like “Unnerving” are any indication of what’s to come from Shai Hulud, we may want to keep this band on our radar. (SN&R)
Since 1992, John Darnielle’s Mountain Goats have undergone various lineup changes. Tallahassee continues Darnielle’s dark ride inside the psyche of a couple destined to break up. He’s aided here by Extra Glenns member and friend Franklin Bruno and multi-instrumentalist Peter Hughes. The result is a luscious, 14-song, folk-influenced affair laden with Darnielle’s dry humor and awkward, off-kilter delivery. On “Southwood Plantation Road” and “International Small,” you can smell the late nights and wine-soaked carpets from which they must have been created. Though Darnielle isn’t looking to inherit the throne of Dylan or Springsteen, for the moment he is another talented songsmith gracing the indie-rock club circuit. Check the Mountain Goats out before Darnielle loses interest and moves on.
You may remember Crooked Fingers’ Eric Bachmann from his former band, noise merchants Archers of Loaf, which enjoyed considerable college-radio and media attention in the 1990s. Unlike his former band, Crooked Fingers showcase Bachmann’s songwriting prowess and arrangements. Red Devil Dawn is actually the Fingers’ third release and the first of the band’s for Merge Records, also responsible for the latest Imperial Teen and Radar Brothers sides. On “Don’t Say a Word,” we’re treated to the violin work of Andrej Curty and the shuffling rhythms of drummer Brian Giblet. Although comparisons to Nick Drake and Tom Waits are inevitable, there also are subtle nods to early Neil Diamond and even Leonard Cohen. (SN&R)
If you’ve ever witnessed one of this singer-songwriter’s shows, chances are good that this more-than-75-minute live collection will bring you back to that hilarious night. Snider’s inherent ability to wield beautiful songs amid a flurry of jokes and stories works alarmingly well. As evidenced on the album’s opener, “Tension,” Snider has grown leaps and bounds since his early career on MCA. Now a few albums deep with John Prine’s boutique label, Oh Boy, the obligatory live album was bound to surface. Unlike most live efforts, this mobile recording displays Snider’s warmth and sensitivity as well as his humorous, nonsensical side. One listen to “Easy Money” or “Talking Seattle Grunge Rock Blues” should make fans of both John Gorka and Darryl Purpose gleam with delight. Funny stuff.
This compilation includes three entire albums—Slide It In, Whitesnake ’87 and Slip of the Tongue—plus B-side and album outtakes. The first two albums featured the songwriting and heavy-handed guitar work of the gifted John Sykes. Even “You’re Gonna Break My Heart Again” and “Looking for Love,” tracks that didn’t make the cut for the band’s breakthrough album, are easily better than any current or classic-rock fare. Unfortunately, the latter album found singer David Coverdale struggling not only with his identity as a songwriter but also with his bandmates. His short-lived all-star studio and touring troupe—featuring Steve Vai, Tommy Aldridge, Rudy Sarzo and Adrian Vandenberg—lasted only a short time before album and ticket sales forced it to disband. This year’s touring configuration is even less impressive. It’s time for a real Whitesnake reunion, not a self-indulgent, money-grubbing affair.
Formerly local hip-hop duo Blackalicious returns to play the stage above an old basement haunt
Blackalicious’ Chief Xcel and the Gift of Gab, back in Davis to recapture that SoleSides vibe.
Live!
8 p.m. Wednesday, February 26; at Freeborn Hall on the UC Davis campus; $16 advance and $18 at the door. For more info, call (530) 752-2571. With the Lifesavas.
If you were hanging around downtown Davis during the early 1990s, you might have heard rumblings about some far-out shows happening on UC Davis’ radio station, KDVS. Those broadcasts, which featured future Blackalicious DJ Xavier Mosley, now known as Chief Xcel, were first-rate. It wasn’t uncommon to see DJ Shadow, the SoleSides crew and the Blackalicious members holding court in the studio, alongside a slew of talented local and regional MCs.
