Nevermind The Posers

See ya in the pit.

Streetlight Manifesto and Reel Big Fish December 16, 2011

Filed under: Concert Reviews — NVMP @ 8:17 AM
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Review by Jake Davis

Rodeo Ruby Love

When buying tickets to a show with either Streetlight Manifesto or Reel Big Fish, any skanker worth his checkered shoes knows he’s in for a good show.  Nonetheless, I entered Webster with a certain amount of apprehension.  Could all the stories people have told me about these two bands live be untrue?  My friends, I come to you with joyous news.  I have seen heaven on stage.  I can say with all certainty there isn’t a better live show than Streetlight Manifesto or Reel Big Fish, and the fantastic openers that preceded them.  On that note, certainly the biggest surprise of the night was not one, but two amazing openers.  I will say the first band, Rodeo Ruby Love, even though they were a great act, seemed a little out-of-place.  The Indiana natives have a wonderful mix of upbeat ska tunes (oddly lacking a brass section on stage), the best of which was a horn-tinged number called “Rickey Henderson.”  They were a little soft and slow in tempo compared to the rest of the groups, and because they were opening the show, had a bit of a lukewarm reception from the rowdy bigger-name hungry audience.  The best part of the suspicious interaction between band and crowd was the extremely funny self-conscious looks of complete uncomfort the rhythm guitarist had on his face.  To top it off, their mixing seemed a little off, drowning out the vocalists with guitar fuzz.  Listening to them now, I cannot say enough good things about them, considering their tight sound and often-hilarious lyrics.  My one piece of advice to the band: Give Annie Cheek (the female vocalist) some sort of instrument on stage so she doesn’t stand there looking so endearingly awkward as she waits for the next bit of her lyrics to kick in.

Lionize

The next band to play was Lionize, who my friend dryly remarked that he wouldn’t want to meet any of these guys in a dark alley, are certainly a physically imposing, heavily  bearded band.  When a huge white guy, decked out with a lumberjack beard came out on stage, my first reaction was, “Oh, God, another lame, loud, grunge knockoff band.”  Readers, learn to never trust my first impressions.  To start, the lead singer had a beautiful voice, and his crystal clear lyrics cut straight through the crowd.  This is one band that no one saw coming, but no one wanted to leave after their first song.  Between a wonderful vocalist, a truly amazing keyboardist who laid out incredible organ riffs and superbly tight drum lines, this band impressed like no other.  Its one thing going into a show and knowing the band will be great and another matter entirely for one to come out like a bolt out of the blue. This is one hard-edged reggae band I’ll keep coming back to again and again.

Streetlight Manifesto

And now, the moment I couldn’t wait for…Streetlight Manifesto takes the stage.  The opening notes of “Watch It Crash” hit our collective audience ears.  No matter how steady I wanted to keep my camera, I couldn’t help but screaming “Mercy, mercy, mercy me!” when the chorus came about.  They played an incredible set, I only wish it lasted longer.  They played 10 amazingly created songs.  I cannot express how great they were, but I must confess, Reel Big Fish I looked forward to more and was ultimately more entertaining.

When they came on stage accompanied, of course, by the Superman theme song, the crowd just about lost it.  I think a sweaty, shirtless man next to me began to cry.  I rushed to the front of the photo pit, and used the majority of my camera’s memory on this incredibly charismatic band.  They danced, sang, make bawdy jokes, sang “Suburban Rhythm” countless times in different styles and took pity on the short kid among the huge security guards and looked right at the camera multiple times.  If that grandiose run on sentence didn’t prove it to you, they were unbelievable.  Better than anyone had ever told me, and I implore anyone to see them.  Take a train, bus, learn to fly, rent a camel, I don’t care.  Just go.  This band gets me so excited, and really, as the guy in the “Bitchin’” shirt could tell you, you should be too.
 

 

Worst Tour Name Ever; Bands, Not as Bad November 18, 2011

Filed under: Concert Reviews — NVMP @ 12:46 AM
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Review of the Rock Yourself to Sleep Tour in San Diego

By Orin Jones   Photos by Leo Malevanchik  (click on the thumbnails below for a slide show and a better view of these phenomenal shots!)

Ah, good old all-ages SOMA Club,San Diego,CA.  When I saw Girl Talk here a few months ago, the crowd was slightly older than it is tonight, but not by much.  I’m 32 – easily twice the age of the average age of a SOMA attendee.  At least photographer Leo is nearly twice my age and, unlike most of these fans, he’s finished growing.  Never ceases to amaze me: the more time passes, the more cell phone screens shimmer across the crowd.  How do venues prevent bootlegging when most of the viewers are video recording? I guess we’re finally past the dark era of charging for (low-quality) informational content…right? Please? I wore my black Chucks and so did everyone else.  Hey, at least I fit in a little.

