Sarah Jaffe’s “Don’t Disconnect” out Aug 19th

imageThe time has finally come, Sarah Jaffe’s new album Don’t Disconnect will be available in stores everywhere this Tuesday, August 19. This highly anticipated third studio album was produced by Midlake’s McKenzie Smith, and showcases Jaffe’s tremendous range. To Jaffe, this album is both a mission statement and a call to arms – it is an album about getting to know yourself in a hyper connected world that makes it nearly impossible to do just that.

Jaffe describes Don’t Disconnect as being about coming to terms with you who she is: “We’re constantly comparing ourselves, whether we know it or not, because there’s always something out there to compare to. So [Don’t Disconnect] is a self-diagnosis, but it’s light hearted.”  

Don’t Disconnect will be available on CD and 180 gram colored vinyl and can be found at your local record store, or you can order it here.

In celebration of the release of 
Don’t Disconnect, Sarah Jaffe will be hosting a record release show onAugust 23 at Dallas’ historic Majestic Theatre. The show will feature a performance by Jaffe along with special guest, Josh T. Pearson. Doors open at 7pm and the show will begin at 7:45pm so don’t be late! Tickets start at just $22 and can be purchased through PreKindle.

Tour Dates:
08/19 - Austin - In Store Performance at Waterloo
08/23 - Dallas - Majestic Theatre
09/05 - Chicago - Lincoln Hall *
09/09 - Buffalo - Iron Works *
09/10 - Portland - Port City Music Hall *
09/11 - Allston - Great Scott *
09/12 - Hamden - The Space *
09/13 - New York - Mercury Lounge *
09/14 - Philadelphia - The Barbary *
09/16 - Pittsburgh - Cattivo *
09/17 - Washington - DC9 *
09/18 - Richmond - Strange Matter *
09/19 - Raleigh - Kings *
09/20 - Charlotte - The Milestone *
09/21 - Nashville - The End *
09/23 - Cincinnati - The Taft *
09/24 - Cleveland - Beachland Tavern *
09/25 - Ferndale - The Magic Bag *
09/26 - St Louis - The Duck Room *
09/27 - Iowa City - Blue Moose *
10/17 - Austin - Stubb’s w/ Old 97s

* w/ Astronautalis

Ishi will End West Coast Run with a Pair of North Texas Shows

After an eleven-date run that has lasted about three weeks, Ishi is finally coming home.

The electronic outfit played a string of shows around California, before making their way to Washington State, Oregon as well as making other stops along the way. The tour won’t end, however, until they give their hometown fans one last party, before undoubtedly taking a little time off to recoup from their adventures.

Their tour sendoff show a month ago was something else. Easily the best Ishi show I’ve seen, and one that saw the return of an old favorite or two (even if it was just a one-off thing), plus the debut of some new material.

They have two gigs planned for North Texas fans. The first will take place on Friday, August 15th at Lola’s Saloon in Fort Worth, while the other will be a rarer intimate Dallas show, as they grace the smaller stage of The Prophet Bar on August 16th.

They’ll surely be a little spent from their time on the road, and these will be the third and fourth night of consecutive shows for them, but don’t expect any tiredness to show on J.T. Mudd or his band mates. This is a band that goes all out. Always. Just come ready to dance and party.

Show info:
Friday, August 15th at Lola’s Saloon
All ages
Doors at 9
$13

Saturday, August 16th at The Prophet Bar
All ages
Doors at 8
$12
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The Dear Hunters’ Tour Will Wrap Up in Texas this Weekend

imageThe Dear Hunter is quite easily one of the best rock acts around.

The band is so versatile, blending and transitioning between indie and progressive rock without difficulty. Casey Crescenzos’ voice is striking and capable of pulling of the wide variety of genres, from raw screams of anger on the heavier rock stuff, to tranquil ballads that heavily incorporate the use of the piano.

In an age where it’s best to write about a three-minute long pop song that tells and wraps up a story all in that time, it’s also nice to see an artist who focuses so heavily on conceptual songs, from his first three releases, Act I:…, Act II:… and Act III:… (which only completes half of the story, with three more to come sometime in the future), to the massive undertaking of The Color Spectrum EP’s. That collection not only explored a massive story arc (nine EP’s with four tracks on each), but also played out according to the color they represented (i.e. Black was angry and very intense, while Blue is more tranquil, etc.)

Let’s not forget 2013’s Migrant, which is a first in the fact that each song stands alone, though it’s arguably the best work Crescenzo and his band mates have done to date.

They’ve been on the road for a little over a month now; and this weekend will see their tour with RX Bandits coming to an end as they make their way across the Lone Star State. Their Saturday, August 16th show at Gas Monkey in Dallas will be a can’t miss event.

Show info:
Saturday, August 16th at Gas Monkey Bar & Grill in Dallas.
RX Bandits will headline, with The Dear Hunter on before them. From Indian Lakes will open.
Ages 16+
Doors open at 7 / Music begins at 8
$19. Advanced tickets can be purchased HERE for $16
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Echosmith Confirms Fall Tour Dates with American Authors; Headline Run in November
imageAfter a whirlwind summer as one of the most anticipated and highly praised acts of Vans Warped Tour, alt-pop band Echosmith has now announced they will be joining American Authors on this fall’s Honda Civic Tour, a 3-week trek kicking off October 1 in Reno, NV. Following that run, the band will headline a handful of shows starting November 12 with stops in New York, Philadelphia, Chicago and more. Tickets for those shows go on sale this Friday, Aug. 8th at 10am. See below for a full list of dates.

The LA-based foursome is having a breakout 2014 with the success of their debut album Talking Dreams, featuring hit single "Cool Kids", continuing to propel them into the spotlight. The song is currently #1 in the iTunes Alternative Chart and rapidly climbing Top 40 and Hot AC Radio charts, while the video is approaching 4 million views on YouTube. MTV has taken notice and named Echosmith an “Artist to Watch” for the year, and the band also recently made their late night debut performing “Cool Kids” on Conan.

The Sierota siblings
Jamie (vocals/guitar), Sydney (vocals/keyboard), Noah (vocals/bass), and Graham (drums) - have developed a distinctive melody-minded, New Wave-influenced sound that has earned them rave reviews. Entertainment Weekly declared them “ready to break out” following their performance at SXSW, Seventeen has lauded lead singer Sydney’s “stunning voice,” and Perez Hilton recently featured the band as a must-listen. Nylon warns, “HAIM might be front and center in terms of the whole ‘family band’ category, but these sisters better watch out because there’s another crew of California siblings about to take over.”

CONFIRMED TOUR DATES
10/01   Knitting Factory - Reno, NV*
10/02   House of Blues - San Diego, CA*
10/03   The Observatory - Santa Ana, CA*
10/04   Club Nokia - Los Angeles, CA*
10/05   The Catalyst - Santa Cruz, CA*
10/07   Wonder Ballroom - Portland, OR*
10/09   Showbox at the Market - Seattle, WA*
10/10   Knitting Factory - Spokane, WA*
10/11    Knitting Factory - Boise, ID*
10/13   The Depot - Salt Lake City, UT*
10/14   Ogden Theatre - Denver, CO*
10/17   Granada Theatre - Dallas, TX*
10/18   Warehouse Live - Houston, TX*
10/19   Mohawk - Austin, TX*
11/12    Jammin Java - Vienna, VA
11/13    The Barbary - Philadelphia, PA
11/14    The Studio at Webster Hall - New York, NY
11/15    Higher Ground - S. Burlington, VT
11/16    The Middle East Upstairs - Cambridge, MA
11/19    Schuba’s Tavern - Chicago, IL

* Honda Civic Tour w/ American Authors
The Wild Feathers Announce Fall 2014 Tour Dates

imageAmerican rock quintet The Wild Feathers have announced that they will hit the road for additional tour dates this fall in support of their self-titled, critically lauded debut album. The seemingly indefatigable Nashville quintet has continued to organically grow its audience at a rapid pace, with constant touring and barn-storming shows at clubs around the world and festivals across the country, including Bonnaroo, Firefly, and Summerfest this summer.

The Wild Feathers’
upcoming fall tour includes a show at New York City’s fabled Irving Plaza, marking their fourth headlining show in NYC - a city that has embraced the band from the very beginning. They will also perform at the Squamish Valley Music Festival and the Voodoo Music Experience, as well as headline their hometown’s Live on the Green Festival. Please see below for all tour dates. It’s no wonder that Willie Nelson, Bob Dylan, Neil Young, Gary Clark Jr., Sheryl Crow, Paul Simon and countless others have become fans of their hybrid take on rock, country, folk & classic soul informed by masterful song craft, souring vocal harmonies and infused with Stones/Faces- swagger: Support on all fall tour dates from The Apache Relay and Desert Noises.

"Classic rock DJs have been itching for this band for years. The Wild Feathers channel their Nashville roots with fast-stepping, unmistakably Southern country-rock suggesting a sprightly union of My Morning Jacket and Neil Young." - The New York Times

"They soar on the chemistry and cooperation between no fewer than tree expert songsmiths. Then they elaborate their compositions with the wafting harmonies of four of the five band members…Examples range from the Byrds and Buffalo Springfield to Traffic and Fleetwood Mac…Think the Jayhawkes kicked from behind by The Heartbreakers. American roots music with flat-out rock." - The NY Daily News

"Something that fans of heartland artists like the Avett Brothers and My Morning Jacket will appreciate while it recalls the magic of Tom Petty and Neil Young" - Rolling Stone

In addition, the video for the band’s new video for "Left My Woman premieres today on
Relix.com / Jambands.com.