The two members of the conscious hip-hop duo Blackalicious, Chief Xcel and Gift of Gab (né Tim Parker), remember their local roots, beginning in the late 1980s at Kennedy High here in Sacramento. And, unlike a majority of major-label hip-hop collectives, the two have remained true to their fans and their music. Unhampered by their recording agreement with MCA, they were allowed complete autonomy to record and write their MCA debut full-length, Blazing Arrow, which featured a number of guest cameos and sold well more than 300,000 copies. Blazing Arrow was a slab of street-smart hip-hop that continued on the momentum of Blackalicious’ early independent releases on Quannum Projects, the Bay Area label that evolved out of the Davis indie label SoleSides, and even on the group’s first EP, Melodica (SoleSides, 1997).
Blackalicious is about to enter pre-production for its next release; before that, the duo is staging a quick blast of West Coast shows. “I’m really thankful for everything we have, really,” Blackalicious’ MC the Gift of Gab said over a cell phone from Seattle, while nursing a bad cough. “I’m thankful, I’m humble, and we’re still working hard. It’s not like we make a record, and that’s the end of it. I mean we all do work, we put it out, and then we do more work.”
Right now, Gab said, the duo’s energy is focused on getting a new album together. “We like to make sure our work is done before we put it out,” he said. “The album’s in the embryo stage at this point, and we plan to record most of it at the Compound”—Blackalicious’ Bay Area studio—“and maybe the East Coast ’cause it’s good to get out there and mix it up. We’re more comfortable recording at home, and we keep the work ethic up.”
Last year, Blackalicious traveled overseas, headlining venues and landing the coveted support slot on last year’s Public Enemy U.S. tour. “I believe we were requested,” Gab said. “It was almost a blessing in disguise. It’s like playing with our heroes. The last date of the tour in San Francisco was easily the best show of the tour, playing alongside P.E. for our people.”
Blackalicious’ live crew is Gab and Chief Xcel along with Lateef, Omega, Bear and soundman Will Prince. But in the studio, it’s another story. “Because of the nature of what we do, it’ll always be myself and Chief Xcel,” Gab pointed out. “Blackalicious will always remain a duo.”
Among Gab’s ambitions for this year is landing a new tour. “I’d most like to tour with George Clinton and Parliament,” he said. “I’m a big P-Funk head. I’d also like to go out with the Roots because they have a really intense show. If we went on the road with ’em, we’d be forced to take it to the next level.”
Other projects include a Gift of Gab solo album, to be released on Quannum later this year. As for turntablist Chief Xcel, he will collaborate with touring Blackalicious member Lateef on a new project called Maroons. An EP is due later this year.
Wednesday’s show at Freeborn Hall will be a homecoming of sorts for the duo, now based in Oakland, as it plays the venue that still sits above the hallowed KDVS basement studios. Odds are you will be able to find the guys hanging out downstairs before and after the show, mining the record vaults.
“Every now and then, I like to go back to KDVS and hit the listening booth,” Gab said. “It’s just a part of our history, you know?”
Strapping Young Lad’s Devin Townsend not only can write an ultra-heavy album’s worth of over-the-top metal, but he also produces. SYL lets Townsend show off his musical aptitude along with his recording prowess. Aided by the monstrous rhythm section of bassist Byron Stroud and everybody’s favorite drummer, Gene Hoglan, guitarist Jed Simon adds to the already mammoth-sized sound. Even though songs like “Dire” and “Relentless” deal with 9/11, Townsend’s passion and vocal strength remain intact and sincere. Although Townsend had been absent from the scene—producing and recording takes up the bulk of his time—one listen to the emotionally charged “Rape Song” or “Dirt Pride” will lay waste to any predictions that he has lost his edge. As luck would have it, this new release is timed perfectly with the band’s first massive national tour with Egyptian metal god Nile and England’s Napalm Death.
Eddie