Couldn’t figure out what time the freakin’ show started, so we missed the first few act: Memphis May Fire, Serianna, and Atilla.  Well, we caught the end of one band, who were actually quite good, but no idea which one.  Before the next band came out, there was that awkward time that always comes between bands at any show, of any style of music (like during sex, when you break to pee).  I walked Leo to the “photo pit,” the area between the screaming fans and the stage, where the largest bouncers lurk, incessantly pushing limbs and bodies back over the rail, or lifting them in to be briskly escorted out the side.  I stood chatting with Leo at the entrance to this area; without a wristband, I couldn’t go in.  Suddenly, the lights dimmed and the crowd went bezerk.  My head was only a few inches from a set of speakers larger than my bedroom.  I moved a bit back and Leo began snapping pics.

On the way in is a large banner: “IF YOU PUSH, THRASH, KICK OR MOSH, YOU WILL BE IMMEDIATELY EJECTED!” Of course, hundreds around me were doing all of these things; I considered getting into it, but meh.  It has probably been over a decade since I moshed.  At least I’d like to know a song or two to get pumped.  The band, A Skylit Drive, was so-so.  Actually, the guys on instruments were quite good — steady rhythms and lots of energy.  But I couldn’t get over the lead singer, a short, funny looking guy, reminiscent of Riff Raff, the handyman from Rocky Horror Picture Show.  ASD, if you’re reading, get rid of this dude.  The other singer on stage, the more nondescript one, had a better voice, less effeminate moves and even (with the mic) took a running start before diving over the photo pit into the crowd.  Each band-member wore jeans tight enough to cause injury, as did all of their fans.  Showing my age yet? Gosh I hate when bands tell me to wave my hands, but the crowd was into it.  At one point, the singer intoned, “This next song is about sex, drugs and rock and roll.” The crowd roared as I puked in my mouth a little.

Before the final band took the stage, I went to the smoking area with Leo.  He told me that during the set he’d almost been crushed many times by kids landing all around him.  Also that, at one point, the lead singer had jumped onto a ledge mere inches from Leo’s very expensive camera equipment.  He was also being showered, as band members were spraying and spitting water everywhere.  The climate was sultry, to be sure, but I don’t know.  I just can’t help remembering back to concerts of my youth, where bands sprayed beer and passed joints as large as…well, me at the time.  I kinda miss that.  I moved for a few girls to pass through.  An obese Mexican kid crouched against the wall hollered at them: “Wanna talk to my friend? He’s 14 years old and drunk as fuck!” I guess the spirit is still alive somewhat.

The next band, headliners Alesana, was more to my liking but still not great.  The crowd galvanized.  Like the previous bands, the members were mostly in their young twenties.  This group, however, had one older bald guy, maybe my age or a little older even.  He was the designated screamer.  Is this “screamo”? Guess so.  I couldn’t understand a word out of his mouth.  Between songs, the lead vocalist (not a screamer) told us, “This next one’s called ‘The Murderer.’ It’s a song about a guy who walks into a bar, locks the door and kills every son of a bitch inside.” The drums, guitar and bass began, followed by incomprehensible screaming.  I LOL’d.  The song might just as well have been about Mother’s Day.  I used to rock out to Deicide and Cannibal Corpse, which have even more cryptic lyrics (like “Satan spawned the Caco Daemon” ad infinitum), so I really can’t talk smack.  Seems that at some point in some teens’ lives, they feel the need to listen to shitty music.  They probably don’t like these awful sounds either, but know it bothers everyone else, and that’s just how they’re living their thus far meaningless lives.  The screamer’s faded “And Justice for All” tour t-shirt was too small, exposing his beer belly.  Wonder if he was around for that tour, or just bought it at a vintage store.  I would’ve loved to hear a cover off that album, although Alesana probably couldn’t, due to licensing restrictions.  Fucking Metallica.

In the lobby, a tiny blonde tween pushed her near-twin-tween friend to meet one of these rock stars.  I got a close look at this guy: sweaty, pale and donning dark shades (inside, at night), he resembled a fatter, more depressed Lars Ulrich.  Or a morose zoo beast.  He clearly needed another bump, or at least a record deal.  Were there any here tonight? What the hell was the point of this “Rock Yourself to Sleep” tour put on by Motel 6, what the fuck does Motel 6 want with these mediocre musicians, and where is the asshole who penned this awful tour name?

Before Alesana finished, Leo and I decided we’d had enough.  At 13 years old, I began frequenting the heaviest heavy metal shows at the filthiest clubs in NYC.  Driving home after this show, I thought back to the sublime emotions I’d bring with me, leaving those clubs at all hours, drunk, stoned, floating.  Granted I left this venue sober (SOMA does not serve), and I’m a few years older, but I just didn’t feel even a pinch of that same elation.  On this night, I felt content, but it was different.  I rolled down my windows, blasted Pantera all the way home, and went to bed early.  I did, after all, have work in the morning.

www.leomalevanchik.com

 

NOFX with Anti-Flag and Old Man Markley at Starland Ballroom, NJ October 26, 2011

Filed under: Concert Reviews — NVMP @ 12:32 AM

October 10, 2011

It was definitely a strange start to the evening, pulling into the parking lot of the VFW across the street (I’d rather shell out cash to the cool old vets than the Starland crew) from Starland Ballroom to witness the return of NOFX, who dragged along vets Anti-Flag and newer act Old Man Markley on tour this time out.  Apparently, the crowds of punk lovers have gotten increasingly younger than they were when I first stumbled into the scene in 2000, either that or smaller.  I constantly passed groups of early teens and what appeared to be mini-people pre-gaming the show, and I definitely felt the age gap (which isn’t much in my case), until I stepped inside the venue.  Because when you’re at a punk show, everyone is equal…as long as you’re not a dick.