The Apache Relay and Desert Noises Support on all fall dates:
08/08    Squamish, BC               Squamish Valley Music Festival
08/13    Littleton, CO                  Denver Botanic Gardens w/ Sheryl Crow
08/14    Houston, TX                   House of Blues
08/15    Dallas, TX                      Gexa Energy Pavilion
08/16    Austin, TX                      Emo’s
08/27    Louisville, KY                 
WFPK Waterfront Wednesday
08/31    Hershey, PA                  Zac Brown Band’s Southern Ground Festival
09/03    Delmar, CA                    KPRI Party In The Paddock
09/05    Nashville, TN                  Live on the Green Festival
09/07    Atlanta, GA                    Parklife Festival
09/19    Hamburg, GER               
Reeperbahn Festival
09/20    St Peter Ording, GER     Beach Motel
10/02    Barcelona, Spain            Sala Bikini
10/03    Madrid, Spain                 Joy Eslavia
10/15    Kansas City, KS             The Riot Room
10/17    Denver, CO                    Gothic Theater
10/21    Salt Lake City, UT          Kilby Court
10/22    Boise, ID                        Knitting Factory
10/24    Seattle, WA                   Tractor Tavern
10/26    Portland, OR                  Doug Fir Lounge
10/28    San Francisco, CA         Great American Music Hall
10/29    Los Angeles, CA            El Rey
10/31 - Nov 2 New Orleans, LA    
Voodoo Music Experience
11/04    Indianapolis, IN               Deluxe at Old National Centre
11/06    Minneapolis, MN             Varsity Theater
11/07    Chicago, IL                     The Metro
11/08    Milwaukee, WI                The Rave
11/09    Cincinnati, OH                20th Century Theatre
11/11    Detroit, MI                      The Shelter
11/12    Toronto, ON                    Lee’s Palace
11/14    Portland, ME                  Port City Music Hall
11/15    Boston, MA                    Brighton Music Hall
11/16    Providence, RI                Fete Lounge
11/18    Philadelphia, PA             World Café Live
11/20    Washington, DC             9:30 Club
11/21    New York, NY                 Irving Plaza

Wednesday, July 16th, 2014 – Dear Boy Wins Over the Crowd in Dallas

Tactics Productions had a great show going on at Club Dada this night. It offered a good way to get an early jump on the weekend, without being out too late; and more than a few people had opted to get a live music fix this hump day.

Kitten wasn’t the only Los Angeles-based band on the bill this night, and just a couple days prior to this, Dear Boy had joined them on the remainder of their tour.

“…You got a little bluer before, where’s that shit?” asked singer and rhythm guitarist Ben Grey, speaking to the sound guy, who then adjusted the lights just right. The quartet seemed to love the shade of blue that was now cast over them and the ever-growing audience, and with that, they ripped into the lead track from their debut self-titled EP: “Come Along”.

It immediately became clear they were a very pop oriented group, with some British flare thrown in; and they captured a lot of people’s attention with the intro to that song, which saw Ben aggressively strumming his axe. “Would you like me if I was young? Would you hold me if I was wrong? Would you love me if I was gone? Then come along!” he belted on final chorus.

That song established a very lively mood the band kept up for the rest of their 34-minute long set. During the subsequent track from the EP, “Green Eyes”, Nils Bue jumped on ledge that has been added around the front of the stage — giving a place for the monitors to set — and brandished his bass for all to see. Both Ben and lead guitarist Austin Hayman produced some cool tones and catchy riffs on that slightly sweeter song. Drummer Keith Cooper provided a strong backbone, as well; and if only more people had been familiar with Dear Boy, then I think the chorus of “When there’s no place else to go, I will meet you down below. And when there’s no one left to find, we won’t need this place to hide.” could have easily been a sing-along part.

Upon finishing it, Ben mentioned this was the first time they had every played Dallas. “…Thanks for letting us in your home.” he said in a sincere voice, while a smile crept across his face. He then thanked Kitten for having them on part of this tour with them. “It’s very rare that you get to play with a band you actually listen to.” he said, noting it was an great experience. He went on to say they were going to do the newest song they had, and it was with it that they really hit their stride.

There came a point where both Austin and Ben leaned against each one another’s back, fiercely shredding on their guitars; and they wound it directly into another song, which had a vibrant, fun vibe to it.

The spectators were clearly enjoying Dear Boy; and their next song was one the most well crafted they did as far as the music bed was concerned. Ben started it, and it was performed solo at first, before Austin laced in his guitar at the second verse. A minute or so later it exploded into action with the bass and drums (Nils rocked out next to the kit, creating a pulse pounding rhythm section), and during a break from singing, Ben dropped to his knees, succumbing to the music.

“…We want to meet as many of you as possible!” Ben pointed out once they finished that song, also mentioning they’d be selling their record over at their merch table afterwards. They did another song from it now, called “Oh So Quiet”, which was a little more indie from some of their other stuff. That was nice, though, ‘cause it showed diversity. The song that followed was pretty heavy; and now Nils and Ben did a little more interacting with one another, standing back to back for a few moments.

“…It’s been a pleasure…” Ben said, as their show had sadly already come to an end. They closed with what would be safe to assume is the most high-strung song in their arsenal: “Funeral Waves”. Some elements of the song were completely dance inducing, while others made it a great song to bang your head to. Regardless of your preference, everyone was captivated by it, and the band was giving it their all. They were all outstanding musicians, and their chops highlighted best on this one. Ben even orchestrated a clap along moment at one point, ensuring it was a fun one to end with.

Man, these guys were all too impressive.

You could tell they were having fun up on the stage, but you could also see their work ethic, and it was clear this wasn’t just some band to them. It was a way of life.

They had more chemistry with one another than a lot of bands do, and they music they made was really extraordinary if you ask me. It was infectious and very radio friendly, but maintained originality. The songs also have a lot of lyrical depth, which is always one quality that gets my attention.

They seemed to make a lot of new fans this night, and as I headed out the door after Kitten had finished, I ended up making a pit stop by their merch table and picked up a copy of their EP, along with having a brief conversation with Ben, who was an incredibly nice guy.

I know one thing: I can’t wait for Dear Boy to get back to Dallas. Let’s hope that happens sooner rather than later.

The have a few shows left with Kitten through the end of this month, and then will be doing a show at The Troubadour in West Hollywood on August 12th. You can find their full tour schedule HERE; and check out their EP in iTUNES while you’re at it. They will also be dropping a new single on the same day as that Troubadour show.

Dale Earnhardt Jr. Jr. Announce Fall North American Tour Dates

imageDetroit duo Dale Earnhardt Jr. Jr. have announced the routing for their upcoming fall North American tour, which kicks off on October 17th in Seattle and concludes with two hometown shows at Detroit’s Crofoot Ballroom on November 22nd and 23rd. Tickets are on sale now.

The band, which is Josh Epstein and Daniel Zott, are touring in support of their current album The Speed of Things, featuring the single Run,” which Paste named one of the “50 Best Songs of 2013.” The magazine also selected the band as one of “The 25 Best Live Acts of 2013.”

A new remix of “Run” by cosmic Brooklyn-based disco ensemble Midnight Magic, premieres today at AV Club. Listen HERE.


Dale Earnhardt Jr. Jr.’s upcoming tour dates are as follows:

07/12  Lansing, MI               Common Ground Music Festival
08/24  Monterey, CA            First City Festival
10/17  Seattle, WA              Tractor Tavern
10/18  Vancouver, BC           Biltmore Cabaret
10/19  Portland, OR              Doug Fir Lounge
10/23  Solana Beach, CA       Belly Up Tavern
10/24  Los Angeles, CA         The Regent Theatre
10/25  Flagstaff, AZ             Orpheum Theater
10/27  Salt Lake City, UT      Urban Lounge
10/28  Boulder, CO               Fox Theatre
11/07  Austin, TX                 Scoot Inn
11/08  Dallas, TX                 Trees
11/09  Houston, TX              Fitzgerald’s Upstairs
11/11  Atlanta, GA               Terminal West @ King Plow Arts Center
11/13  Brooklyn, NY              Music Hall of Williamsburg
11/14  Washington DC           9:30 Club
11/15  New York, NY             Bowery Ballroom
11/16 Cambridge, MA            The Sinclair
11/19  Columbus, OH            The A&R Music Bar
11/20  Cincinnati, OH            20th Century Theatre
11/21  Chicago, IL                Metro
11/22  Detroit, MI                The Crofoot Ballroom
11/23  Detroit, MI                The Crofoot Ballroom

Death From Above 1979 Announce New Album Details; World Tour Happening This Fall

imageGlobally revered and highly influential dance-punk duo Death From Above 1979 have revealed a plethora of details about their eagerly anticipated new album, including the title, cover art, and track-listing. The Physical World will be released by Last Gang Records / Warner Bros. Records on September 9th, 2014. The digital pre-order is now available on iTunes and the exclusive album bundles are available from the band hereThe first single, Trainwreck 1979 is now available for sale and streaming at all participating online retailers.

Produced by D. Sardy (Red Hot Chili Peppers, LCD Soundsystem, Wolfmother, Oasis), The Physical World comes a full ten years after the release of the band’s universally acclaimed debut album, You’re A Woman, I’m A Machine, which made Jesse F. Keeler(bass, synths, backing vocals) and Sebastien Grainger (vocals and drums), an underground /over ground sensation. DFA 1979 broke up in 2006 while the first album and subsequent remix album continued to sell inexplicably. They decided to reunite in 2011 and began to perform live picking up where they left off without missing a beat. Their rabid cult has only continued to amass just as inexplicably. Jesse and Sebastien sat down with the NME to talk about the new album release and reuniting. Earlier this spring, DFA 1979 released various clues, tidbits and sonic allusions surrounding a possible new album on deathfromabove1979.com. This will also be your exclusive portal into the wormhole world into all things DFA 1979 now and in the future.

In addition, Death From Above 1979 have announced they will hit the road this fall for an extensive European and U.S. headlining tour. Tickets are on sale now.

