Nevermind The Posers

See ya in the pit.

Review of The Season by All Get Out October 28, 2011

Filed under: CD Reviews,New Music — NVMP @ 8:05 AM

Review by Jake Davis

Simply put, All Get Out’s The Season is a jaw-dropping explosion of surprisingly good music.  On the surface, the band comes across as a mediocre pop-punk band that relies too heavily on guitar hooks.  Perhaps this is because of my murderous hatred of bad pop punk.  In my opinion pop punk has two sides, the horrible, horrible, whiny stuff and the brilliant song writing of early Fall Out Boy.  The difference is that when you sit down to listen to All Get Out, the band’s true brilliance shows itself.  Most songs are your fast-paced, punk-driven affairs but the tempo hides some truly heart-wrenching lyrics and melodies you will hum long after the music has stopped.  They fail to fall into one genre, one sound.  When you think you have pinpointed the sound, a song like “Girl, Gun” appears with its heavy riffs and vocal distortion.  Even strings make an appearance!  And even better, they’re spectacular and not gratuitous!  The final two songs of the album are so beautifully written and performed; you’ll think it was coming out of the amps of a band on its 8th album as opposed to its first.

Lyrically, The Season bounces around from happy to heavily introspective.  This range of emotions showcases lead singer Nathan Hussey’s ability to both write and perform not only a one-noted affair, but a deep and multifaceted collection of songs.  The electric instruments backed by complex drum beats, acoustic guitars and piano (which is my Achilles’ heel musically, if you’ve got the black and whites you go up 10 points in my book) are pure bliss, and you just want to sit on the repeat button until your ears can’t take it anymore.  Laugh at my over-the-top descriptions if you want, but you’ll surely be missing one of the best albums this year.  What is so special is that the band may use the stereotypical methods of “let’s make this song more dramatic” with strings or harmonies, but they do in such an original and beautiful way; you can’t fault them for it.  As I write this, faint horns augment a song called “The Season” (which is also the title song of the album) and I am dumbstruck by the near perfection of this debut album.  In fact, I hate putting this band in the genre pop punk because of its transcendence of the current typical sound.  Sadly, as with all albums, especially new ones, there are a few flaws.  The first number of songs on the album has a slight identity problem, namely being that they don’t differentiate themselves from one another.  While this is alleviated later, you don’t exactly fall in love with the album straightaway.  This absence of a signature sound somewhat persists throughout the album, but it’s near impossible to bash this collection of songs.

For a debut effort, it’s superb.  This has restored my faith in the direction that rock is going.  If this is where it’s headed, buy me a ticket on the train to happiness.  Readers, go out and buy this album.  It’s that good and this band will only get better as time goes by.  So, be that one guy or girl who is cool enough to turn people on to the next great band.  I wish I could do it all myself, then I would be that guy.  However, I leave it up to you, fair music-lovers, to spread the word on a spectacular start from a spectacular band.

 

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

 

Seven Days in Rio by Francis Levy October 11, 2011

Filed under: Book Reviews — NVMP @ 8:27 PM
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A Book Review by Alexander ‘Stigz’ Castiglione

A lot of books start with the main character traveling to a distant land.  Many stories’ inception begins with our protagonist going on a journey.  In that respect, Seven Days In Rio, is like many other stories.  And that is the only similarity.

This piece by Francis Levy follows Rich Cantor, a Jewish CPA from Manhattan, and his seven-day stay in Rio De Janiero, Brazil.  Our protagonist is a sex tourist, with one thing on his mind: paying for pussy.  Layered with psychological schemas and doused in an accelerant of promiscuity, this book takes us on a seven day journey of a sexual deviant wearing a Brooks Brothers suit.

From the seedy descriptions of the locale, to the in-depth psychoanalysis and allusions to famous behaviorists, we follow Rich Cantor on his sleazy journey through the South American sex capital.  As he searches for the perfect “Tiffany” (a name the protagonist uses to describe any “working girl”), the author surreptitiously draws the blinds open on the disparity between cultures and the free nature of the sex trade.  Drawing inspiration out of the “free love” movement most likely, Levy creates a sordid tale of a sex addict, or rather more aptly a “Tiffany aficionado,” skulking around the streets of Rio and the halls of his hotel.  His hotel, ironically, has a convention in town for psychoanalysts, and Cantor not only has an affinity for women of the night, but also a predisposition to therapy and Lacanian practices.  From there, the story spirals into a distasteful adventure where any orifice is game and the only boundaries are reality, that is the amount of reals or Brazilian currency in your pocket.