Old Man Markley was the first band up.  A large punk/bluegrass outfit hailing from California that offered tunes which constantly rang of the Dropkick Murphys, only with a more traditional roots-based slant.  Although they played well and seemed to hold their own with the audience, the much-needed direct connection between band and audience (which goes double for punk shows) was not there.  I have never cared for that type of roots-infused punk, and from what I saw a good portion of the crowd didn’t either.  However, that’s not to say that they didn’t play out well and put on a good show.  Although it wasn’t my musical preference, they certainly did not suck.

Next was the increasingly “political” act Anti-Flag, fresh off a set at the Occupy Wall Street demonstrations.  I have never liked their overly political agenda, with constant lyrical cries of “Bah! Government bad, police brutality everywhere, financial disarray, Wall Street is EVIL MANNNNN”.  Their views constantly overshadow what many times can be great musical chaos, and this night was no different.  Truthfully, while I do understand the things they reference in their lyrics, even going so far as to occasionally agree with their complaints (yes, Wall Street bad, police need to chill out sometimes, don’t let the Government abuse its power), it still seems that after all the years of their staunch political existence, they continually fail to understand that the kids they are preaching to genuinely do not understand the subject matter of the songs or why the band believes what they do.  They continue to play out songs dripping in leftist beliefs with anthemic qualities, because as long as the rebellion is catchy, the fan base will love it.  Otherwise they played a crowd thrashing set, making that ever-crucial band to crowd connection that the Markley’s couldn’t quite develop.

The kings of the evening were of course NOFX, who never fail to disappoint when they come to town.  With their usual style of ‘drink, drink, set list selection, crowd request, crowd insult, random song’, they took complete control of the room, almost making the crowd forget that there were any opening acts to begin with.  The band never fails to put on a good show, continually delivering multiple sets littered with old favorites, newer tunes and random covers, carried by their distinctive sense of humor, which is borderline retarded by way of asshole.  And I mean that it a good way.  One could not have asked for a better set list for the evening, which included such venue destroyers as “Fuck the Kids,” “Stickin’ in My Eye” (my personal favorite), and my favorite song of the night “Bob,” which is ten times as silly when you see it played live.  The Awesome Award for the evening goes to guitarist El Hefe, who amazingly managed to juggle guitar shredding, horn playing and drinking heavy amounts of beer, sometimes simultaneously, and never screwing up.  And with the appearance of an extra-extended crowd participating version of “Theme From a NOFX Album,” the chaotic evening came to a sad, but inevitable close.  Shows like this are nearly a thing of the past these days, but when Fat Mike and Co. show up, you feel like the punk scene is alive and well.

Just a word of advice guys: next time, play “You’re Bleeding”.

-Mark B.

 

Bryan Ferry at Wellmont Theatre, Montclair, NJ October 23, 2011

Filed under: Concert Reviews — NVMP @ 11:22 PM

October 4. 2011
Review by Mark B.

Are the 70s back?  Did somehow the 80s sneak in on the action too?  The answer is an enthusiastic yes, as Bryan Ferry took to the stage at the Wellmont Theatre in Montclair, NJ for a stop on his ultra-rare tour of the U.S.  What was extra rare was that I was one of the youngest people in the audience, with the exception of two or three poor souls dragged by their parents into a night of reliving their youth that they had no interest taking part of.  But no matter, because whether it was an oldie trying to reclaim their youth, or a youth looking to experience a piece of what now vintage music is all about, everyone was there to have a good time.  And it came off without a hitch.

The evening kicked off with retro-funk style openers the Phenomenal Handclap band, who led what seemed to be a low-key set, which fit well into the general vibe for the evening, but not into what I could tolerate leading into main act Bryan Ferry.  And judging by how many people chose to stand outside of the main stage area until it was time for Ferry, I wasn’t alone in my thoughts.  There wasn’t much worth mentioning, as I am unfamiliar with their material, but after their set I had no real desire to dig deeper.  Their music wasn’t terrible; it really just wasn’t for me.

However, there would be a savior for the evening.  As the notes to set opener “You Can Dance,” from his latest release Olympia rang through the theatre with its powerful, dreamy ethereal qualities, Ferry didn’t so much take that stage as he almost seemed to smoothly glide onto it, fitted in a custom tailored black suit and tie looking like the same dapper gentleman he has been since the days of Roxy Music.  One look around as he opened his seductively crooning voice, one would see a crowd captivated by the singer’s every word and motion, and it didn’t let up for the duration of the evening.  As he effortlessly moved between standing vocals and synth/keyboard duties, Bryan Ferry made the Wellmont Theatre his own den of cool for the evening.