European tour dates:

10/7                  Koln, Germany               Luxor
10/8                  Paris, France                 Badaboum
10/9                  Brussels, Belgium          Botanique                              
10/11                Amsterdam, Holland       
Melkweg
10/12                Hamburg, Germany        Hafenklang
10/13                Berlin, Germany             Cassiopeia
10/15                Vienna, Austria              Flex
10/16                Munich, Germany         
Orangehouse
10/18                Zurich, Switzerland        Mascotte
10/20                London, UK                   Electric Ballroom
10/21                Manchester, UK            Gorilla
10/22                Glasgow, UK                 The Garage

North American
fall
 tour dates: For every pair of tickets purchased, you will receive one download of the album.

09/6-7              Toronto, ONT, CAN        
Riot Fest Toronto
11/01               New Orleans, LA            Voodoo Music + Arts Experience
11/03                Atlanta, GA                    Buckhead Theatre
11/04                Nashville, TN                 Marathon Music Works
11/06                Houston, TX                  Warehouse Live
11/07               Austin, TX                     Fun Fun Fun
11/08                Dallas, TX                     Granada Theater
11/10                Tempe, AZ                    Marquee Theatre
11/12                San Diego, CA               House of Blues
11/13                Santa Ana, CA               Observatory
11/15                Las Vegas, NV               Brooklyn Bowl
11/17                San Francisco, CA         The Independent
11/18                Portland, OR                  Crystal Ballroom
11/19                Seattle, WA                   Neumos
11/21               Salt Lake City, UT          In The Venue
11/22                Boulder, CO                   Fox Theatre
11/24                Minneapolis, MN            First Avenue
11/25                Chicago, IL                    Rivera Theatre
11/26                Detroit, MI                     Crofoot
11/28                New York, NY                Terminal 5
1129                 Philadelphia, PA             
Union Transfer
12/01                Washington, DC             9:30 Club
12/02                Boston, MA                   House of Blues

Nothing More Releases Debut Album; Announces Late Summer Headlining Tour

imageIt was only a matter of time before Nothing More got signed. I’ve been one of their thousands of fans who have anxiously been waiting years for that to happen to the San Antonio-based rock outfit, who even as an independent band managed to make quite the name for themselves, keeping a rigorous touring schedule and often performing with nationally known bands.

It has only been a little more than three months since they announced they had inked a deal with Eleven Seven Music, who would be re-releasing their self-titled album (an album they independently released in June of 2013) on a national level. In the meantime, they kept busy by playing festivals all across the U.S. (Rock On the Range, Rocklahoma, etc.), touring with bands like Chevelle and Killswitch Engage, along with doing a European tour to promote “Nothing More”. To say they’re a band quickly on the rise would be the understatement of the year.

Their album was one of the best records I bought during 2013, and it will be making my year-end Top 10 list again this year. It’s a superb record that has an amazing flow to it; and every song is teeming with emotion, from tackling subjects like addiction, to religion, consumerism, and death (based on the personal experiences of frontman Jonny Hawkins, who lost his mother to cancer). It’s an album that makes you feel, and WILL stir something in you, which is pretty rare these days.

In support of the record, the band will be heading out on a month long tour across the U.S. later this summer, which should surely get them warmed up for their tour with Volbeat and Five Finger Death Punch later this fall.

The album can be purchased in a variety of places (perhaps even at your local Best Buy); and if you see that Nothing More is coming to a town near you, go see them. Trust me, they put one of the most mind-blowing shows of any band. Ever.

Amazon.com:
CD: http://smarturl.it/NothingMore_Amz
LP: http://smarturl.it/NothingMore_AmzLP
Digital: http://smarturl.it/NothingMore_Amzmp3

iTunes:
LINK: http://smarturl.it/NothingMore_iTunes

Best Buy:
CD: http://smarturl.it/NothingMore_BBYCD
LP: http://smarturl.it/NothingMore_BBYLP

“We Are Not Machines Tour”
Tue/Aug-05 Kansas City, MO The Riot Room
Thu/Aug-07 Grand Rapids, MI The Stache @ The Intersection
Fri/Aug-08 Chicago, IL Beat Kitchen
Sat/Aug-09 Birch Run, MI Dirt Fest 2014
Mon/Aug-11 Pittsburgh, PA Altar Bar
Tue/Aug-12 Lancaster, PA The Chameleon
Wed/Aug-13 Toronto, ON Lee’s Palace
Fri/Aug-15 Albany, NY Upstate Concert Theater
Sat/Aug-16 Portland, ME Port City
Mon/Aug 18 -18 Baltimore, MD Ottobar
Tue/Aug-19 Charlotte, NC Amos Southend
Thu/Aug-21 Atlanta, GA Masquerade Hell
Fri/Aug-22 Nashville, TN The End
Sat/Aug-23 St. Louis, MO The Firebird
Sun/Aug-24 Springfield, MO Outland Ballroom
Tue/Aug-26 Little Rock, AR Juanita’s
Wed/Aug-27 Dallas, TX Trees
Fri/Aug-29 Houston, TX Scout Bar
Sat/Aug-30 San Antonio, TX Sam’s Burger Joint
Tue/Sep-02 Tucson, AZ The Rock
Wed/Sep-03 Los Angeles, CA Troubadour
Fri/Sep-05 Denver, CO Marquis
Sat/Sep-06 Colorado Springs, CO Black Sheep
Tue/Sep-09 Seattle, WA El Corazon
Fri/Sep-12 Portland, OR Dante’s
Sat/Sep -13 Sacramento, CA Monster Energy Music's Aftershock Festival
Sun/Oct-5 Louisville, KY Louder Than Life

Full tour schedule can be found HERE.

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The Toadies’ Rubberneck Tour Revs Back Up

imageIf you’re a fan of the iconic Fort Worth-born The Toadies, than you know that 2014 marked the twentieth anniversary of their platinum selling record, “Rubberneck”. You also probably know that the band has been on the road for a couple months now, touring in support of the re-mastered re-release of the record, playing it front to back in the process. The tour seemed like it was coming to an end, at least until the other day, when another round of dates from late July through mid-August were announced.

Maybe they didn’t make it near your town the first time around, or maybe you just want to catch this memorable set again (if they’ll be back in your area). Either way, you might be in luck.

For any North Texas fans, the Denton date will no doubt catch your eye, especially considering their Dallas show took place at a festival, keeping them to a shorter set. So, if you want to hear all eleven tracks from “Rubberneck”, along with their rendition of Blondie’s “Heart of Glass”, and some deeper cuts they didn’t have time for (I’ve heard they’ve brought “Song I Hate” out of the vault), then you’ll probably want to get a ticket for show at Rockin’ Rodeo on Thursday, July 24th.

The full set of new dates can be viewed below:

7/24 - Rockin Rodeo - Denton, TX (w/ UME)
7/25 - Lucky Mule Saloon - Abilene, TX (w/ UME)
7/26 - City Limits - Stephenville, TX (w/ UME)
7/27 - Midnight Rodeo - Amarillo, TX (w/ UME)
7/29 - Sister Bar (Backstage) - Albuquerque, NM (w/ UME)
7/30 - The Black Sheep - Colorado Springs, CO (w/ UME)
7/31 - Knuckleheads - Kansas City, MO (w/ UME)
8/1 - The Waiting Room - Omaha, NE (w/ UME)
8/2 - George’s Majestic Lounge - Fayetteville, AR (w/ UME)
8/8 - Amos Southend - Charlotte, NC (w/ Black Pistol Fire)
8/9 - The Music Farm - Charleston, SC (w/ Black Pistol Fire)
8/10 - The Orange Peel - Asheville, NC (w/ Black Pistol Fire)
8/13 - Iron City - Birmingham, AL (w/ Black Pistol Fire)
8/14 - Varsity Theatre - Baton Rouge, LA (w/ Black Pistol Fire)
8/15 - Kress Live - Biloxi, MS (w/ Black Pistol Fire)
8/16 - Juanita’s Cafe and Bar - Little Rock, AR (w/ Black Pistol Fire)
8/17 - Horseshoe Tunica - Robinsonville, MS (w/ Black Pistol Fire)

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Saturday, April 5th, 2014 – Astronautalis Astonishes at Day Two of the Deep Ellum Arts Fest

Once I trekked back to main stage at Main and Good Latimer, a crowd was already starting to gather around the stage, and I staked out a spot just in time.

It had only been twenty days since Astronautalis last played Dallas, but he (Andy Bothwell) had been brought back to his old town to help close out the DEAF this night and lot of people were going to take advantage of this free show.

It was the Spillover Music Festival he played the previous month, and I did a lot of bouncing around at that one; only catching a portion of Astronautalis’s set that day, so I was looking forward to getting the full experience now.

“How y’all doing? It’s good to be back…” Andy said to the sizable crowd after he and band mates Austin and Moe (if I heard their names correctly) took the stage. “It feels like I was just here, with the same exact weather. I always bring bad weather with me…” he joked. That banter with the crowd lasted briefly, as chose to immediately establish a rapport with his old hometown crowd, rather than rip right into the first song.

That came soon enough though, in the form of one of the new tracks he has cooked up. It followed more along the lines of his current material, rather than his past records, and even though this group of fans had only heard it once at most, you could tell they had already embraced, roaring back at the hip-hop artists/singer at one of the breaks where he shouted and asked the crowd, “Are you ready?!”

“That was a new song, this one’s an old one.” he quickly said, while the sample track from “Contrails” began to play. Fans cheered at that, and many of them rapped right along with him when the song got going, “I know, leaving’s your living, built in your bones. No one can ever escape all of their ghosts…” Personally, that’s what has appealed to me the most about Astronautalis’ music, the fact that it’s real and honest, verses the gangster style of rap and hip-hop most people first think of whenever they hear either genre mentioned. And judging on how everyone was reacting to it this night and singing along excitedly, it was making a connection, too.

