NICK 13 – S/T

Taking a look back at Tiger Army‘s discography, it’s easy to see the love lead singer/guitarist Nick 13 has for roots Americana and traditional country and rockabilly. Cuts like “Outlaw Heart” on their self-titled debut full-length and “In The Orchard” off of Tiger Army II : Power of Moonlight spotlights Nick’s ability to shed that psychobilly sound in place for a more mellow laid back classic country twang tone.


With his self-titled debut solo album, Nick 13 takes the route taken by other punk rock vocalists like Bad Religion‘s Greg Graffin and Avail’s Tim Barry by releasing a collection of stripped-down ballads and singer-songwriter material. Nick’s voice is something I’ve admired throughout the Tiger Army years, but hearing his voice used solely in material like this really takes it to a new level. While sounding quite traditional in his vocal approach, there’s something amazingly unique to the sound, even haunting to some extent. Most of the songs here feature Nick on acoustic guitar and vocals with a backing band playing pedal steel guitar, including the bass-driven track “All Alone.” One of the few tracks to feature electric guitar, “101,” tells the story of leaving a small sleepy town in search for the big city life — a story I can only guess is reflective of Nick’s past life living in Ukiah, California (where Highway 101 runs right through the town).

Nick also covers a few Tiger Army cuts, “In The Orchard” and “Cupids Victim.” Both are stripped-down and given the traditional roots Americana treatment. This album is going to turn some heads and make those not familiar with Nick 13′s past contributions to Tiger Army take notice, especially since this album has been released on Sugar Hill Records — a mainly Americana and bluegrass label.

Mark my words, Nick 13 will become a heavy hitter in the alternative country arena if he continues down this solo path.

(Sugar Hill Records, no address provided)

ISIS – Live I – V

It’s been more than a year since the post-metal cult status icons Isis called it quits after a 13-year-ride. They were known for putting on killer shows featuring enduring sets of ambient droning and electronic sound-scapes, filled with intense bass lines and powerful drum lines and guitar riffs. Some cuts featured gut-wrenching vocals, but much of their material was based on repetitive instrumentation that built up and evolved into a climactic event. The music seems simple to the average listener, but the details are very intricate to those who listen with an attentive ear.


In honor of the one-year anniversary of the band’s demise, Isis has re-released their live five-album set. The five albums were recorded from 2003 to 2006 at different shows in various locations.

The first live album was recorded at the Fillmore in San Francisco on September 23rd, 2003. Like most of these live albums, the audio is taken from a bootleg recording, giving the listener a much lower quality experience than a soundboard recording. The San Francisco recording is noticeably heavy on the low bass lines and bass drums and also features quite a bit of chatter from the audience during more quiet sections of the set. For being a bootleg, the quality is high enough for the listener to enjoy the material being played, especially songs like “Weight.” Unfortunately, the beginning track, “From Sinking,” was omitted from the release due to recording problems.

The second album was recorded in Stockholm, Sweden on March 19th, 2003 through a Swedish radio station, so the quality is much better than the first live album. Many more tracks on this album feature the vocals of Aaron Turner. Unlike the first album, “From Sinking” was recorded and opens the album as the first cut. “Carry” and “Weight” are also featured on this album, along with songs like “Glisten” and “Celestial”.

The third album in this five album set was recorded in Albuquerque, New Mexico at the Launchpad on December 7th, 2004. This was also a bootleg recording, but the audio quality isn’t too bad. This particular album features many tracks that appear on their 2004 album Panopticon including “In Fiction,” a 10-plus-minute head-bobbing jam featuring a killer beat.

The fourth album was recorded during several tour stops from 2001 to 2005. Many of the cuts on this album feature much harder material with Turner’s harsh vocals. The album features older cuts like “Gentle Time,” but also features a cover of Nirvana‘s “Endless Nameless” as well.

The fifth and final album features the best recording of any of the Isis live albums, taken directly off the soundboard. It was recorded at Koko’s in London on July 23rd, 2003. This performance features the 2002 album Oceanic played in entirety. Out of all of the live albums in this series of five, I would suggest picking this one up if you had to get one due to the quality of the recording. This album gives you the best experience of hearing Isis live without being there.

For anyone who missed out on picking up this live set when it was originally released, this is another chance to get a hold of a set from band that many feel quit before they should have. Needless to say, Isis fans need this set as a pivotal piece of the band’s 13-year history.