At 66, his voice isn’t quite as powerful as it used to be, but it still sounded polished and soothing, still easily keeping up with the pace of the professional crew of musician’s sharing the stage with him.  And where power lacked, he utilized a 4 back-up singer set-up to help keep the pace, not only keeping the songs in proper form, but also adding a unique sound element to the vocal melodies, expanding the strange beauty of each tune in a way that even the most powerful singer couldn’t do on their own.  It certainly helped, working best on such songs as Roxy Music-era favorite “Avalon,” helping to give it a more intimate, sweeping feel and the ever funky “Kiss and Tell,” giving it a more Wall-of-Sound feel.

An interesting note to the evening was the addition of an intermission of what I had believed to be mid-set, instead of just set #1.  Although it’s unclear whether the break was due to age, the condition of his voice or just for the hell of it, it actually added something to the evening.  By breaking the set into two seemingly separate parts, it gave the set a classier air, as if Ferry was saying “No need for any encores.  As long as we play it cool and pace it right, the crowd will leave feeling satisfied.”  And he was right, as set #2 began, the band reintroduced themselves with the beautifully subtle instrumental “Tara,” which was led by his ever-talented guitarist and saxophonist/keyboardist (whose names escape me, apologies).  Highlights of set #2 included “Slave to Love,” and a quite unorthodox cover of Bob Dylan’s popular composition “All Along the Watchtower,” which had been deconstructed and remolded into a suave, sophisticated sounding experience by Ferry for his 2007 cover album, Dylanesque.

The only complaint with the evening was the seemingly sudden end to the show.  As soon as he completed what turned out to be the final tune of the night “Jealous Guy,” Ferry gazed at the crowd, accepted the cheers of the fans, briefly muttered “Thank you and good night” and slyly ducked off stage.  It was truly a ‘blink and you miss it’ feeling moment.  All in all, although a full set had been played, it was still sad to have the experience ended on such a subtle note.  Regardless, Bryan Ferry is definitely a timelessly cool act worth seeing, and one who will never bore, and simply cannot disappoint.

Set List

1. The Main Thing
2. You Can Dance
3. Tom Thumbs Blues
4. If There Is Something
5. Make You Feel My Love
6. Boys and Girls
7. Kiss and Tell
8. Alphaville
9. Hurricane

-Intermission-

10. Tara
11. Bittersweet
12. Slave to Love
13. Reason Or Rhyme
14. Avalon
15. My Only Love
16. Love is the Drug
17. All Along the Watchtower
18. Let’s Stick Together
19. Jealous Guy

 

The Big 4- A Metalhead’s Dream October 6, 2011

Filed under: Concert Reviews — NVMP @ 7:55 AM
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Sept. 14, 2011 Yankee Stadium

Anthrax, Megadeth, Slayer and Metallica…the Big 4 and a metal head’s dream come true, especially for this metal head that had never gotten to see Slayer live before this show.

Anthrax started the show at 4pm and September 14th was even named “Anthrax” day in the Bronx, NY.  Their energetic set started with “Fight ‘Em Til You Can’t,” a song from their new album Worship Music, which was really good (I had heard it played recently on WSOU, Seton Hall’s Pirate Radio, NJ), then the classics “Got the Time,” “Madhouse,” “Caught in a Mosh” and some crowd moshing began, even though the sun hadn’t set and it was very warm and humid.  You’ve just got to love the way Scott Ian stomps his trademark stomp; he seemed truly happy to be playing at Yankee stadium and even wore a Yankee jersey later in the set.  ”Anti-Social” was another crowd favorite with everyone chanting along.  Joey Belladonna’s voice sounded good and it was great seeing him back in action wearing the huge feather chief head-dress for “Indians” running back and forth across the huge stage.  They played a great set, about 40 minutes, and then the stage was set for Megadeth.

Megadeth opened with “Trust,” then played “Hanger 18.”  They didn’t seem to have as much energy as Anthrax, but still sounded incredible.  Dave Mustaine announced that he was having some major back surgery right after the show and had to be careful how he moved, or he could end up paralyzed, which was why he wasn’t running around and probably shouldn’t have been there at all, but this is metal.  He just couldn’t miss this historical event.  His playing was great, going back and forth on guitar with Chris Broderick.  They really got everyone going with “Sweating Bullets,” the crowd singing right along with them.  “Peace Sells” was always one of my favorites and hearing it live, I remembered why I liked Megadeth so much.  It seemed like they finished their set so quickly, I would’ve loved to hear more.

Ah, but then they started setting up for Slayer.  SLAYER!!!

It was still light out when Slayer took the stage, but got dark quickly (pun intended) and the full moon rose over the stage.  They started with “Disciple” and I was crazy excited just as everyone at Yankee Stadium was this magical night.  I don’t remember ever being so happy to be at a concert.  Tom Araya’s lightning fast vocals were perfect, although their sound system sounded much fuzzier than Megadeth’s.  Maybe because it was louder?  I was happy to hear “War Ensemble” and “Dead Skin Mask,” but wish they played “Seasons in the Abyss” also.  The stadium rumbled with “Hate Worldwide” and “Mandatory Suicide.”  I loved the hypnotizing riffs of “South of Heaven” and Kerry King killed on “Angel of Death” and “Raining Blood.”  He plays with such skill and speed that I couldn’t get one good picture of him.  It seemed so surreal finally getting to see Slayer play live.  They definitely lived up to all my expectations and I was as happy as any metal head could be.