“This is the
last show of our tour. So we’re just gonna mess around and do stuff we want to.” The fans liked the sound of that, and they liked it even more so when things rolled into “This Is Our Science”. Andy got everyone pumped up while he sang the first verse, ensuring everyone was having a fun time, while also pushing things to a fever pitch. Then he burst into the rap portion of the song, delivering the words at a machine-gun pace, to the point that even though I knew the lyrics, I could barely keep up with what he was saying. “Tell me this, put up your fingertips if you’re living your life exactly the way that you wished…” he sang later in the song, prompting some of the fans to lift their arms into the air; and at the end, everyone shouted out the final line, “Touch fire!”

“Jesus, Dallas, could y’all have more stuff going on?” he asked once the song was over. He was referring to the fact that the NCAA Final Four was going on this weekend, as well as a three-day concert series in conjunction with that, that featured The Killers, Tim McGraw, and, the night after this, Bruce Springsteen. There was also the Dallas Film Festival, and I think I’m still leaving out a few events.

His focus returned to the concert series, where The Killers were playing this night. “…My secret hope is that someone out here is thinking, ‘This isn’t The Killers?!’, then they get super drunk and later on think, ‘That’s an awesome version of Mr. Brightside!” he joked. He also mentioned he thought the opposite would be amusing too, and that if some fan watching The Killers was wasted and thinking to themselves, ‘Man, Astronautalis has really sold out.” This was proving to be much more than just a concert, and there was also a great comedy aspect to it.

“This next one’s super loud.” He warned before “Thomas Jefferson”, a song where he showed off his freestyle skills, replacing the verse that rapper Sims takes on the recording with what he was able to come up with on the fly. It was followed by another new song, after which Astronautalis informed everyone he was in the process of making a new album, and hoped to return to the studio this summer to finish it all up. He then reminisced and joked about his time in Dallas. “You know when you’re a punk indie kid and you hear your redneck friends and you think how stupid they are so you move to Seattle?” he said. He then continued by talking about how the new friends you make there give you a hard time over your accent, until you realize you’re a redneck just like the people you were trying to get away from. Someone in the crowd called him out on that, and he mentioned he didn’t mean that disrespectful at all, and quickly confessed that he, too, was a redneck. In fact, that (specifically The South) was what he said the central focus of his next album would be, but for now, he got back to the fan favorites with a remix version of another hit from the “This is Our Science” album.

“It’s now a dance song.” he stated before “Dimitri Mendeleev”, which seemed to be an anthem to some fans, who shouted along, “…We invent paths they cannot see, and they’re too scared walk….” They then slowed things down a little with “A Love Song for Gary Numan”, but that mellow mood didn’t last long. The live version had more of a kick to it than the album version, and as the drumming increased and grew more intense, Andy began striking his hand against his hip, until the track exploded into action.

“Let’s dance some more!” he said enthusiastically before “Midday Moon”. He jumped in the crowd at one point during it, and while everyone was respectful, people were still placing their hands all over him. “Thanks for dancing with me. I feel pregnant after that.” He cracked, before mentioning that when he recorded that song, he was afraid everyone was going to hate it. Clearly, they do not.

They kept things going with another new song, and this one had some not so subtle religious undertones to it, and was my personally favorite of the new tracks that were played this night. “I’m full of basketball hatred.” Andy said when it was over. He wasn’t really joking, either, since the team he was rooting for had been knocked out of the playoffs. “No one ever wants Kentucky to win!” he added, clearly harboring some degree of malice towards them.

He let it go and got back to Dallas, though, talking about Good Records and how things have changed down here, like the “weird robot” that now stands there (known officially as the Traveling Man). He then asked about Bank of America Plaza building, which was lit up blue this weekend, and looked very strange from the typical green. “Who knew it could turn blue?” he asked, before inquiring who that had been done for, guessing it was probably for The Boss, or perhaps The Killers. “For me, y’all did that for me?” he later joked, before moving on to the next track.

“You only need to know 1 word  for this next song, and that’s ‘Hey’… You won’t learn the lyrics, so don’t be pretentious and just dance…” he said in a humorous manner, before unloading another new song on the fans. It was another killer one, and at one point, while he had one leg propped up on the monitor, he then jumped onto it and quickly pushed off it.

The next part of the show was perhaps the best of the night, and people got giddy when he mentioned he would be doing a freestyle rap, which is apparently customary at Astronautalis shows. Kendrick Lamars’ “Don’t Kill My Vibe” was the backing track used, but before it, he took suggestions from the audience on what to rap about. Someone wanted to know who the drummers favorite Care Bear was (he answered “The Red Power Ranger.”), while sea turtles were another topic thrown out (“You said that so gangsta.” Andy laughed after the woman said it.) Another guy mentioned the newborn baby a friend of his had just had, whose name was Olivia. “What  street cred I had is gone…” Andy said with a smile, mentioning that this was probably going to be the happiest rap of all time. It got a little more hardcore when someone mentioned they had a friend who had just gotten out of jail, while another said Cthulhu, though the subject of pizza irked Astronautailis. “Have you ever listened to a Mac Miller record? That’s all the songs are about…” he cracked, going off on entertaining rant of sorts (actually, rant seems like to strong of a word to use).

So, after he cooled off, he pulled out a rap involving all of those suggested topics in one way or another. Wow. It wasn’t just entertaining because of the absurd stuff people had shouted out, but because he also incorporated it all together in a very solid rap, proving this isn’t just something he’s good at, but a natural talent he was born with and has perfected over the years. He also worked into how when he first started, it was rap battles similar to this, just right down the street. “…And no one gave no shits…” he said, and later worked a thank you to all his fans into it, pointing out how much it meant that people would actually learn his lyrics and put the effort into singing along at shows. It was a very cool piece, especially since it was all made up on the spot.

 The 59-minute long set ended with “Lift the Curse”, but even after nearly an hour, no one was ready for the show to be over.

It looked like it was, though, especially once the emcee of the stage walked back up and began to wrap up the night, though his words were drowned out by the calls for an encore. “Let them know.” He said. Soon, the band did return, and they struck hard.

“The River, The Woods” started off the 7-minute encore portion, reinvigorating everyone who was there. In fact, while it had only gotten colder and the winds were strong, I hadn’t even noticed the cold at all throughout this Astronautalis show. Some drum beats then wound them into the next song, “Trouble Hunters”, which became a fun clap-along and sing-along for everyone. “…We are the trouble tonight.” fans chanted throughout the song, and giving that the night was still so young (around 10:30), it was a fitting one to go out on.

Damn. What a show.

As I said in the review of that last show, in hindsight, I should have stuck around for all of Astronautalis’s show, and I’m glad I had a chance so soon to make up for that mistake (hey, it was a festival and I wanted to see as many bands as I could.)

The presence this guy has is overwhelming, and he can command a crowd of old fans and new comers with complete ease. And at the risk of repeating an earlier statement, when watching an Astronautalis show, you really can tell that this is Andy Bothwell’s calling in life, and both performing and rapping are something he excels at.

On that note, I’m generally not a fan of hip-hop or rap. I’m not going to say anything negative about the genres, as it has everything to do with personal preference. However, there’s something about his music that is just gripping. It speaks to you. Maybe not necessarily in a way that you can completely relate to the track, but it still does, and more than a few of the songs have an inspirational quality to them.

Point is, check him out if you aren’t yet familiar with the music. All of the albums can be found in iTUNES, and I’d suggest starting with “This is Our Science”. As for tour dates, his whole schedule can be found HERE. However, he’ll be all over Europe in May and into early June. And hopefully by year’s end, fans will have a new album to listen to.

It had been a helluva great day at the Deep Ellum Arts Festival, but like I said, the night was still young, and there was a CD release show going on that I could not miss out on…

Thursday, November 14th, 2013 – Twenty One Pilots

When you think of musical duos, the first thing that probably comes to mind is artists who mine more of the singer/songwriter genre, and certainly not a rock band. Sure, there are rock duos, but how many do you really know of? Just a small handful most likely.

There’s so much more on the line when it comes to duos, like wondering if they’ll be able to entertain and command the stage in the same way a four or five-piece band would.

That thought was at the forefront of my mind this night, when the Columbus, Ohio based Twenty One Pilots rolled through town, performing at the House of Blues.

Fans of this highly original act had packed the House of Blues to near capacity, seeming rabid with excitement, cheering and hollering once the lights finally dimmed, leaving the stage shrouded in darkness.

Unseen was Tyler Joseph and Josh Dun’s entrance to the stage, the latter taking a seat behind his massive drum kit, which sit on a platform, elevating it enough to ensure everyone had a good view.

Both were wearing their signature ski masks, while Tyler rocked out on a keytar as they got this monumental show going with “Fake You Out”. “Let’s dance!” he shouted out after one of the earlier lines, “…And I’ll fake. All I wanna”, the audience doing just that. They continued to amp up the intensity, with one of the most memorable moments of the show coming at one point when Tyler jumped on top of and then off his piano.

Already they were demonstrating complete control and dominance over not just the crowd, but the stage as well, their presence and energy filling the sizable area, to the point you had to wonder that if they were just getting warmed up, what was yet to come?

They took things in the opposite direction with their next song, Tyler taking a seat at the piano for “Migraine”, showing of his stellar rapping ability on most of the track, though it was the chorus of that emotion-filled song that had everyone singing along with him. “Am I the only I know, waging my wars behind my face and above my throat? Shadows will scream that I’m alone…” the audience echoed along with him. “Tonight, there are only two places in the world.” Tyler said at one point during “Fall Away”. “Dallas, and everywhere else!” he roared, before going back to busting out the song’s lyrics.

Thus far, there had been just enough time in between songs for the crowd to applaud, and while they showed how much they had enjoyed that tune, Tyler pointed at Josh, using his index finger and thumb to make a gun. They both pretended to shoot one another in the head, the stage lights again going completely out, leaving the fans wondering what was going to happen next.

