Blog — Page 264 of 281

Lethbridge is a suburb of sorts to Calgary to give you, the reader an idea of the towns size. Usually the Enmax (where this show took place) is host to more country oriented shows with a rare rock show. So it came as a surprise when i noticed Alice in Chains would be playing at this particular place. 

As the crowd ambled in The Pack A.D. opened with a set of midtempo garage rock jams. Not unlike a version of The White Stripes only without the joyous messiness or dark lyricism. While the band played well they seemed not nearly energetic enough to ccarry off their style. While they did seem to be enthusiastic to be present their stage presence didnt share that impression with the audience.

The main support act, Vancouver's own Monster Truck, Brought more than enough energy and enthusiasm for both of the openers. While their style is a well worn version of the classic hard rock most of the audience (and world) has grown up with the band managed to play as though they were the first and only band to do it. While that may not sound like an endorsement i can say the band managed to win over nearly everyone in the crowd. Between the soaring forceful vocals and catchy as a cold riffs the band played to their strengths with each song. The major complaint i could make is that the sound was mixed as well as it could have been. At points the bass went missing and for most of the set the keyboards were non existent. Even with these low points the band played a strong set of heavy rock.

So finally the time came for the headliners to take the stage. It was impossible not to wonder how William Duvall would make these songs his own, what the set list would look like and what an AIC show in 2014 would look like in general. What i can say is that there is good and bad. William Duvall certainly has the pipes to carry most of the AIC catalog save for the rare moment Jerry Cantrell took over lead vocals. The band was certainly note for note perfect throughout the night. The downside in some ways would be Duvall's perfomance. Duvall is a more than capable frontman where it may seem to be a downside is in missing Layne Staley's inmittable presence and the atmosphere he carried the songs with. Where as Staley would usually seem aloof and depressive Duvall is a rock and roll frontman the screams the crowd goading and all. While it may seem off considering the depressive nature of the songs this helps the message in the songs go down a bit easier and make the show feel more like an event. The true beauty is when one gets to see the interplay between Cantrell and Duvall and realize that while it may not be the same as before it is something of a second coming in it's own way. 

Alice In Chains Setlist:

1. Them Bones
    
2. Dam That River
    
3. Again
    
4. Check My Brain
    
5. Hollow
    
6. Your Decision
    
7. Man in the Box
    
8. Nutshell
    
9. Last of My Kind
    
10. No Excuses
     
11. Acid Bubble
     
12. It Ain't Like That
     
13. Stone
     
14. We Die Young
     
15. Encore:
16. Got Me Wrong
     
17. Would?
     
18. Rooster

 Unless you've been living under a rock, you know Arcade Fire are currently shaking up North America with an enchanting spectacle of a tour. I caught the tour in Los Angeles where they played two nights at the historic Forum. Doors opened and thousands of fans filed in. The first band on the bill were indie-pop act The Unicorns. The group recently reformed and this was their first show back in just under a decade. They kept the fans entertained with poppy dance numbers.

  Following The Unicorns, fans shifted their perspective to the center of the arena where a second stage was constructed. It was there that Dan Deacon started his set for the night. For those in attendance that got stuck in the back, it must have been nice to be close to any of the performers for the show. Plus, the second stage made the wait between sets minimal. Dan Deacon's set feature a barrage of lights and even a dance-off in the middle of the set.

 Not long after Deacon's set, Arcade Fire took the stage -- opening with the title track from their newest album, Reflektor. The arena exploded with cheers while much of the crowd didn't hesitate to dance. It wasn't until the next song, "Flashbulb Eyes," that everyone got a feel for what surprises they had in store for their fans. Above the band there was a rigging of mirrors. As they began the song, the mirrors lowered and enclosed the band in a small space from above and behind. This gave the performance almost an intimate setting while also being a marvel to watch.