Shortly after 9pm, it was Metallica time!  They opened with one of my all-time favorite Metallica songs, “Creeping Death” and their sound system was LOUD and crystal clear.  Next was “For Whom the Bell Tolls” and the stadium was rocking!  Their pyrotechnics were crazy as the flames flew high into the night for “Fuel” and booming fireworks started during “One.”  And they had an amazing smoke and laser light show for “Blackened” that I’ll always remember.  They rocked their classics: “Ride the Lightning,” “Fade to Black,” “Welcome Home (Sanitarium)” and “Master of ‘Puppets.”  No one was seated and you could just feel the energy of the night.  Hearing “Enter Sandman” played live at Yankee Stadium is something I’ll never forget, especially since Mariano Rivera had just tied the all-time save record and always comes out to the mound to “Enter Sandman.”  Baseball & metal, who would’ve thought of that combo?  Metallica, that’s who!

James Hetfield’s deep growling voice sounded great throughout the night as did Lars Ulrich on drums, but the many solos by Kirk Hammett were impressive and they surprised the crowd by playing the instrumental “Orion,” which for as many times as I’ve seen Metallica, have never heard played live before tonight.  They played only a few from Death Magnetic but those sounded wonderful.  After the Big 4 bands all got together to play, and finished, Metallica came back to do “Battery” which blew everyone away (although I was secretly hoping to hear “Damage Inc.”) and closed with a favorite “Seek & Destroy.”  No one wanted to leave this historical metal show.  I know I was awestruck!

Before Metallica had finished their set, they called up the members of all Big 4 bands to come out and play a song together (Dave Mustaine and a few others were notably absent).  James announced that they would honor Lemmy, the godfather of metal, by playing “Overkill” by Motörhead.  All 4 drummers took turns playing and it was an absolutely amazing collaboration!  Everyone on stage seemed genuinely happy to be playing together, like good friends reuniting just for fun, hugging each other, laughing.  I was truly happy to the core to have been a part of this amazing evening.  Nothing will ever compare to or come close to this show’s magnitude of talent.  I will remember this evening and concert as long as I live.
Metallica.com posted a tour video with live footage of “Blackened” and “Overkill.”  Check it out below.

Review by Marianne Teresi

 

Union County Musicfest 2011 October 1, 2011

Filed under: Concert Reviews,Music Festivals — NVMP @ 3:16 PM
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by Mark B.

For the 5th consecutive year, the 3rd at its current location, the Union County Musicfest has tried its damnedest to bring the best musical acts that the industry has to offer to Union County, NJ.  And despite the fact that it is not a free concert (our tax dollars at work), I nonetheless appreciated the county’s attempt to do something enjoyable and worthwhile with our hard-earned money.  With past headliners such as LIVE, Cheap Trick, The Alarm, Chuck Berry and Third Eye Blind, among many great artist bookings, the promoters had a lot to live up to if they were going to get another massive turnout.  And for 2011, again they did not disappoint, bringing in such notable acts as Collective Soul, Ed Kowalczyk of LIVE, Blondie, Toad the Wet Sprocket, The Smithereens and Southside Johnny & the Asbury Jukes for the citizens of Union County and neighboring areas to check out.


Leading off the Friday night portion of the rock show was recent former lead singer of Live, Ed Kowalczyk.  Thankfully, just as LIVE had sounded when the band had headlined the Musicfest a few years back, Kowalyczyk brought the same skill and energy back, playing a tight and rocking show, albeit with a different crew.  The set bounced between the obvious inclusions of LIVE songs (with “Selling the Drama,” “I Alone” and “Lakini’s Juice” being the real standouts), peppered with cuts from last year’s debut solo release Alive, which strangely rocked harder than the actual studio album sounded.  Regardless, the set was great.

Bringing the evening to a close was a standout set by 90s alternative heroes Collective Soul, who played an absolutely amazing set.  In fact, they were so good, the fest could have ended right on that Friday night and I don’t think anyone would have cared.   They kept the night moving at just the right pace, playing all the songs that any fan would want to hear (with the night’s versions of “Run” and  “Shine” being the best of the set), perfectly mixed in with a few obscurities, a random crowd request (the always great ‘Gel”) and a strange impromptu fifteen minute cover/freeform/writing session type jam mid-set, which turned out to be a strange highlight to the evening.  On a personal note, what made the evening even better was the positivity exuded by the ever so charismatic front man, Ed Roland.  While he was the consummate rock star on the stage, working the mic stand and dancing across the stage without managing to look Steven Tyler silly, he took the time, he exuded personal warmth that quickly engulfed the audience.  It was clear that he loves what he does night after night, and he not only made sure everyone knew it, but that everyone got to share in that moment.