An interesting novel to say the least, it is a rather quick read at only around 200 pages or so.  However, some parts of the story play too much on the psychoanalysis angle, making the reader feel a bit alienated (I’d imagine) if they were unfamiliar with some of the motifs and themes.  However, the references to Freud and Lacan aren’t pervasive enough to stop you from reading altogether.  The hilarity of the protagonist’s predispositions in the bedroom will more than make up for the bouts of psychobabble.  With disturbing Oedipal revelations and a fixation on hairy minge, this book is as disturbing and unnerving as it is funny, bringing you from the streets of Rio to the high-rises of New York with equally perturbing prose.

If you feel like reading something a little different and vastly more risqué, check this book out published by Two Dollar Radio.  If you are in the mood for something inoffensive and safe; stick with Stephanie Meyers and leave this book for the big boys (or girls).

3.5/5 Tiffany’s

 

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

 

Steel and Other Stories by Richard Matheson October 3, 2011

Filed under: Book Reviews — NVMP @ 9:42 PM
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A book review by Alexander “Stigz” Castiglione

Richard Matheson is no stranger to having his written works adapted into movies.  I Am Legend starring Will Smith or The Box – which was an adaptation of Button, Button – starring Cameron Diaz and James Marsden.  This new collection of stories which drops on September 27th 2011 is no different.  The first story in this collection, “Steel,” is what the new Hugh Jackman movie, Real Steel, is based on.

However, in this reader’s opinion, “Steel” is one of the weaker stories in this stellar collection of many yet unpublished Matheson short stories.  Several of them have an air of familiarity, and for good reason: One was adapted into a Twilight Zone episode, while another – “The Splendid Source” – appeared in a Family Guy episode.  That being said, Matheson’s story telling abilities are magnificent, even in the works that are only a few short pages.

Many of those contained in this collection are thinly veiled parables, warning the reader against anything and everything from mindless superstitions in “The Wedding” to a commentary on teenage impetuousness in “The Conqueror.”  Nearly every story in this collection has some deeper meaning, some allegorical point to make, and for that very reason, Matheson deserves his recent induction into the Science Fiction Hall of Fame.  While some stories are borderline comedic, others are vastly disturbing, echoing an almost Kubrick-ian pathos which will set your teeth on edge.

Despite the collection of short stories being over 300 pages, this reader finished the whole book in a few short hours, as the imagery, crafted storytelling, and ease of language makes you flip page after page.  From harrowing post-apocalyptic tales blanched in anguish and distaste to a prophetic dissertation warning us about nuclear war, Matheson plays every position in this collection of rare and unpublished work – showing us he is capable of comedy, sci-fi and even creating modern-day parables.

It’s relatively easy reading which veneers over hard to digest concepts.  Read it…

4/5 Slugs of Steel

 

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.

 

Machine Man by Max Barry September 21, 2011

Filed under: Book Reviews — NVMP @ 7:52 AM
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A book review by Alexander ‘Stigz’ Castiglione

It’s no secret that we are all slaves to technology in some respect, growing more and more subservient every day.  We rely on GPS to get us to and from places which really aren’t that hard to get to, we bank on our DVR’s to record shows that we don’t have time to watch when they air, and when we go anywhere without our phones, we feel naked.  Max Barry takes those notions and dissects them in his newest satire, Machine Man.

Set in the not-so distant future (or even right now, as it’s never really discussed), this book follows an introverted, socially inept scientist named Charles through a harrowing and at times disturbing adventure steeped in robotics and cybernetic attachments.  After an industrial accident, he replaces his lost limb with a robotic one, and then soon realizes how “inefficient” biological limbs are.  From there, our protagonist goes on to create, and inadvertently revolutionize, every part of human physiology.  From Z-Specs to better skin to biomechanical arms for combat, every part of the human physique is upgraded.

Within this paradigm, Barry proceeds to satirize and critique the use of technology and how it debilitates our very humanity, and subtly jabs at the worldwide corporate structure.  Paralleling corporations to god-like power struggles, he illustrates the corporate hierarchy and ulterior motives we see all too often in reality.  He even takes a jab at insurance companies, and how, from a financial point of view, individual parts are worth more than the whole; a disturbing and unsettling truth.