The band went on to next play songs from their debut full length, Funeral. They started with, "Neighborhood #3 (Power Out)" and then went straight into "Rebellion (Lies)." Afterwards they returned to their new album and played "Joan of Arc." During the performance, frontwoman, Regine Chassagne, garbed herself in clothes fitting for the song and stood atop a podium above the rest of the band.

The band didn't let the second stage go to waste either. After a string of songs from The Suburbs, the group played their latest single, "We Exist." The second stage featured the burly dancers reenacting the dance routine from the music video. Unfortunately, Andrew Garfield wasn't one of the dancers. When the band played, "Afterlife," guests found "Mirror Man" or "Reflektor Man" on the b-stage moving to the music. Regine even took to the b-stage to perform her portion of, "It's Never Over (Hey Orpheus)," where she was also surrounded by dancing skeletons. The last bit of amusement from the b-stage came in the form of a big-headed Arcade Fire playing Guns n' Roses', "Sweet Child o' Mine" while the real band was away before the encore.

When the band came back, they were ready to end the night on a high note. They rocked out through their own, "Normal Person," and then played a cover of Jane's Addiction's, "Been Caught Stealing" -- during which, Win Butler took cellphones from the fans up against the barrier. After playing the intro to "Welcome to the Jungle," the band went immediately into their track, "Here Comes the Night Time." Arcade Fire were finally ready to call it a night. They closed the night of course, with "Wake Up." Confetti was blown into the arena while the audience did their gang of "Whoas!" It was really one of the best events I've seen and highly recommend catching Arcade Fire if you can.

Too Many Rappers: July 2014

7/18/14 - Minneapolis, MN

Commuting earlier than usual this morning means it’s nice and cool. I ride by a kid who’s wearing an old 3rd Bass tee shirt and give him an approving Malcolm X-style fist in the air. He nods his head back at me like, “Yeah, that’s right, this is a 25 year old fucking 3rd Bass tee shirt.”

For some strange reason as I pedal over a set of tracks I think of the waitress at the Northbound Smokehouse & Brewpub who once served my wife and me excellent wings and mediocre IPAs. She looked like Dolph Zigler, which I found equal parts disturbing and sexy. My love affair with professional wrestling is not something I'm sure I'll ever understand.

I stop briefly to slap a custom sticker on the back of a Yield sign. It will be gone by the time I ride home tonight; scrapped off or grayed out by the Greenway Vigilante. It’s me versus him/her on a daily basis. Gray is a great color; versatile and understated…for an outfit. But holy shit is it ever rage-inciting when it’s covering someone’s free public art offering. In my eyes, unsolicited buffing of graffiti and/or street art on public property is the same type of offense as artists going over each other. Not cool.

Waiting at a stop light like a decent law abiding citizen (which I do realize sounds rediculous, considering the previous paragraph) a women blows by me, through the light, and spits in my general direction. I playfully shout to her, “Yeah, that’s my girl.” She looks back and says, “Shut up creep.” I then reaffirming-ly say to myself, “Yeah, that’s my girl.”

In the earbuds Sonic Youth’s “Washing Machine” is transitioning into “Unwind” just as I pull up to work and the last thing I want to do is get off my bike. I just want to keep riding...to like, the suburbs or some shit. But then I'd be in the suburbs. Work or the suburbs? It's like voting for President. 

As I’m locking up I am met by a man named Zygon. He’s actually the second person I’ve met named Zygon in recent times. He wants to sell me a photocopied chap book for five dollars. Instead I trade him a zine for one. These days I’m increasingly less interested in—dare I say irritated by—poetry. But I got mad love for my fellow DIY self-publishers. We shake hands and part ways. After he’s out of sight I feverishly tear through my bag looking for hand sanitizer because that’s just the kind of miserable asshole I am.

As soon as I’m done thumbing this out on my phone like some type of goddamn zombie, I’ll walk into work. I’ll wonder, just like I have every day for what seems like forever, if this one will be my last time. And if it is, at least I’ll be able to ride my bike home on a nice day. I’ll probably listen to The Cactus Album on the way.