Saturday evening brought the group that was touted as the main headliner for the entire weekend, Blondie.  And honestly, I am not sure what to make of what I heard.  On one hand, for a band that has been around in some way for over 40 years, they definitely did a great job, rocking the most loyal of fans and the newbies (like me) for almost 90 minutes or at least until the town curfew kicked in.  They played very well, ripping through all their hits, peppered with some of their newest tracks for good measure, (which sound very cool, by the way) and brought a lot of enthusiasm and nostalgic charm to the stage, which held the rowdy crowd captivated.  On the other hand, although I hate to say it, they really showed their age during the set.  Debbie Harry can still sing quite well, but she can’t really hit the high notes anymore; she can still sing decently, but now every song is played at least an octave down from how it was originally performed.  I am getting tired of giving bands the benefit of the doubt due to age, among other factors, and this group is where it ends.  Realistically, if you can’t perform it the way it was done x-amount of years ago, then maybe you should stop playing it, even if it is a mainstay.  Then again, I don’t want it to sound like I am really trashing Blondie, because they were really good, even better when you stack them against a few of the still existing bands with their longevity.  It’s really a tough call, but it’s more accurate to say that I truly enjoyed their set, just not as much as I had hoped I would.

Sunday featured sets from bands that could be considered more geared to the older crowds, as the lawn chairs were definitely in attendance.  You can always tell how old the crowd is by how much the acts on stage rock out and how little their supposed fans move during the songs.  It was like watching people watch paint dry, with the exception of a small group who huddled up to the barricades; at least they were dancing around and having a great time no matter how ridiculous they looked.  First up was one of New Jersey’s biggest and longest lasting rock acts, the Smithereens.  Having seen the act before and expecting a great show, they did not let anyone down.  Although it became obvious that they didn’t expect to play as long as the set times allotted (there was a lot of extended songs, stalling banter and the odd inclusion of the Star Spangled-Banner), it was still a great way to kick-off the last day of the fest.  Now that’s how an older band does it.

The day was capped off with a rocking set from New Jersey bar-room blues mainstays, Southside Johnny and the Asbury Jukes.  At the risk of trampling on Jerseyans pride, I have never really been a fan of what many consider to be “the sound of the Jersey Shore”.  For the longest time I found it to be very outdated and a boring, muddled style of music that wreaked too strongly of its past musical influences.  But barely 10 seconds after the Jukes took the stage and ripped into their first song, I had an instant change of heart.  The combination of Johnny’s voice (which sounded like someone broke a whiskey bottle in his throat while he was drinking it) and the striking horn section yanked my attention away from photo shooting and right to the center of the stage.  Basically, the tunes weren’t strong enough to urge me to run out and buy all of their albums, but it was definitely good enough for me to have enjoyed the show, and to have made a casual fan out of me.  Even with all the aging fans planted front and center rocking out like it was 1975, Johnny was the one who seemed to be having the most fun, giving a performance expertly leading with his highly skilled band of musical veterans, not bad for a 63-year-old Rock ‘n’ Roller.

The only blight on the weekend was my one major complaint: the Freeholders.  Right before every band took the stage, the mind-numbingly irritating “announcer” had to strut onstage and, along with the same barrage of unnecessary sponsor announcements and suck-up thank you’s, the good ol’ Freeholders had to be brought up postage and introduced to the crowds time and time again!  Otherwise, everything else was swell.  The UC Musicfest 2011 managed to deliver yet another year of fantastic rock acts, minus the egos.

 

Men Without Hats and The Human League, NYC September 29, 2011

Filed under: Concert Reviews — NVMP @ 8:08 AM
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Concert review by Mark B.

Friday, September 23 @ Best Buy Theater, Times Square, NYC

The 80s.  A decade I hold near and dear to my heart, especially since I was born during that glorious time frame.  So many fun, weird and just plain interesting bands came and went quicker in that decade than  any other, and among them The Human League, who defied the odds and managed to survive long enough to be rediscovered and rejuvenated.  It may be 2011, but 80s style New Wave and Synth-Pop were alive and well in New York City on Friday, September 23 as the League brought their legendary style of Synth-Pop to the Best Buy Theater, accompanied by newly minted cult New Wave act Men Without Hats.

Men Without Hats

Never in all my wildest new wave dreams did I believe I would ever have the opportunity to see Men Without Hats, one of the most notoriously catchy one hit wonders of the 80s, play a live show.  And yet, most likely thanks to the interesting choice of Human League’s management (wow, managers did something good), at exactly 8:30pm I had the privilege of seeing MWH take the stage to shockingly  thunderous applauses, as part of their first national tour in over 20 years.  And what a fantastic show they put on.   Coming fresh from a successful U.S. tour kick-off at the SXSW festival in Austin, the Men managed to pull themselves out of obscurity and into the new millennium.  Although the majority of their catalogue is unknown, save for “The Safety Dance” and possibly the minor hit “Pop Goes the World,” at this show you would have never known it, as the crowd enthusiastically sang along with every song during the hour-long set, which was peppered with catalogue faves like “Antarctica” and “I Like”.  Sure, each of the songs ring of early 80s cheesy synth lines, but amazingly they somehow avoided sounding like a crusty nostalgia act.  Truthfully, all thanks should go to the somewhat overly animated front man and founder Ivan Doroschuk, who grabbed hold of the crowd with his ridiculous leather cowboy hat and his incredible enthusiasm and positive energy.  It was almost as if he was letting the crowd know “yes, this music is ridiculous…ridiculously fun and catchy that is,” and we all eagerly bought into it and never looked back.  It is probably the most fun that I have had with an artist at a show in quite sometime.  And thanks to Ivan and his band, it’s a great experience that I will never forget.