When they were seen again, the two had exchanged their ski masks for skeleton masks, also sporting some body suits that had rips on them. Tyler dabbled on both the piano and keys at various points on “Ode to Sleep”, but it was the beginning that was utterly breathtaking. I’m not a real fan of rap, but had been enjoying the moderate amounts of it so far, and then he let loose on the first verse of that song. The precision he put into it was something else, and the further he got into it, the more he raised his voice, and also sped up the pacing. Like I said, I’m not a fan of the rap genre, but as a rapper, Tyler earned my utmost respect with that song, and the more poppy elements of the song were quite fun and enjoyable, too, meshing surprisingly well with the par parts.

They continued with the songs off their most recent album, “Vessel”, slowing things down now as Tyler used a ukulele for the more tender, “Screen”. It earned another sing along moment, the fans crooning, “We’re broken… we’re broken people…”, though it paled in comparison to sing along in the next number. Josh left is drum kit to add some notes from the keyboard to the start of “House of Gold”, a song everybody seemed eager to hear. I believe it was the second chorus, that, when they reached it, Tyler quit singing, the audience picking up the slack, very audibly singing, “I will make you queen of everything you see, I’ll put you on the map. I’ll cure you of disease.” It was a beautiful moment on what is one of the most beautifully written songs I’ve ever heard, and making the live version even better was the addition of Van Morrisons’ “Brown Eyed Girl”, or at least a snippet of the lyrics which were thrown in.

It was immediately followed by another cover song… Well, sort of. The song was Andrea Bocellas’ “Time to Say Goodbye”, and while the backing track of that song played over Twenty One Pilots version, giving it an operatic feel, the song was totally different. The words were rapped, and the mash up of two polar opposite genres (opera and rap), somehow blended together gorgeously.

“…I could not wait to stop and say hi to you all…” Tyler said when they finally took a break. By this time he and Josh had ditched their skeleton attire and ski masks, looking like normal people now, as Tyler chatted with the audience at length, commenting on how they started things off a little more mysterious with the lighting and such, working their way up to this point in the show.

He also mentioned that they also had some old stuff planned for everybody, having already done a couple of their classics, and adding to it with a song off the “Regional at Best” record, “Forest”. He played the piano at times on it, while also acting as a frontman at times, pacing around the stage and engaging the crowd on that gem of a song. He kept up the same behavior on their next song, but first mentioned what a “weird concert” this was. “…It feels like you all trapped us here and want to kill us, but before you do you said, “Play some music.” Tyler joked, soon adding, “We’re going to give you everything we have.”, a statement that earned them some uproarious cheering.

The honest song writing that acts as a window into Tyler’s life continued with “Addict with a Pen”, which was followed by “Holding On to You”. As they started it, Tyler left the stage and hopped onto the guard rail, standing up on it as he struggled for a moment to get his balance, before spitting out the words. That was just one of a few sweet concert moments that took place during that song, with another being when the first opening act, Sirah, joined them on stage, singing a few lines of the song. The one that took the cake though would have to be when Josh suddenly left his drum kit, calmly walking over to the piano on stage left, and climbing up on it. He then walked to the edge, turned around, and did a back flip off it, before returning to his drum duties.

Another unforgettable moment came towards the end of the at times more electronic sounding “Semi-Automatic”, when some of the stage hands brought out a small platform that had a partial drum kit on it, just a bass drum and a snare, plus a cymbal. They carried it to the edge of the stage, shoving it into a part of the audience, as the people who were there grabbed and held it as they moved it further back to ensure enough people had a hold on it. Josh then left his kit for this one, walking out onto the platform and sitting down, as he proceeded to wildly bang about this extra kit for several moments, until the song came to an end.

It was nothing but a sea of phones for that, as everyone attempted to capture that moment in one format or another, as well it should have. Honestly, how many bands have you seen do a stunt like that? I doubt many, and personally, that was a first for me.

The audience was still all worked up over that, as Josh returned to his full kit, eventually laying down a steady bass drum beat as they knocked the more cheerful sounding “The Run and Go”. “Why do you do what you do?” Tyler said, taking a pause during that song, though he kept striking the keys of the piano. He said that was a question his mother asked him. “…To put it in context, it was the first time she had ever seen me perform.” He again got personal with the fans, spending a few minutes talking about that, and how is mother, who had brought some of her friends to that show where she first saw him perform, said they were worried about him and how he acted like he did on stage. Tyler then gave a passionate little speech, saying he responded by saying that was just how the music affected and impacted him, earning him a deafening applause from the crowd who agreed with him. “…This is also my mom’s favorite song.” he added as they went back into the song and finished it up

Afterwards, he continued bantering with everyone, while Josh briefly left the stage. “…When I wrote these songs in my basement, I didn’t know there were rules…” he remarked, elaborating that he wasn’t aware that they needed a certain type of structure, or you should or shouldn’t do certain things with the chorus and such. “…I was just writing these weird songs…” he said, adding he was glad so many other people liked hearing his “weird” songs.

He continued, talking about how moving and changing music is, and in his speaking, you got the idea of what a deep and wise individual Tyler is. Characteristics that are evident in his songwriting itself, but they run much deeper than just that.

They soon got back to business with “Car Radio”, Tyler sounding more like a poet as he spoke/rapped the lyrics, again leaping off the piano at one point in the song.

With that, their 84-minute long set was nearly over, but first he connected with the audience one last time. “…This show is something I won’t soon forget…”, seeming genuine about the remark. Talk then turned to Twitter, when he said he doesn’t use social media to thank each town they play in, saying he feels like that ruins, if you post about how much fun each city was. He was more concerned with the people who were here now. “…I don’t live anywhere near here…” he said, going on to say how special it was that everyone was out here with the sole purpose of wanting to see them live and hear their songs.

He soon started speaking to one particular fan, asking him what his name was. “…There’s a moment in this next song, where I take my shirt off. And then I’m going to look at you, and we’re going to have a moment…” Tyler joked, before saying he wanted this fan to take his shirt off along with him, ensuring that no one would laugh or anything, because people would see him doing it, and then take their own shirts off.

It didn’t quite work like that, and while some people did remove their shirts during “Guns for Hands”, more were singing along to it, their enthusiasm turning to amazement as the song neared the end. Two floor toms were brought out and placed near the center of the stage, both Josh and Tyler taking a spot in front of them. They both acted as percussionists, forcefully beating on them as they stood back to back, before doing a 180
°as they continued beating on them, ending their show in spectacular fashion, and leaving the fans feeling even more pumped up than they had all night.

No one wanted it to be over just yet, though, and after some shouting and clapping for one more, Tyler returned to the stage, playing the final track from “Vessel”, “Truce”. He segued it perfectly into “Trees”, where he was joined by Josh. The way they had ended the main set seemed hard to top, but they had devised a way to do just that, and again some stage hands rushed out towards the end of the song, this time with two smaller platforms they handed to the fans.

One was for Tyler and the other belonged to Josh, as they carried those toms from earlier out with them, concluding the night with a fiery drum solo that you just had to marvel at.
By the time it was all over, they had played their newest full-length in its entirety, plus a nice array of older stuff, and had put on one of the best live shows I’ve ever seen any band do.

I’ve caught a decent amount of shows here at the House of Blues, and there are some four and five-piece rock bands I’ve seen take this stage and fail to put the energy in to the show or have the presence it takes to fill this stage, two things that did not befall Twenty One Pilots.

They commanded the audience’s full attention without ever having to ask for it, relying completely on their explosive live show to capture and captivate them, and they did so with relative ease.

Personally, I find it easy, especially with larger bands, to overlook drummers, since they’re usually pushed towards the back of the stage. That’s far from the case with Josh Dun, who had a certain charisma about him, and was a fierce drummer. And Tyler is pretty much the ultimate frontman, having an amazing, and even beautiful singing voice, while doubling as a very skilled rapper, and as he roamed and ran about the stage, you really had no idea what he might do next.

It was that spontaneity that made their show so fun and engaging, allowing you to look on in wonder, and the diversity of their music didn’t hurt either, and the fact that no two songs of theirs even sound remotely the same kept things fresh throughout the night.

Tyler may be right that he writes weird songs, but they’re real, honest and relatable songs, something that’s hard to find in music these days. It didn’t hurt that he was so humble about everything, either, coming across as being truly privileged to be on this stage in front of so many people. But I digress. For me, it’s substance like that, that will always be the most important quality music can have, and if you’re lucky enough to see them live and get the joint experience of their music and their action packed live show, well, it’ll be a time you won’t soon forget.

Sunday, November 17th, 2013 – Free Dominguez

The Prophet Bar was hosting a very unique show this night. Free Dominguez, best known as the frontwoman of Kidneythieves, was performing this night, and this final show of an only two-show tour of Texas was more of an intimate party than just your typical concert.

This Dallas date was billed as a “private event”, with buying tickets in advance being the only way to get in, as no tickets were sold at the door, giving it an exclusive feel, to an extent.

On top of that, Free had organized the lineup, with her cousin Jordi Baizan and fellow Los Angeles based singer Sierra Swan opening for her. (Dallas locals At Night were also scheduled to perform, though their van broke down on the way back from their Houston show).

However, since this was such an early show (starting about 6PM), both openers had finished by the time I was able to get there, though I heard good things about both.

Still, everyone was most excited for Free Dominguez, who had been over at the merch table meeting people and signing stuff for most of the evening (from what I heard), only leaving shortly before her and her bands 8:40 start time in order to get ready for the show.

Much of their 67-minute long set was comprised of material from “Volcano and the Sea”, an album that at one point during the night Free said she had been wanting to make for ten years, sounding elated that it had finally happened.

They kicked things off exactly how the record does, with the beautifully serene yet roaring rock number, “Calling”. She informed the decent size crowd on the title after they finished it, chatting with everyone briefly. “This is going to be our last song.” Free joked before they launched into “Beautiful”, which was just one of many songs this night that guitarist Static was able to shred on.