This wonderfully worded and splendidly crafted satire is also in the works for a movie, directed by Darren Aronofsky (director of The Wrestler, Requiem for a Dream, and Pi).  Considering how brilliant I feel Aronofsky’s movies are and how intricately crafted this book is, I personally cannot wait to catch the flick.  However, I do urge you to read the book!

An introverted scientist whose brilliant ideas are often misused by the higher-ups of the corporate food chain, through both his language and actions you feel as if you are talking to a mad scientist yourself.  The author’s grasp on biology and medicine is rock-steady, intertwining medical terminology, plot and character development with orchestral skill, while also creating round and dynamic characters throughout; not to mention his ability to capture the confusion and loss of time mad scientist Charles Neumann experiences.  The reader feels as if they are just as lost and confused: which is a good thing, since that is what Barry wants you to feel like.  At times months pass in pages, and at others, minutes pass in the course of a chapter.  In this respect, Max Barry is a master of setting the tempo of his story to whatever he sees fit, whether it’s a cybernetic doctor accidentally destroying a room or slowly losing his grasp on reality.

The book is a relatively easy read, and the choppy sentences may seem awkward at first, but the structure truly highlights how the narrator is: socially inept, brilliant and not very personable.  Once you get used to it you will be flying through the pages like a cyborg through the landscape, instead of being carried by mechanized legs though, you will be catapulted through the story by a commanding use of diction and plot.  Check out the book, read it before the movie comes out, and tell all your friends.

4/5 Mechanized Parts

 

Vans Warped Tour Review at Monmouth Park Raceway in Oceanport, NJ September 20, 2011

Filed under: Music Festivals,Vans Warped Tour — NVMP @ 10:33 PM
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Review by Angela Blasi

The 2011 Vans Warped Tour made its annual summer rounds and I was fortunate enough to have the chance to check it out.  I found myself one gray morning making my way to Monmouth Park Raceway ready to see the likes of A Day to Remember, Big D and the Kids Table, Less Than Jake, Tomorrow’s Bad Seeds and a whole host of others.

It would be next to impossible, or just a painfully long read, for me to sit here and list every single thing about each band that I liked and disliked.  I will tell you however, that I had the opportunity to catch the set of all but one band I was able to interview and that each group successfully stood and delivered both on and off stage.  With that, I’ll delve into some of the highlights of my experience at this years’ Vans Warped Tour.

Upon arrival and waiting in line to enter the venue, the crowd found the one and only MC Lars walking along the massed youth promoting his set.  I had no idea who he was yet, but I liked his DIY approach.  In just a few short hours I found myself sitting face to face with him and Josh of Weerd Science (formerly in Coheed and Cambria) as the two would be performing together as part of the tour.  In interview, Lars was quiet and thoughtful while Josh was the more animated of the two, energetically expressing his love and enthusiasm for music.  However, when it came time to catch the actual live performance, MC Lars seemingly crawled out of his shell and was absolutely spectacular.  Both performers gelled well together on stage, each with his own musical prowess.  It became clear quickly that the two were by no means all talk; they did in fact love every second of performing and creating music.  It was refreshing to see the happiness and passion still very much alive in artists who are no strangers to the music industry.

I ran into Patrick Salmon from Tomorrows Bad Seeds in the crowd and had a few minutes to catch up since I spoke to him last and his band mates the previous year.  Casually, we talked and he is still just as cool as he was last year and he brought me up to speed with the last 365 days and their continuing success.  I was able to catch their set and I’m pleased to report that they’re doing great.  Their live performance and sound quality coupled with the energy that is so unique to the band has not fizzled out despite rigorous touring and overall momentum.

The rest of the day consisted of back and forth from press to stage areas, interviewing bands I was familiar with and some I had never heard before.  I came out of this years Warped with a few new bands tucked away for further research and some of whom converted me to an instant fan.  From Sick of Sarah, who I might add are absolutely awesome, funny and badass on stage both in personality and musical styling, to the very theatrical and unique Venetia Fair, to one of my long time favorites Big D and the Kids Table, I was not disappointed with this year’s lineup.

Maybe it was just me, but I felt like this year’s show was more solid and musically diverse than last year’s event.  Did I mention Mr. Dee Snider of Twisted Sister himself paid a visit to this year’s event?  Yup, he did.  I have no idea why, but suddenly there he was surrounded by press conducting a group interview.