But that’s not to say that they were able to claim the night solely for themselves.  When the lights dimmed signaling the introduction of the Human League, a burst of emotional electricity rapidly surged throughout the audience, either that, or the older-folk’s Centrum Silver doses kicked in just in time.

Human League

The 30+ years and going strong League, still led by the fashionably attired, magnetic front man Philip Oakey, along with partners Susan Ann Sulley and Joanne Catherall, commanded the stage for nearly 2 hours, running an evenly paced and outright fun journey through the list of usual hits (“Don’t You Want Me,” “Sound of the Crowd“ and “Human” among many) with some of their newer catalogue, being sure to make a few stops in the territory of their newest album in 10 years, Credo.  Even two tunes from the first incarnation of the Human League made an appearance (“Being Boiled” and “Empire State Human”).  Each song was rescued from staleness thanks to updated sounds and the competent jamming of their backing band, who were obviously having the time of their lives.  And who could blame them?  Let me just say this, while their music has always been a great listen, inducing plenty of random New Wave dance parties over the years, they sound better than absolutely incredible live, even more impressive considering how long they’ve been around.  Most bands in their age range, especially those with the same amount of mileage on the road, tend to fade away, become embarrassing nostalgia acts, or worse, continue acting as if they were still in their 20’s while having to modify the song arrangements because they can’t keep up.  But not the League, who never failed to hit their vocal ranges, looking quite effortless when they did (maybe Debbie Harry should talk to them about the upkeep of singing voices) and allowed their sound to be updated without ruining the fond memories or integrity.  There is truly something to be said for a band that has been around for over three decades, and still sounds just as good, if not better today than they did 30 years ago.  Long live the Human League.

Human League

Rating for Men Without Hats: We can dance if we want to…and did.
Rating for Human League: Amazing.

 

New Found Glory at Montclairfest 2011 April 25, 2011

Filed under: Concert Reviews — NVMP @ 10:37 PM
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Review by Ryan Bright
     On Wednesday April 20th, 2011 Montclair University had their annual Montclairfest with Florida based band New Found Glory as their headliner.  I’ve seen New Found Glory over ten times and this was by far one of their best shows I’ve seen. To begin with, they were playing an auditorium with seats, which is unheard of for a band of their persuasion.  Kids were going nuts, stage diving into seats with complete disregard for themselves and their fellow students.  NFG played their usual singles (“Head On Collision,” “Forget My Name,” “Hit Or Miss,” etc) and the crowd was singing along in unison.  One thing that baffled me though was the lukewarm response to them playing “Dressed To Kill,” a song from their self titled album.  They got a better crowd response when they played covers of “Kiss Me” and “Iris.”  I can’t stand both of those songs and was rather disappointed because I knew that I would be missing out on some of their fine three-minute gems.  I can understand the response though, since this was a college show, most in attendance were probably not true fans and had only heard a few songs.  So when they play songs that were Billboard number ones, they could actually sing along and not feel like noobs.  One thing that made me happy were the kids who were fans; they went bonkers when they played a Gorilla Biscuits cover, showing their roots.  It made me feel like I was at a show where audience participation was encouraged and you were made to feel like part of the band.  Chad Gilbert, lead guitarist, was having technical difficulties throughout the night, but mainly because kids kept unplugging his cables while running across stage.  They came back with an encore of The Ramones “Blitzkrieg Bop” and finally “My Friends Over You.”  Steven Klein, the rhythm guitarist, gave his guitar to a girl mid-song.  She danced around and pretended to play with the best look I’ve ever seen on anyone’s face.  When “My Friends Over You” played, kids rushed the stage and crowded the band, making it almost impossible for them to finish.  I heard one kid outside after the show say, “Bro, I shook New Found Glory’s lead singer’s hand, how many people you know can say that?”  I love the accessibility about college shows.  You can hang out with band at Chili’s, like one girl I talked to, or jump onstage and rage with them.  It’s a show for the kids to let loose and have fun during the stressing weeks near finals, and that’s exactly what it accomplished.
 

The Bloody Muffs at Local 269 in NYC March 18, 2011 April 3, 2011

Filed under: Concert Reviews,Music You've Been Missing — NVMP @ 5:12 PM
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By Angela Blasi

Off East Houston St. in NYC lies a club that deems itself, “The Last Bastion of Great Live Music in NYC.”  A small club with just enough room for a bar and a few tables and chairs (mainly standing room only), one could tell frills were not something of a major concern to the owner.  No, instead a simple back line and a whole bunch of punk rock bands held my attention for the evening.  Primarily, it was the Bloody Muffs.  A trio made up of drummer Kat Kaos, lead vocalist/guitarist Jonesy and bassist Jessica, the group doesn’t waste much time with fancy bio’s or elaborate songs.  Rather, it seems they put all efforts into the DIY mentality; straight and to the point, giving it all they’ve got on every song.

