This trio from Santa Rosa has been together for a little over two years. Out of the Fierce Parade is the band’s first proper release; its predecessor was sold in CDR format at the band’s live shows. Following in the vein of melodic emo and neo-Buckley acts, the Velvet Teen constructs a magnificent melange of new material, ranging from dreary, heart-wrenching ballads (“A Special Gift to You,” “Penning the Penultimate”) to angst-filled rockers (“Radiapathy”). Judah Nagler knows how to weave intricate stories of considerable depth and magnitude into three-minute singles. Holding court in the rhythm section is Josh Staples on bass and Logan Whitehurst on drums, two of the genre’s brightest new stars. Fans of Jeff Buckley’s Grace or defunct Sacramento act Birthday and its now-solo frontman Jacob Golden should find great reward inside these grooves.
Sacramento hasn’t caught on to the power-metal wave that includes Iced Earth and In Flames. Perhaps that’s why this colossal package tour skipped the Valley and chose San Francisco’s Great American Music Hall as its only Northern California date. Even on a cold Monday night, bad tour routing couldn’t keep the throngs of metalheads from traveling from the South Bay and Sacramento to catch the night’s headliners.
Although Göteborg, Sweden-based In Flames was second-billed to Iced Earth, the band clearly was the night’s draw. Not only did it debut tunes from its latest studio effort Clayman, but rarities from its 1997 album Jester Race made their way into the set list too. What separates In Flames from its metal brethren is its ability to blend melodic vocals with fierce, commandeering screams. From the opening track, “Bullet Ride,” to the night’s pinnacle, “Colony,” this five-piece showed why it’s the Nuclear Blast America label’s biggest priority. My favorite track from Whoracle, the epic “Episode 666,” even made it onto the set list, which spanned In Flames’ 12-year history.
What In Flames serves up is a sonic bath that falls somewhere between Iron Maiden and early At the Gates. On this night, frontman Anders Fridén resembled a younger Bruce Dickinson as he paraded around the Great American’s highly decorated stage. Much like the Iron Maiden configuration circa Number of the Beast, drummer Daniel Svensson and bassist Peter Iwers have become quite the capable rhythm section underneath the heavy-handed dual-guitar leads of Jesper Strömblad and Björn Gelotte.
Headliner Iced Earth, which hails from the United States, began its set with a special tribute to the U.S., with vocalist Matthew Barlow holding the American flag high. With patriotism and reverence in effect, Iced Earth launched into material from its Century Media catalog, playing for an hour and 45 minutes. But an hour into such Jon Schaffer-penned staples as “Horror Show,” “Dark Saga” and “Burnt Offerings,” it was time to take a breather.
Outside, members of Dragonlord, who live here in the Sacramento Valley, coerced me into In Flames’ tour bus, where the Swedish band played nine tracks from its forthcoming album, due in August. Surrounded by Fridén, Svensson and their label reps and touring entourage, my friend and I were able to experience the unmixed versions of the next chapter in the In Flames saga. Fridén talked about the recording process, his band’s upcoming U.S. tour with Slayer, Soulfly and Killswitch Engage, along with various bullshit.
Clearly, In Flames’ undertaking of the U.S. was proof positive that the band does have staying power, and will become the inheritors of the metal crown come 2003.
A friend once dubbed arena- and stadium-size events “piss gatherings,” referring to how a large crowd, confined, can lead to the destruction of a venue’s public restrooms. Although it’s an odd way to describe such live events, the term stuck. Where else could you find urinals and toilets in any more disarray than at a full-on rock show?
Incubus and Hoobastank, whose Honda-underwritten 2000 Civic Tour stopped at Arco Arena on a recent Monday night, exemplified this year’s ultimate piss gathering. Because of Honda’s support, floor tickets were only $23. By 7:45, the arena was at full capacity. Unfortunately, only those who braved the early lines were able to venture onto the floor or lower levels.
Agoura Hills-based Hoobastank, whose recent self-titled Island Records debut enjoyed one of the largest Soundscan jumps in recent years, was not only welcomed with open arms but had a serious contingent of fans. Only a short time ago, Hoobastank played The Boardwalk on a 300-capacity headlining tour. From the looks of this night’s performance, the band would have little problem selling out a Sacramento Memorial Auditorium-sized venue with a strong support act.
Athough a little too close to Incubus’ sound, the bulk of Hoobastank’s material—from its new album—was amazingly potent in a live setting. Singer Dan Robb seized the moment and ran about the 60-foot-by-60-foot stage area like a crazed madman. But the band’s 45 minutes passed by quickly.
Incubus, from Calabasas (near Agoura Hills) has become quite the melodic quintet since the horribly produced and titled Fungus Amongus. Singer Brandon Boyd has grown over the years and the core of Incubus—turntablist DJ Lyfe, guitarist Mike Einziger, bassist Alex Katunich and drummer Jose Pasillas—has become an adept group of songmakers. Although Incubus’ breakthrough was its 1999 album Make Yourself with the hugely successful track “Pardon Me,” it wasn’t until the release of its new Morning View that the band became a headliner.