Drummer Beak Wing counted them in on the mesmerizing “Line in the Sand”, which was the last song they did in order as is heard on the record, and afterwards Free  again spoke with the crowd, creating a real rapport with everybody. One thing she did was point out a couple who had drove all the way from St. Louis to see this show, a feat that earned them a round of applause. “…It’s stuff like that that keeps me doing what I’m doing…” remarked Free, being genuinely humbled by that, as well as all the fans in general who had come out to show their support.

“Make me a simple life before I die…” Free crooned as they started “Simple Life”, which somewhat deals with materialism, and wound up being a highlight of their show. At least I thought so. Upon finishing it, she pointed out one of the lines from it, for those who might not have caught it, and that was, “…Things that are forever are forever changing…” She commented on how that’s more or less a mantra for her, and it is probably one of the most true lyrics from a song. Talk then led to the next song, which Free noted was the first song she and Static wrote that wound up leading to “Volcano and the Sea”. “…He was screwing around on Skype…” she said, saying she liked what he was doing on his guitar and asked him to continue.

They then slowed things down with the dark and gorgeous “Corridors”, with Free hitting some utterly beautiful notes with her voice. “That’s always a fun one to do. It’s always different.” she stated, referring to Static as “the feral one”, adding that he always keeps them on their toes while performing it. And while they had toned things down with that song, they were about to scale back even more as Beak Wing and bassist Matt McJunkins left the stage. Free told everyone that for this next segment, she let Static pick the songs they were going to play, ones she hadn’t prepared for and was going to be as surprised as the audience. “…I might even forget the lyrics, like I did last night in Houston.” she said laughing.

This portion of the show saw them doing some stripped down covers of Kidneythieves songs, and the first one was the lead track from “Zerospace”, “Before I’m Dead”. They may have sounded a little different, but it was these songs that everyone seemed to love, and much of the audience was even singing along to them, especially “Jude (Be Somebody)”, which everyone seemed ecstatic to hear, and it did even catch Free off guard. “I don’t know what it is.” she said after Static’s first riff on the guitar, reiterating that after the second, before realizing. And no, she didn’t flub the words to either of those tracks.

As the rhythm section returned, Free took a few moments to discuss another project she and Static are working on, which will be a hip-hop collaboration. She expressed her love of the genre, even saying they recently got word from the label that they will be able to get who they want to collaborate with for what I believe she said would be an EP that would most likely be released in the first half of next year. She sounded very excited about it, and it will no doubt be an interesting record to hear once it’s finished.

As they got back to her solo material, they did some revamped renditions of a couple songs from “(.Unearth.)”, the addition of Matt and Beak Wing really helping flesh out the songs from how they are on the album, helping transform “
Darkest Rivers” into a beast of a song, and one they could all really throw down on. “…Enjoy it…” said Free, urging everyone to get the most out of it, adding, “…’Cause I don’t know when we’ll be back…” Following it was “Questions + Lies”, which helped wind the evening down, but they still had a couple songs left to do.

But before playing any more, Free pointed out that a special guest was in attendance, and that was someone who had backed their Kickstarter campaign, picking the reward option of having her write a song about him. In order to get to know him she said they had talked online many times, and she also had him keep a dream journal for a while, which he then gave to her. She was excited about the song, saying how good it was sounding and that she has had to fight the urge to share even a snippet with him, because she wants him to be surprised when he hears the full song, which she said would be titled “Mr. Goodnight”.

They got back to it with “Hearts Like Parachutes”, which made them appear as if they were still getting warmed up, with the whole band really loosing up, especially Matt, who thrashed about to the beat. Then, before their final song, Free pointed out someone else who was in attendance. It was a young girl who was at her first ever concert, and Free said she was glad the child had been in the bathroom earlier when she said the “f-word”. “…I’m sensitive about that stuff…” she clarified, shortly before encouraging everyone to support their favorite band by buying their music, then bashing a streaming service with, “Fuck Spotify!”. It was “Wolf” that brought their show to a close, though even after a little more than an hour, no one was ready for it to come to an end, letting it be known when it was said that would be the last song. “Do you not want me to enjoy this shot?” Free said jokingly, having gotten one early on in the night, but only drank a portion of so it didn’t “fuck up” her voice as she put it. A respectable ting to do I might add, since so many musicians these days don’t seem to think twice about how it might affect their singing.

As the band retreated back stage, the DJ they had at the event began to spin some more music as everyone started to mingle a bit, thinking it was over. It wasn’t.

Static and Free returned to the state after a minute or so, performing over the track the DJ had going, giving everyone one little bonus track.

It was truly an incredible show, and making it all the better was the intimate feel it had. The Prophet Bar is a smaller venue, and all four members were fairly cozy on stage, having just enough room to do a little moving around. That didn’t keep them from putting on one helluva show, though.

There’s no question that Static is a phenomenal guitarist, stealing the spotlight at times as you watch in wonder at his mastery of the instrument. Beak Wing and Matt are also experts at their craft, while Free Dominguez is amazing in all aspects. Often this night she could be seem conducting her body very fluidly to the music, moving her hands and arms about in perfect time to what her band was playing. On top of that, she has a stellar voice, which was no doubt the main tool that left everyone in awe this night.

Honestly, the first time I ever heard any Kidneythieves songs was the covers they did this night, it has prompted me to listen to their records. And while it may be a departure from the group that made her famous, Free’s solo music is every bit as great, albeit in a different way, but in the end, it’s all riveting music that will pull you in and make the trip an experience.

If you haven’t yet heard her solo stuff, check it out in either iTUNES or Bandcamp.

I’m glad I wound up going to this show, as it was well worth it, and I definitely won’t miss out on the next one… Whenever that may be.

Tuesday, August 20th, 2013 – The Riverboat Gamblers Cause a Ruckus at Rubber Gloves

A Tuesday night is a bit of an odd night for a show. At least it is in most towns, but not Denton, where the venues in the college town regularly host bands on any given night of the week. And making this show a little more special was the fact that the old Denton residents, now Austinites, known as the Riverboat Gamblers were kicking off their summer tour.

I had heard of the Gamblers quite awhile back, but had never seen them live until nearly a year ago down in New Braunfels at the Dia de los Toadies music festival, and since then had anxiously been waiting for them to hit the D/FW area.

Rubber Gloves was hosting the show, providing a more intimate setting to see the band in, though it seemed near impossible to reach the venue, which is right next to some train tracks, and a train was just sitting there on the tracks. Not being a Denton local, I don’t know my way around well enough to have figured out a back roads approach, which meant I waited nearly an hour before the thing finally got off the tracks.

By that time the first band had just finished, and the next band quickly set their gear up. They weren’t the next act, though. Instead, Mike Wiebe of the Riverboat Gambler got up on stage and announced they were doing something they seldom do, and that was have a comedian do a set, and then welcomed his friend on stage.

His name was John Tole, and I’m not in the business of reviewing comedians, so I won’t him. However, I will say I found him to be funny as hell. Nothing seemed to be off limits in his short little set, and that included making fun of himself, from his weight to his appearance. The humor was largely, shall we say, “adult”, and although it at times made you cringe, it was impossible not to laugh.

Great comedian, and definitely one I’d like to see again sometime.

At 10:35, the next band took the stage, and that was Blacklist Royals, who were from Nashville, Tennessee, and were touring with the Riverboat Gamblers.

During their 38-minute long set, the quartet played an array of songs, new and old, first playing a couple newer ones back-to-back. They had a bit of a punk rock sound (and look), and sped through those first two songs, before their singer and rhythm guitarist addressed the crowd briefly. “Things They Say” was one of several songs they did from their debut album “Semper Liberi”, and then did a couple more new ones which were bled into one another, and one of those was the title track of their next album, “Die Young with Me”. With some feedback emitting from the bass and guitars, they swirled it into “Rock and Roll”, which certainly seemed to embody the Rock ‘n’ Roll spirit.

Things then took a more serious turn, even hitting a somber note,when the singer stated that he wrote the next song about a fried who had passed away in recent years. It was pretty heavy, but that realness it captured was what made it such a fantastic song, one of the best of their show in my opinion. They rolled it right into another one, and after finishing it joked about how the Riverboat Gamblers fan demographic was not women, though there were a few in attendance, and the singer said something along the lines of, “You look good.” “…This next one’s a brand new one. We’ve never even played it before.” He said, before the group launched into a song that I believe was called “She’s the One”. This may have been its live debut, but they seemed pretty polished while playing it, and if he hadn’t have said that in the first place, I would have figured they had played it several times over before. The drummer transitioned them into their next track, “White Line Fever”, before they switched things up a bit, with the lead guitarist and bass player leaving the stage. “…This song’s about my hometown in my home state… Which is a long way from here.” The singer announced, performing the song solo, before they kicked things back up with another song or two.

Before wrapping up their set, the singer mentioned the merch they had for sale at the back, joking about it not being all riches while out on the road, even teasing that the bass player had to take out a loan just to afford the shirt he had on. “…He ruined his credit, but at least he looks good.” he said, getting a laugh from everyone. “…Sing it if you know it!” he later shouted, before singing the first line of the very patriotic “American Hearts”, “There’s an American heart, reckless and wild…”

That song brought their time on stage to a roaring finish, and while the Blacklist Royals didn’t have nearly as many eyes on them as they deserved, they did seem to make fans out of everyone who was watching, myself included.

Like I said, their music had a real punk flare to it, in the sense that it was fast and rather aggressive. However, after listening to their first album, I get a real [Bruce] Springsteen-esque vibe from them. Not in the musical style so much, but just in the fact that the Blacklist Royals songs tell actual stories that can strike a chord with people, while embodying the American spirit.

In listening to their stuff, it’s easy to see why they have toured so extensively over the last few years, both nationally and internationally, and they no doubt keep winning over new fans wherever they play.

Head over to iTUNES and give their record a listen, or even buy it, and stay tuned for their next record. And if you get a chance to see them live, you should definitely take it. You can find all their tour dates right HERE.