(self-released, no address provided)

LESS THAN JAKE – Greetings From…

Doing as they often do, Less Than Jake have released a spur-of-the-moment EP entitled Greetings From… featuring five new tracks.


First thing you’ll notice about this release is that 80 percent of the tracks feature that familiar ska sound we’ve come to know and love. Those who have complained over the years about the lack of horns will be pleased to know that both Buddy and JR are heard blasting away on all five cuts. “Goodbye Mr. Personality,” which has been released by the band for free online, is definitely the catchiest song on this EP. “Harvey Wallbanger,” another pop-rock-driven ska song, proved to be another highlight for this album with more catchy hooks. Things slow down a bit with “Oldest Trick In The Book” before ending with the more upbeat cut “Life Led Out Loud.” Chris takes on a majority of the vocals, with Roger popping in here and there in a few songs.

In relation to where this fits in the LTJ discography of  sound, these tracks are definitely reflective as being post Anthem in feel. No old school Pezcore or Losing Streak feel, but that’s been the case for more than a decade, no shock there. In all, this EP holds water to those expectations from the hardcore LTJ fans. Hard copies can be found at Warped Tour dates across the country at their merch booth, or you can download it at www.lessthanjake.com.

(Sleep It Off Records, C/O Paper + Plastick Records, PO Box 12081, Gainesville, FL 32604)

Show Review: RX Bandits at the Art Theater, Long Beach CA 8/3/11

Photo By Mike Murray

Progress — a word not only acting as a title of one of their most successful albums, but also a word to describe the musical explorations of RX Bandits. The band’s music has gone though continual changes throughout the years. From singing silly ska songs as the Pharmaceutical Bandits on their first full length effort Damn Those Bandits and the follow up album Halfway Between Here and There, to taking a complete one-eighty with the social and politically scathing commentary on Progress and The Resignation, staying stagnant in their art has never been a problem. After a move to drop the ska sound all together by phasing out horns and moving more into the realm of experimental progressive jam rock with the release of their latest album Mandala, the band decided to go on an indefinite hiatus after a “farewell tour” that made a stop in Long Beach, California, a place where a few of the band members call home.

The Art Theater is Long Beach’s historic art deco movie house located in the city’s 4th street art district. The recently renovated theater usually hosts independent films as well as some more mainstream releases. It’s rare to see the theater used for musical performances and for good reason I might add. The sound and lighting system (or lack thereof) is minimalistic. There’s also a noticeable lack of standing area in front of the stage, with the rest of the theater filled with seats. Unfortunately Long Beach lacks a decent music venue since the demise of Vault 350, an impressive music venue located in downtown Long Beach. While being an intimate location for a hometown show, the functionality of the venue seemed to take away from the show.
Now, the crowd — I can’t say they sucked like the venue. After being warmed up by the Hot Toddie and Zechs Marquise, the crowd were pumped up for the headliners. The fan base for the Bandits are quite dedicated. One guy flew in from Chicago, Illinois for the few Southern California shows.

One by one the band made their way to the stage. Guitarist Steve Choi and drummer Chris Tsagakis started out the show with a duel drum solo set. Vocalist and guitarist Matt Embree soon joined the rest of the band on stage to officially start the show. The show consisted of the normal RX Bandits live show formula — a lot of crowd interaction, mini jam sessions between songs and a lot of sporadic dancing. Most of the material played included cuts from …And The Battle Begun, The Resignation and Mandala. A few songs were played from Progress, but not nearly as much as I would have expected for being a “farewell tour.”  Nothing was played from Halfway Between Here and There, which was also a disappointment. A highlight for me was the opening bass line for “Overcome (The Recapitulation),” in which hearing this the crowd started spontaneously singing the opening lines (“We’ve had enough of these politician’s wars, what we need right not is love”). I also particularly enjoyed the extended performance of “Only For The Night” and the chaotic sound of “Decrescendo.” Lauren Coleman — also known to some as the musical act Pebaluna — joined Matt on stage for a rendition of “Ain’t No Sunshine.”