Here's some stuff other rap shit that has soundtrack’d my bike rides this summer…

DJ Moneyshot – Half-Man Half-Amazing: A Tribute to Illmatic (mixtape)

For the April 24^th episode of the Solid Steel Radio Show DJ Moneyshot produced an audio documentary tribute to Nas’ classic and influential debut album Illmatic, which is celebrating its 20^th anniversary this year. The result is an intricately woven tapestry of source material—interview footage, remixes, beat sample material, etc. — combined with the original Illmatic tracks. It’s like NPR for hip-hop heads.

Trackstar the DJ – Ghost Stories: Ghostface Killah's Storytelling Raps (mixtape)

Trackstar the DJ, god bless his heart, took on the challenging task of rounding up all of Ghostface Killah’s most absorbing and unforgettable story time verses. The end result is 26 tracks of vivid narration by one of the Wu-Tang Clans more reliable emcees. Also of note here is Ghost’s knack for selecting dope beats.

 LA Leakers – Leaks That Collected Dust: The Audio-Biography of DJ Premier (mixtape)

Nothing new here as far as songs go but there’s dusty treasures from  DJ Premier’s catalog mixed in with some of his well-known hits—Krumb Snatcha, KRS-One, Biggie, Rass Kass, and of course Gang Starr and Jeru the Damaja; it’s all in here. Everything’s tied together very nicely with interludes. As the beats run long between songs, Preemo tells stories of how they came to be and the situations surrounding them. Old-school heads and history-seeking yougins alike will dig it. And everyone will be mad they slept on that Group Home album.

Onyx – Wakedafucup (Mad Money)

Barring some films that have ranged from kind of OK to totally unwatchable, I honestly haven’t paid much attention to anything Onyx-related since their debut in 1993. So I was quite surprised to realize that not only has Onyx put out a new album but that it is actually one of the best of the year so far.  A large part of that has to do with the contribution of the Snowgoons, who produced the album in its entirety. A$AP Ferg and Sean Price show up on “We Don’t Fuckin’ Care” which is D to the ope. I may get old but unrelenting boom-bap beats, record scratching, and grimy street raps never will.

Army of the Pharaohs – In Death Reborn (Enemy Soil / Babygrande / Demigodz)

Another one that took me by surprise. AOTP is one of those revolving door Demigodz crews that are so large it’s hard to keep track of who’s in and who’s out.  This time around Vinnie Paz, Apathy, Celph Titled, Esoteric, Blastican, Crypt the Warchild, Des Deviuos, King Syze, Planetary, Demoz, Doap Nixon, King Magnetic, Block McCloud, Zilla, and Reef the Lost Cause are all in. Oof, you get all of that? As expected when names like Stu Bangas, C-Lance, and Vanderslice are behind the boards, the beats are hard-as-fuck boom-bap. Leaf Dog turns in a nice beat for “The Demon’s Blade”; as does Frank Grimes on “Azrael” and “Sumerians.” Someone is scratching all over this album, although I’m not sure who. This on some Golden Era idealism-type ish, and that’s A-OK with me.

And now for some personal propaghanda…

July is International Zine Month. And what better way to celebrate than by getting your snot nose-picking, resin-stained little fingers on some copies of my zines. Since the last time Too Many Rappers was around, my partner in crime and I have published a couple new issues. HotDogDayz is full of found items, hijacked emails, mail art, reader submissions, fan letters, crusty art, raw photography, rail monikers, graffiti, and jokes.  The Soda Killers is a punk, rap, and graffiti ménage a trois, loaded with record & show reviews, graff flicks, sticker art, and reader-submitted content. They are available for free, trade (preferred) or, if you’re so inclined, donation. If you’re into any of it, get a hold of me via the contact links below.

All right, that’s all for now folks. Hope everyone is having a great summer. Pedal hard and wear a helmet!