Now, it was finally time for the Riverboat Gamblers. The large crowd had packed in the showroom early in anticipation of the band, and people got even closer to the stage when drummer Sam Keir and bassist Rob Marchant made their way on stage. They got things going with some heavy beats and riffs, a prelude to the chaotic blitz that was to come, and kept it going while the remaining members took the stage.

Front man Mike Wiebe, guitarists Fadi El-Assad and Ian MacDougall and Rob then proceeded to clap, getting most everyone involved before they tore into their first number, “Rattle Me Bones”. That fast paced tune had everyone moving around, a mosh pit erupting at the front of the stage, while those who didn’t want to partake moved back to where it was safe. The band instantly got into show mode, and Mike continuously walked to the edge of the stage, leaning forward and falling out at the crowd, causing the moshers to stop, catching him, sometimes before his feet even left the stage as they simply pushed him back up. It was quite cool, and something he did constantly throughout the show.

As the song neared the end, he ran over to stage right, grabbed part of the curtain and ripped it from the wall (in fairness it’s not attached all that well), while Sam transitioned them into their next song. The adrenaline kept flowing as they launched into the lead track from 2012’s “The Wolf You Feed” album, “Good Veins”. “…You knew what I was before you fell in love. I’ve got bad blood you’ve got good veins…” shouted Mike, while his band mates often added some backing around him, adding a good layer to it and the majority of theirs other songs this night.

“…We pound these guitars like jackhammers!” Mike exclaimed as they took a very short timeout to tune up before getting back to business with “Bite My Tongue”. Ian, Rob and Fadi continued thrashing about while shredding on their instruments, as Mike hurriedly paced about the stage, at one point jumping up and grabbing the main support beam on the ceiling (which was just a few feet above his head), and hung from it for a few seconds. At this point, Mike noted that he and Fadi grew up in Denton. “…A lot has changed since then. Like, apparently now trains can just park on the tracks for as long as they want…” he joked. He went on to say they had moved off nearly ten years ago, but were now going to do a song they wrote while they still lived in Denton. “…Ladies and gentlemen, ladies and gentlemen, I want to play for you all a song from a record called Something to Crow About. It’s called Save You!” he roared as they exploded into what ended up being a sing along.

They kept on drawing from that now ten year old record, segueing things directly into “Hey! Hey! Hey!”, and soon after taped one of their more recent releases, doing the quick song “DissDissDissKissKissKiss”. As it neared the end, Mike left the stage, winding his way through the audience, and best I could tell even left the showroom, working his way into the bar area. The instrumentalists kept right on going, bleeding the music bed perfectly into their current single, “Blue Ghosts”. Ian handled the backing vocals at the start of the song, before Mike seemed to suddenly re-materialize, making his way back on stage, not missing a line of the song. Upon finishing it, they churned on one last quick song, “Death by Stereo”, before gearing up for what would come next.

Mike decided to get up close and personal with everyone for the next song, dragging the mic stand out into the crowd, everyone in the general area dispersing, giving him enough room while still circling around him to watch. The audience sang along to  “Comedians” while the band cranked it out. I was one of the lucky few who was as close as possible for this, and at one point my hat got lifted as Mike put it on himself (I’m sure that has to up its value to at least 25 to 30 bucks), but the best part came when he continued to search for more antics to pull. He walked over to one side of the room where a folding chair sat, and once he moved it the sound of glass shattering could be heard. He then put the chair around him, the seat resting on his back, while he held the top of it so the bar wouldn’t choke him. It made for a crazy good and memorable moment.

Ian, Fadi, Rob and Sam moved right along into “The Ol’ Smash and Grab”, and Mike rejoined them moments later. As I said, he had often stepped off the stage this night, allowing the fans to catch him, but he did a full-blown stage dive during that song. No advanced warning or anything, just leapt into the air without fear of falling, and sure enough, everyone’s arms shot up in the air, catching him without fail. Once that tune came to an end, Mike joked that he needed everyone’s approval, and he’d appreciate it if people “wooed” along with him, leading the swarm of fans in shouting “Woo!” a few times over. Soon after they tackled “Keep Me From Drinking”, though it was the following song that was a standout of the night. “This song is very fast!” said Mike before they burst into “The Song We Used to Call Wasting Time”. He wasn’t lying, and the lightning fast paced rhythm section incited another mosh pit, and almost on the same level of quickness was another track from “To The Confusion of Our Enemies”, “Rent is Due”.

That unrelenting approach of diving from one song to the next was working incredibly well for them. And even when they did stop, it usually wasn’t for long, like now, when Mike mentioned how great their newest record was. “…That’s not me being cocky, either. Jesus told me so.” he said, setting up the glorious “Heart Conditions”. Their set was nearing the end now, but before getting to their last batch of songs, Mike told everyone a story, beginning with them driving down University earlier in the day, making him recall his youth.

“…I don’t want to sound like that guy who says things were better in my day or things are better now…” he said at the start, mentioning how earlier in the day he had seen a kid on a skateboard crossing the highway. I should note I don’t remember the whole story verbatim, but he went on to say back in his day you had to watch out for “cowboys” and such. He went on to say he had a run in with one of these cowboys at the Arby’s (which he noted was something else now), when one walked up to him and asked him a unintelligible question. “…At first I thought he was asking if I wanted any sausages, and I didn’t know how to answer that question…” Mike said, then added he found out the guy was asking him, “Do you want to start any shit?!”, to which he said he replied “No.” and then went home. That story got quite a few laughs, while the next part got the applause, when he said several years ago, he had met some very good friends, and a few years later they began playing friends house parties. And now, they tour the country and the world together.

No sooner had he said that then they tore into “True Crime”, before unleashing the monster of a song that is “On Again, Off Again”. They kept drawing from their 2006 record, doing “Don’t Bury Me… I’m Still Not Dead Yet”, which is nothing short of an anthem (an  excellent one at that) and again at the crowd going wild. It was a fitting way to end their set, though they weren’t quite done yet, and Mike summed up the whole encore process. “…We can go out back for a few minutes while y’all chant for us to come back…” he said, “…Or we can do one fucking amazing song right now, and then all meet up at the bar.” The fans chose the latter option, skipping all the BS and getting right to the point. “…This one’s called The Art of Getting Fucked Over!” declared Mike, before they started the final song of their 55-minute set. He got back out in the crowd again on this one, grabbing the chair from earlier (the same one he placed around him), standing on it this time around. “I want to see the slowest circle pit ever around me.” He commanded, the audience pushing in as they began to encircle him. Next he said he wanted to see everyone’s hands on the backs of the people in front of them, giving them a little massage. Everyone did just that, chanting along with him towards the end, “G-A-M-B-L-E-R.” The tame circle pit suddenly sprang to life when the song picked back up, the people scattering and slamming against one another as it became a full-fledged mosh pit, and was an epic way to end what had been an epic performance.

The most enthralling quality the Riverboat Gamblers have is their brash, “fuck it” attitude. I mean that in the best way possible, because while a lot of bands say it’s all about the music, very few actually take it to the extent that they do. From the first chord you could tell Fadi, Ian, Rob and Sam had completely succumbed to the music, letting it flow over them, and the same could be said of Mike, who was being completely spontaneous throughout the night.

That’s kind of what I mean by the “fuck it” attitude, thing. Aside from the songs themselves, nothing was rehearsed or pre-planned. They just got up there, cut loose and let the chips fall where they may, so to speak. In turn, that makes the show a truly unique experience for the spectators, because this night was different than any other night of their tour will be. Just like the gig the following night was no doubt different than any other stop of the tour will be.

They’re performers through and through, and you if you want to see an intense, high-strung show, you’ll be hard pressed to find one better than what the Riverboat Gamblers put on.

For info on all their show dates, go HERE. They will be playing in Denver, CO, Seattle, WA, Portland, OR, San Francisco, CA, Fullerton, CA, Los Angeles, CA, San Diego, CA, Tempe, AZ, El Paso, TX and Austin, TX, with the tour ending on September 7th. They also have a show in Dallas on September 12th at Three Links (it’s part of the Elm Street Music and Tattoo Festival), which means I know where I’ll be on 9/12. And don’t forget to pick up their records in iTUNES.

Great night filled with raw Rock ‘n’ Roll, and, thanks in part to the comedian, a good dose of humor, too.

Wednesday, May 1st, 2013 – Dope Stars Inc. Invades the U.S., but The Rabid Whole Steals the Show

I hadn’t originally planned on going to Trees this night. In fact, I wasn’t even aware the venue was hosting a show this night, until about a week before when a friend forwarded an email along to me from the PR guy for one of the bands. Long story short, I offered to go to the show to review it and got guest listed to do just that.

The only hometown act on this bill was the first act, Sinsect, who started their set at 8:20.

They were a duo, and set up like a DJ would be, with both James Ashley and Joe Virus operating a few synthesizers. Their first few songs were all instrumental, as cranked out their electronic pieces with various sample tracks intertwining with them. Things got even worse with James began singing on their last two songs, doing some full on singing for their final number, while he just added the occasional line on another. His voice was essentially auto-tuned and had a very digital sounding effect to it, which I disliked it because you couldn’t tell what he was capable of on his own.

All of that resulted in me not liking their set a whole lot, and at least it was short, even though it felt like it lasted forever.

I guess I should say I’m not a huge fan of the kind of music in the first place, but still, I have seen a band or two who are completely electronic like this, and then their singer has blow my mind with his voice. That wasn’t the case with Sinsect, though, and not only did their music do nothing for me, but James, or rather his voice, hid behind all the effects. Who knows, maybe that was for the best, but then again, what does that say about you as a singer?

If you’re curious to listen to their stuff, well, they do have an album, “A Broken Hero”, which can be purchased in ITUNES.

Well, at least the night was bound to get better with the next act, and that was The Rabid Whole from Toronto, Ontario.

This was the band whose PR guy I had been in contact with, and after listening to their stuff online, I was ecstatic to see what they were like in the live setting.