Photo By Mike Murray

Musically, the guys were as good as they’ve always been. I’ve been to quite a few Bandits shows over the years and they never cease to amaze me with their overall musical ability and improvisational prowess. The absence of horns was noticeable, though. I know, they’ve moved on from that horn-driven sound, but hearing a song played without horns that was originally written with horns in mind leaves a total void and ultimately changes the song. I was expecting some horns or in the very least a horn, especially at a hometown “farewell show,” but it wasn’t meant to be. The lack of horns didn’t kill the show experience for me, but I must be honest in saying that some of the originally horn driven songs played (“All The Time” and “…And The Battle Begun”) without horns did come as a disappointment — they felt incomplete.


After an encore, the crowd chanted and hoped for more music, even as the house lights came on and the sound techs unplugged the microphones. Leaving hot and a bit sweaty from being shoulder to shoulder with fellow concert goers, I questioned if this was really it, “Is this the last time I’ll see RXB live?” We can only hope they take a break and regroup in attempts to create more music. The future is wide open for the RX Bandits and who knows what will come next.

Show Review: Ben Folds and Kenton Chen at the House of Blues, Anaheim 7/20/11

To many my age, Ben Folds is known for being one third of the nerd rock outfit Ben Folds Five that gained popularity back in the mid-’90s with songs like “Brick,” “Underground,” and “Army.” Ben parted ways with Darren and Robert in 2000, and has since gone on to release three solo albums, a number of EPs, and even produced the album Has Been for William Shatner.


In 2009, Ben would go on to gather up a grip of a cappella singing groups from colleges around the country for a cover album featuring songs from Ben Folds, as well as his solo output. Given his interest and passion for the a cappella sound, it wasn’t that shocking that he would be asked to be a celebrity judge on NBC’s a cappella singing competition “The Sing Off.”

“The Sing Off” has also provided a great service to of a cappella singers who once had limited exposure, including 22-year-old Kenton Chen. Chen, a member of the southern California singing group The Backbeats (and third-place winner on the second season of “The Sing Off”) was approached by Mr. Folds about opening up for him on his next tour. Making good on his promise, Ben took Chen on the road for the West Coast swing of his Lonely Avenue tour, bringing reality TV magic to life at the House of Blues in Anaheim.

A few minutes ahead of the scheduled start time the lights dimmed and the curtain pulled back to expose Kenton alone on stage with a stool, a few microphones, a Baldwin grand piano (same piano Ben would use for his set), and a box that would allow Kenton to cue and play background instrumentation during his set. In total silence, he went into a cover of “Angel” by Sarah McLachlan. His range was extremely impressive, from high falsetto to deep bass.  He also covered Britney Spears’ “Toxic,” a song I’d never heard before, but it was an impressive performance. He moved from the stool to the piano where he took on the task of playing an original song called “Elena.” When performing non-a cappella songs, his voice and tone sounds a lot like Robin Thicke, especially when he hits the higher register. While hitting those lower notes, elements of Stevie Wonder comes out of his vocal stylings.

After a short intermission following Kenton’s 30-minute set, Ben and his backing back appeared on stage. They immediately went into “Levi Johnson’s Blues” off of Lonely Avenue. Lonely Avenue is a collaboration between Ben Folds and English novelist Nick Hornby (High Fidelity, About A Boy, Fever Pitch), featuring music by Ben and lyrics by Nick.

Following the opening number, Ben noticed the line of photographers (including myself) in front of the stage and proclaimed, “The paparazzi is here,” and admitted that his shows can be quite boring for photographers. So after a costume change (consisting of putting on a beret), he performed his signature “chair toss” against the keys of his piano three times. Then took his synthesizer and ran past us playing it like he was performing a guitar solo. We thanked him for the action shots, and the show continued on.

The material performed by Ben included a few Ben Folds Five tracks, including the ever-popular crowd participation numbers “Army” and “Kate,” to their hit “Brick,” in which Ben said, “If I would have taken five seconds to think about it, I would’ve never put this on the record.” The song tells the story of Ben’s high school girlfriend getting an abortion, and his feelings about it. He also played “Emaline,” a song he wrote at the age of 18.

Most of the set featured music from Folds’ solo albums. “Zak and Sara,” “Annie Waits,” and “Rockin’ The Suburbs” were all crowd pleasers off of the nearly 10-year-old album Rockin’ The Suburbs. From Songs For Silverman, Folds performed “You to Thank,” “Landed,” and “Jesusland.” A few cuts from Way to Normal were played, including “You Don’t Know Me” and “Effington.”