Twitter: @OMG_NOB

Email: [email protected]

Guided By Voices, Crystal Stilts

Irving Plaza

New York, NY

July 11, 2014

Photo courtesy of Gerald McBoing-Boing

See Guided By Voices before you die.  If you already have, see them again.  Any GBV show is bound to be life-changing.  It’s about witnessing one of music’s most devout fan bases in motion; it’s about experiencing bawdy frontman Robert Pollard’s signature onstage banter; but most of all, it’s about absorbing the vigor and passion of one of history’s most prophetic bands.

Guided By Voices’ setlists contain just under 50 songs (each track is usually around two minutes in length), and shows include a whopping three encores.  No matter what stage they exit from, a relentless crowd will always be hungry for more, chanting “G-B-V!  G-B-V!”  Their ubiquitous following includes Pearl Jam’s Eddie Vedder, director Steven Soderbergh, and former White House Press Secretary Jay Carney.

The Dayton, Ohio quintet’s recent Irving Plaza gig was fantastic and breathtaking.  They tumultuously rocked the stage for two joyous hours.

Robert Pollard wasn’t exactly a Marvin Gaye, but he belted with great vitality and he didn’t forget a single lyric - despite being balls drunk on Bud Light, Cuervo, and Crown Royal.  The raw, noisy instrumentation was nowhere near, say, Return To Forever’s skillfulness, but the chord progressions and drum beats were tight, catchy, and awesome.

The 1,000+ crowd - which contained a bunch of 20-something hipsters and greying indie dads - worshipped GBV.  Hundreds of people belted along with Pollard to tracks from throughout the band’s 31-year-long career, including cuts off of classic LPs like Bee Thousand and Alien Lanes.  The attendees were utterly overjoyed.

How have Guided By Voices been able to generate such a religious following and become so legendary and prolific?  It’s because of their spirit.  Along with their gritty punk attitudes, the souls of Robert Pollard, Tobin Sprout, Mitch Mitchell, Greg Demos, and Kevin March all ineffably blend together, summoning intense power and beauty.

Among his drunken dialogue, one irrefutable line from Pollard really summed things up: “We’re the greatest fuckin’ band in the world!”

Agalloch, Jex Thoth

Irving Plaza

New York, NY

June 30, 2014

Agalloch were one of the first metal bands to combine black/doom’s monsoon of carnage with ambient, post-rock-inspired folk melodies.  The most notable act to be influenced by the Oregon band’s stylistic bloodbath are Deafheaven.  Taking Agalloch’s approach of adding atmospheric, emotive music to death metal, Deafheaven received high critical praise with their 2013 formidable tour de force Sunbather.

I’m not the first person to gush about Agalloch’s inventiveness.  According to their Bandcamp.com bio, “It has been said that Agalloch is to heavy metal what Ingmar Bergman is to cinema.”

The quartet recently dominated New York’s Irving Plaza in support of their 2014 epic The Serpent & The Sphere.  Their entire performance was inarguably powerful and amazing.

Agalloch are notable for their live show environments, which incorporate wood, incense, and pictures of the Northwest.  Thanks to the first two elements, the room smelled beautifully.  Unfortunately, though, the metalheads’ pungent sweat killed these fantastic aromas.

“Limbs” was an intense, post-metal explosion.  I loved the bombastic, D major-scale chord sequence and haunting guitar riffs.  Agalloch really expressed their post-rock spirit on “Ghosts of the Midwinter Fires” with a rushing flood of ethereal, echoing guitars.  Their staging of The Serpent & The Sphere’s theatrical lead single “Celestial Effigy” was just awesome.

The guys had skillful musicianship, but they didn’t let their instruments get in the way of stage presence:  bassist Jason William Walton confidently strode across the stage while interacting with his mates, and guitarist Don Anderson got the crowd screaming by provocatively cuffing his ears and clapping.

I had a remarkable time seeing Agalloch.  They’ve been enchanting the metal world for almost 20 years, and they haven’t lost one drop of almightiness.  Cheers to Agalloch.