As the curtain opened on them, a cloud of smoke engulfed stage left, then slowly billowed out towards the crowd, making it easier to see bassist Oscar Anesetti. The band bills themselves as a 21st Century Alternative Rock outfit, and they definitely looked the part with their jackets and other attire which had a futuristic look to it.

They waited on the sample track to lead them in to their first song, while Chalsey Noelle laced some beautiful piano notes over it via her keyboard. It was the calm before the storm, though, as guitarist George Radutu, drummer JJ Tartaglia and Oscar soon ripped into “Stargazer”. “I’m still expecting you to break my fall, assuming everything goes wrong…” belted out frontman Andreas Weiss on the chorus, who was racing about the stage and often propping one leg up on the monitors, gazing out at the crowd while he sang. Before the final chorus, he placed the microphone back in the stand, picking up his guitar, shredding on it while signing the remainder of the song. That was the extent of his guitar playing, at least for the time being, though, and he placed it back in its stand once the song concluded.

With that one song they had pulled almost everyone up to the front of the stage, even if everyone was only about two dozen people, and after allowing just enough time for the crowd to applaud and cheer for them, they fired up “Delusion”. It was followed by another song from their “Refuge” album, “Corporate”, which was a infectious and powerful number, partly about chasing your dreams. “…It’s the day that my friend turned corporate. Hard to think that this shell was once a man…” Andreas sang on the chorus. There were also some moments of the song where he softly whispered a few lines, giving it somewhat of a chilling tone.

They let up after that one, at least long enough for Andreas to mention that this was their first ever time in Dallas and that they were excited to be here. He of course also noted that they had some stuff for sale back at their merch table, and then they got back to it with a song from their 2009 debut album, “Autraumaton”, called “Selfish Nature”. Afterwards, Chalsey left her keyboard station which had kept her slightly out of view, joining her band mates at the front of the stage with what I will call a keytar. There was no real neck to it, so instead it looked like just a keyboard with a strap on it.

“We have a video for this next song. It’s called Future.” Andreas said hastily, as they started the lead track and single from their latest album. Maybe it’s because in listening to their stuff online it had become my favorite song of theirs, but I found it to be the best song of their set. It’s just a perfect blend of sheer rock with more electronic tones that can put you in a mood to dance, and Andreas and Chalsey’s voices fit well together as they each sang a few lines on the chorus, his having a more forceful, raw quality to it, while hers was more delicate and had a very pretty tone.

Following it was a slower song, at least slow by their standards, and that was the title track from their 2012 record, “Refuge”, which was another song that saw Chalsey doing a fairly good bit of singing. Once they finished it, Andreas walked up the stairs at the back of the stage, while Chalsey disappeared in the shadows of far stage right, as JJ took the spotlight, doing a killer drum solo. Really, a lot of drum solos are less than awe-inspiring, but he played a great piece that held your attention throughout. As it wound down, Chalsey got back behind her keyboards, while Andreas descended the stairs. He informed everyone they had one song left, maybe two, depending on if they had enough time.

In case this was their last song, they were going to go out with a bang with the aggressive, “Metro”, which featured a thick and heavy rhythm section. As luck would have it, they were able to do one more after that, and they chose to close their 38-minute long set with another older song, “All The Same”. Andreas again thanked everyone for coming out to the show while he put his guitar on. Near the end of it he asked everyone to help them out and repeat after him. “What does it take to make you bleed?” he sang, with only a few people shouting it back at him afterwards. He wasn’t too impressed, saying it was even worse than what the people of Portland did to try to entice everyone to get more into it. It worked, and the shouting grew stronger and louder as a few more people joined in. After the sing-along portion was over, Oscar proceeded to attack his bass, viciously slapping it as they finished up the song.

Their set was phenomenal, and even though there was a VERY sparse crowd at Trees this night, it still speaks volumes about The Rabid Whole that they were able to pull nearly everyone up to the stage and get them actively engaged in the music.

Speaking of their music, that’s what initially drew me in. It’s fun yet serious with a nice space rock sound, and while I wouldn’t say it’s original in the sense that what they are doing has never been done before, it is more unique, and I doubt you’ve heard many bands that pull of this musical style as well as they do. Aside from the music being easy to get into, you also have the lyrics, which are very well written and come across as telling fairly personal stories, which makes it easier for them to get behind it.

As impeccable as their music is, though, and as well as their energy translates onto the recordings, it’s their live show where it’s all at.

From the moment they started, they were going ninety miles a minute, never letting up for even a moment. They didn’t care that they were only playing for about thirty people, and I have a feeling they could have only had an audience of three and they still would have been putting on the same show. Why? Because they were obviously all having fun on that stage, and I think everyone quickly picked up on and was reeled in by that.

The only complaint I have is more of a technical issue, and that was that the main mic could have been a little louder out in the crowd, because at times I had trouble hearing Andreas while he was singing.

Aside from that, everything was perfect, and The Rabid Whole ended up stealing the show right out from under the headliner, as unintentional as it was.

Their current tour may be over, but keep an eye on their tour dates, either on their OFFICIAL WEBSITE or their FACEBOOK PAGE, especially if you live in Canada, since that is the bands home territory. You can also find their two albums in ITUNES, plus a remix of their first album. I would highly urge everyone to check out the “Refuge” record, as it’s one of those rare albums where every song is exceptional.

The headlining band for the night was Dope Stars Inc., who had traveled all the way from Rome, Italy to be here, and despite having been around for ten years now, this marked the bands first U.S. tour.

Traditionally, the band is evidently a five-piece, however, on this tour they were a trio, consisting of singer and guitarist Victor Love, bassist Darin Yevonde and drummer Mark Madhoney.

Oddly enough, they entered the stage to a good deal of fanfare, and evidently, most of the people were here for Dope Stars Inc.

I didn’t know what to expect, because I hadn’t even listened to their music beforehand. They had a real industrial rock sound, and were even alternative rock, and like the two bands that opened for them, they did have an electronic sound to an extent, even though that was all supplied through sample tracks.

Honestly, after their first song, I contemplated leaving, because I just didn’t care for it a whole lot, but I decided to stick around at least through the next couple of songs.

“…This is next one is called Vyperpunk!” Victor shouted, which resulted in some members of the crowd cheering with excitement. Like most of their songs, there was almost a techno sound to it, but in the most rocking way, and I found myself getting a little more into the music. Before starting their next song, Victor dedicated to Michael J. Fox, or at least that’s what I thought he said, but his accent was so thick (both when he was and wasn’t singing), I thought surely I had misheard him. Turns out I had understood him well enough, as they stared “Save the Clock Tower”, from their newest album, “Ultrawired”, a song that is a bit of an homage to the Back to the Future film series.

“It’s Today” was what did it for me, as it piqued my interest and ensured I’d stick it out for the rest of their set. It’s a riveting song, an anthem in a way, with Victor encouraging everyone that, “It’s today that we have to wake up all the energy we own…”, which is the first line of the course, before ending with, “…Our time is dead. Our time is now. And now is past.” They really seemed to hit their stride with that song, too, Darin pacing around the entire stage while he effortlessly tore it up on his bass. Actually, I had to look several times to make sure it was a bass he was playing, because as quickly as he was strumming the strings, it looked like it was a guitar. Aside from that, Mark was devastating it on the drums, often standing up from time to time as he continued to lay into his kit, while Victor was shredding on his guitar.

“It’s hot here in Texas.” Victor proclaimed, before they started their next song. They followed it with “10,000 Watts of Artificial Pleasures”, which got the biggest rise from their little fan base, as Victor first told everyone the song title, than asked something like, “Are you ready for the pleasures, Dallas?”. The aggressive “Bang Your Head” came next, which found Victor often snarling and yelling the words, and once it was over he set things up for Mark to do a drum solo, as he and Darin left the stage. The drum solo didn’t impress me to the extent the other one from the other band did, but it was still a great solo.

Once he put the finishing touches on it, Victor returned to the stage, with Darin eventually following suit, as they continued their barrage of songs, first with one I wasn’t able to figure out, and then doing what I believe was “Banksters”. They kept moving right along with “Make a Star”, from 2005’s “Neuromance” album, and then another track from their latest record, “Blackout”. Those songs weren’t slow by any means, but they really picked things back up with “Self Destructive Corp.”, while “Defcon 5” began to wind things down. At the end of that latter song, Darin, who resting a leg on the monitor, let his bass dangle in the air as he plucked one of the strings, then Victor announced they had one last song left. It was the title track of their 2009 album, “21st Century Slave”, which ended their 69 –minute long set. Now, a lot of their songs make statements in one way or another, most of which seem more social or political, but this one is probably the most notable. It deals with being a slave to the corporate world and being “brainwashed” by various forms of “propaganda”, with the message being that technology is the key to freeing our minds and bodies from all of that.

Yeah, there’s songs carry a message with them.

While watching them play, I wasn’t all that crazy for their actual music, and was more watching them for their performance, which is definitely an area they’ve perfected in their ten-year existence. However, after listening to their stuff a little more, like while trying to identify the songs they played this night, it has really grown on me.

It’s good rock music with a twist, and something well worth listening to. I’m still not all that crazy about Victors’ voice, which frankly, isn’t the best in the world. I wouldn’t call it bad though, either, which puts it in the spot of being one of the most unique voices I’ve ever heard, and he writes some fantastic lyrics that can be rather thought provoking.

I went from not being sure I’d even stay for their set, to watching it all, and now I’ve gone from not having a real interest in seeing them again, to liking them enough that if they ever get back to Dallas, I’ll most likely be there.

Yeah, they won me over is a fan.

Check out all of their records in ITUNES, and you can even get a free download of the “Ultrawired” record on their OFFICIAL WEBSITE.

It was a fantastic night of music (with the exception of the first band), and I love shows like this where more independent and small time bands tour through, because I like getting a little taste of what else is out there, outside of the local North Texas music scene.