Two particular songs really brought the goosebumps — “Fred Jones Part Two” and “Still Fighting It” really swept me up as the crowd sang along to these two bittersweet tunes. The evening also had some humorous moments as well. While Ben was speaking between songs, he was heckled by an audience member shouting, “Shut up and play!” Ben — who was able to coerce her to apologize — followed this by improvising a jam that turned into a version of “Rock This Bitch.”

Ben also told a story via an improvised song about taking a limo with William Shatner to Disneyland; upon finding it closed, Ben sings, “That doesn’t mean a fucking thing to William Shatner — He just says, ‘Hey, I’m William Shatner,’ and they turn on the rides.” Later in the set, Ben performed an amusing cover of Ke$ha’s “Sleezy,” and several more improvised numbers.

Ben also performed with an impressive backing band, including a drummer, bassist, keyboard player (who busted out the French horn on “Jesusland”), and a second percussionist who jumped on the acoustic guitar during a few songs. The band shined during an extended jam session as Ben played bass and the second percussionist performed an insane drum solo.

The show ended with the crowd favorite “Not The Same” off of Rockin’ The Suburbs. It is here than Ben became a music teacher and divided the crowd into harmony parts for the song. Throughout the song, he gave the crowd cues to come in with their harmony, and once the song ended, he conducted the crowd alone. Seeing Ben Folds live is an amazing experience. He feeds off the crowd during his show, and knows how to keep everyone in attendance involved — it’s truly an interactive experience.

OBNOX – I’m Bleeding Now

Lamont “Bim” Thomas has contributed to quite a few music projects in the past, including Basshole and, most recently, drumming for the band This Moment in Black History. Now this Cleveland, Ohio native has gone solo under the name Obnox, releasing this seven-track album entitled I’m Bleeding Now.
 
Pushing the play button and starting the first track “Cum Inside” startled me a bit. The level of distortion made me question if my speakers were blown on my computer. Maybe I got a bad copy? After confirming the intended sound on the iTunes page for the album, I powered through the gnarled guitars and semi-understandable vocals. The mix of warped guitars and driving drumming continue through the first half of the I’m Bleeding Now, at times almost unbearable to listen to. Thank God I didn’t review this album on my MP3 player…hearing this through headphones could be a new tool used at Gitmo on suspected terrorists.

But the distortion works on a few tracks, including “The Cowboy and Cowgirl,” as the harsh guitars are broken up by a guitar solo and catchy yet distorted vocals. The same formula that worked with the previously mentioned song also works with the tune “Daughter.” The album ends on a wild note with the song “Whaddup Young Bleed (Drum Thunder Suite).” With this track we hear Thomas’s skills on the skins as it drives this four-minute and 41-second blast of insanity. Clearly my favorite cut off this album.

On a personal note, I didn’t dig the whole ear torture aspect of over-distortion on this album, as my ears were proclaiming the title of this album by the end. If you dig Bim’s past work or just dig driving noise backed by a strong back-beat, you may want to give this album a spin.

(Smog Veil Records, 1658 N. Milwaukee Ave #284, Chicago, IL 60647)

FACE TO FACE – Laugh Now, Laugh Later

Nine years after their last studio album, Face to Face are out to prove that they haven’t lost their touch with their newest effort Laugh Now, Laugh Later. The SoCal punk mainstay spent most of the first decade of the new millennium on hiatus, and additionally lost their longtime guitarist, Chad Yaro. With Laugh Now, Laugh Later, Yaro returns to give his vocals and guitar work, making Face to Face a quartet.


The 11 tracks here feature Face to Face’s signature sound, especially Trevor Keith’s vocals and style of songwriting. The opening track, “Should Anything Go Wrong,” packs a powerful punch. With its fast tempo and impassioned vocals, it really draws you in. “Bombs Away” is a scathing commentary and call to action on the political landscape in America and the wars we’re fighting abroad. While most of the songs on this album deal with personal relationship mishaps and heartbreaks — like “Pushover” and “What You Came For” — the album doesn’t come across whiny or “emo,” thanks to the driving guitars, backed by a strong back beat and Keith’s strong yet melodic vocals. Those saddened by the four-year hiatus should enjoy this comeback album, as it’s jam packed with the trademark Face to Face sound.

(Antagonist Records, no address provided)