Although their set was short that night at Local 269, I have to say it was a good one that I enjoyed.  Maybe they aren’t taking on politics and challenging the government with each verse and chorus, but I can not deny how much fun singing an entire chorus of “Fuck Your Mom” can be.  With songs about various whores, people sucking, drunken sex and feeling alright no matter what happens, I found myself laughing and simply enjoying the music all night.

Despite technical difficulties in the first number, the band carried on effortlessly, letting the mistakes roll off their backs like seasoned professionals.  I liked their inclusion of all three members on vocals, adding texture and a conversational nature to many of the songs that gave for a sense of inclusion and light heartedness.  I also must add, that as a group they were musically solid.  I particularly enjoyed the song, “Love Me Like A Drug” where each pause and blast beat were seamlessly integrated into the music, all members executing the rhythms perfectly.  Sure, a seasoned eye can catch mistakes from any player but the errors are not important so much as it is the performer’s ability to overcome them and keep going.

I’d recommend this band for anyone who isn’t into taking themselves too seriously and enjoys punk rock that does the same.  A great band to go see, have a beer and hang out with, the Bloody Muffs are a good time live.  For your listening pleasure, check out their two albums Heavy Flow and Sloppy Seconds, both available on Amazon.com and iTunes.

 

Recoil @ Highline Ballroom, November 1, 2010 November 11, 2010

Filed under: Concert Reviews — NVMP @ 9:22 AM
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Review by Mark B.

Conjure One

With a gloomy excitement in the air and a plethora of strange and dark, but fitting electro tunes blaring over the PA system, the night that Depeche Mode and Recoil fans alike had been waiting months to re-experience had finally arrived.  And this arrival came with an added surprise to all the DM fans, being attended by none other than Alan’s former band-mate, Dave Gahan.  Why was he there?  Would he be joining Alan on stage?  Why were so many people obsessed with taking pictures of him drinking a beer?  Needless to say, it added further electricity to a night that was already itching to begin.  The only question was whether or not the show and set would be a repeat of May’s gig.

The evening started off on a distinctly different vibe, with a set from Conjure One, better known as one of the many musical monikers of Rhys Fulber (ex-Front Line Assembly/Delerium, and long-time programmer for Fear Factory, to name a few).  Led by a live bassist/singer (whose name sadly escapes me), Fulber helped start the night off right with a perfectly paced set full of air synths, breathy vocals, globe spanning rhythms and a solid dance beat that never failed to move the crowd (or get a head nod at the very least).  You don’t get many openers as polished and on point as CO.

Rating for Conjure One: Amazing, Imaginative, Danceable.

Architect

Next was a manic set from Architect.  Words could not accurately describe the chaotic but danceable beats that this technological warlock cracked out over the audience, via his trusty laptop and numerous pieces of electronic wizardry gear.  So all that I will say is that for such psychotically complex and erratic arrangements, his mix was incredibly easy to move to.  And he gets points for throwing in a subtle yet noticeable Depeche Mode sample, with extra credit going to his completely original handling of it, avoiding any stagnating musical clichés and making the tune his own, while winning ever-crucial DM cred with the audience.

Rating for Architect: Glorious Chaos.

Finally, the moment that the ever-growing crowd had been waiting for arrived, as Alan Wilder and co-conspirator Paul Kendall took the stage amidst growing screams and ruckus from the crowd.  With a Miami-Vice type cool they were off, leading the audience down the rabbit-hole and back into the audio spectrum of Recoil.  But did they give the audience more of the same?  Thankfully, no.  Armed with a striking set of updated visuals, Wilder and Kendall built a much dancier set, with pulse pounding beats permeating through the crowd and vibrating whatever rafters Dave Gahan’s presence didn’t occupy.  All kidding aside, the evening was further highlighted by the reappearance of the always amazing, but slightly moody Nicole Blackman, seductively vocalizing her way though another of her Recoil collaborations.

With the felt presence of Dave Gahan, I have to admit (along with the other audience members) to constant feelings of false hope every time Wilder introduced a Depeche Mode song or sample into the mix.  We all held out some hope that Dave Gahan would magically appear on the stage and start singing along, being that this was Recoil’s last date of the tour, but alas, this was not to be, as Gahan magically vanished from the venue before the last beat was hit.  Luckily for the audience, the instant dissolving of our Depeche reunion pipe dream failed to derail the evening.  In fact, I’m willing to bet that it helped stir up a stronger interest in further Recoil releases, just in case the old DM crew decided to sit in on a session.  All in all, a fantastic way to end a long-awaited and successful tour.

Rating for Recoil: Fucking Brilliant.  Wilder and Kendall rock it again.

 

 
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