With a sparse stage and light show, Incubus let its music do the talking, launching into tracks from S.C.I.E.N.C.E. and the rest of its Epic Records catalog. It wasn’t until its tepid version of “Pardon Me” that I left; a pit stop found the bathrooms destroyed by fecal matter and assorted fluids.
As far as piss gatherings go, the evening’s major-label package delivered the goods and then some. But pity that poor Arco custodial crew.
Die Trying is the kind of band that, in pursuing stardom, it may live up to its own name
Die Trying experiments with Triumph of the Will-like camera angles. That’s Jaasen up front.
Live! 7:30 p.m. Friday, April 12, CD release party at Scratch 8 Billiards, 120 I St., Old Sacramento, all ages, $8, with LUXT, Simplistic, Snapdraggin and Malcom Bliss.
The four young lads from Sacramento’s Die Trying have decided, for either anonymity’s sake or just being altogether difficult, to not use their last names. So, since its beginning last July, the band’s lineup is Jaasen on vocals, Steve on bass, Matt on drums and Jack on guitar.
If not for Die Trying’s stunning debut, Sparrows—about to be released on Papa Roach’s Evolver Records imprint—and its impressive live show, the band might be hard pressed to get those idiosyncrasies by anyone. After all, any act concerned with whether or not its name is written in all lowercase type usually has more internal problems than it’s willing to divulge.
Sparrows was funded by Papa Roach’s frontman, Coby Dick, who assumed the executive producer role along with co-production credits. Although it will come out on Evolver, it won’t go through the distribution setup DreamWorks—Papa Roach’s label—has with Universal Music. True to its DIY ethic, Die Trying will release its first pressing and hand-deliver it to record shops, and will be flogging the product at its live shows. The 23-minute, seven-song-platter represents Die Trying’s sound accurately; it’s an amalgam of snotty rock ’n’ roll metal riffage, and well-structured, radio-friendly anthems.
Die Trying’s members may claim such influences as Anne Rice novels, Zao, Guns N’ Roses, 311, Björk, Fugazi, Stone Temple Pilots and Danzig, but don’t be misled. This is big guitar rock, laden with swirling open chords, crunching metal riffs à la early Iron Maiden and topped with one of the most distinctive nasal vocal styles to grace the Sacramento Valley. One listen to the catchy title track about “how over time love fades and coming to terms with the fact that everything does end” or the band’s slam-dunk single, “Lo Pan,” should be a more than decent introduction to Die Trying’s unique blend of pop-punk, rock and metal styles.
Jaasen, the big-voiced frontman who works part time at a tattoo shop, has been lobbying obsessively for Die Trying since the band started up last year. You couldn’t see him anywhere without hearing about his band, whether it was recording, flyering the local haunts or playing. “We really believe that we have to do everything and anything to accomplish our dreams,” the singer admits, elaborating: “Recently, I woke up in a dream-like state and called [guitarist] Jack and said, ‘Let’s take over the airwaves today!’ ”
Following the storyline of the hit-movie Airheads, Jaasen and Jack did just that. “We snuck into a secured building and lied to security,” says Jaasen, recalling how the two of them entered the Renaissance Tower downtown, atop which KWOD is located. “We then demanded [KWOD DJ] Nick Monroe play us. He kicked us out quickly, but called us back a half-hour later and said he would play ‘Lo Pan.’ ”
What ensued was 15 minutes of prime airtime dedicated to the band’s cell-phone calls, its seemingly ill-fated and awkward entry into the studio and, most importantly, its music.
Die Trying’s favorite local acts—Tenfold, Simplistic, 7th Standard, Key to Arson, Papa Roach and Long Drive Home—have played a crucial role in helping to develop its fan base. Although not a headline act yet, Die Trying has been afforded the opportunity to play backyard radio parties with Papa Roach, support slots for 26 Weeks and Long Drive Home, and even the Crest Theatre. “We played [the Crest] with Tenfold and my mom watched us for the first time,” Jaasen says. “I almost cried. It was a very emotional set and the crowd rocked. I can’t thank [Tenfold] enough.”
The band’s goals for this year are pretty straightforward. “We want to play as much as possible,” Jaasen exclaims. Not afraid to express his real desires, in true Die Trying fashion, he adds: “We also want to expand our fan base, do some showcasing in Hollywood for the industry swine and kiss lots of girls!”
From the same label that brought you a glorious Hank Williams tribute, Robert Earl Keen and the latest Willie Nelson comes this proper re-release from Isaac Freeman, aka Dickie, a member of the sadly defunct Fairfield Four gospel group. His latest album, a mixed bag of spirituals and lazy, porch-derived ballads, shows off his chilling bass singing qualities; it originally was recorded for Kieran Kane and Kevin Welch’s Dead Reckoning label and features the Bluebloods backing him. Anyone enamored of the O Brother Where Art Thou soundtrack, which included Freeman, should enjoy these traditional gospel classics, all of them in the public domain. Freeman updates such staples as “Don’t Drive Your Children Away” and “Lord I Want to Help You” and manipulates his bass to full extent. Fans of the Canton Spirituals, Fred Hammond or even John P. Kee will find great reward here. Hallelujah.
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.
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.
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.
Mike Visser of Frank Jordan, of whom we won’t make any jokes about San Francisco city politics.
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.
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.
Eddie
