Punk

Live Review: Steel Panther at the Auckland Powerstation

Steel Panther Auckland Powerstation
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Steel Panther

w/ Blue Ruin

The Powerstation, Auckland

Sunday 26 June

 

Like similar acts Tenacious D and The Beards, Steel Panther are comprised of some very talented musicians who choose to centre their band on parody. By channeling late 1980’s LA rock giants like Mötley Crüe, Guns n Roses and Skid Row, Steel Panther bring the excess of hair metal forward thirty years, with a generous dosage of tongue in [between] cheek.

It’s all-out assault on decency, with every song guaranteed to offend. If it’s sexual and lewd, than you’re likely to find a Steel Panther song on the topic. I dare say it’s an assault on the environment as well, with the amount of hairspray the band uses surely responsible for a large part of our ozone depleting.

Steel Panther

Arriving at The Powerstation on a Sunday evening, I wasn’t entirely sure what to expect. I have seen some of my favourite bands play this venue [Rise Against, Biffy Clyro, Jimmy Eat World], so I know it works well as a tightly packed intimate setting. The rest of the crowd, however, seemed to have a fair idea of what they were in for. Glancing around I saw countless fishnet tights, neon pink outfits, and luscious long locks flowing from underneath bandannas …. And that was just the men!

Kiwi rockers Blue Ruin kicked off night with their own blend of rock and punk. They recently opened for Runaways lead singer Cherie Currie, and the Runaways influence is obvious on the all-girl five-piece. In fact, they’ve had a good run of slots opening for various acts recently, including Buckcherry and The Misfits, both of whom they covered during tonight’s set.  They did OK and looked the part, but it was pretty apparent that they need a few more band practices to tighten up their act. Blue haired front woman Jessie Booth appears set to fill Jennie Skulander’s boots if she keeps up what she is doing, especially with that roar of hers.

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In between sets one wild-eyed individual approached my friend and I to chat. He had long curly hair, a thick black beard and glasses, giving him a white nerdy Jesus look. I think he decided to chat to the two of us because we both had beards as well. He was saying about how much he loved Steel Panther, and how he has been unsuccessfully trying to convince his son to listen to them as well. My [Swedish] friend has seen Steel Panther three times already, and was telling the guy that he was in for a fun night. Upon hearing my friend’s Swedish accent, the guy mistook him for American and began professing his undying love for Bernie Sanders to us, despite my friend explaining that he isn’t actually American. After a few minutes of hearing all about the virtues of the Bern, the guy produced a small joint and began to offer it around.

Kicking off the night with the panther growls that introduce song “Eye Of The Panther”, Steel Panther showed us what we were in for. Hot off an Australian tour with Black Stone Cherry, the band was in fine form. They sounded seriously good. Parody act or not, they knew how to play. They had the image down-pat too. Everything the band wore was lycra and leopard print, and they all had long flowing hair and bandannas.

https://www.youtube.com/watch?v=ZnZM1CzQF8Y

Bass player Lexi Foxx puts the glam component in glam rock, preening himself in front of the mirror, spraying hairspray and applying lip gloss between most songs. Aerosmith have the song “Dude Looks Like A Lady”, and although I thought it was about Mötley Crüe’s Vince Neil, it could very well have been written about Foxx instead. Foxx was on the receiving end of many of the band’s jokes, being portrayed as the “retarded bass player”.

Frontman Michael Starr was the “slightly fatter David Lee Roth”, or “slightly skinnier Vince Neil”, depending which way you looked at it. Either way, he could sing just as well. They band told of how he had received vocal lessons from Judas Priest singer Rob Halford, and Starr even came onstage dressed like Halford during one song, rocking aviator sunglasses and a bright red sparkly sequined coat.

Guitarist Satchel provided one of the highlights of the night with a ripping extended guitar solo that included a medley with nods to classic rock bands like Van Halen, Deep Purple, Black Sabbath, Guns n Roses, Iron Maiden and even a song from The Sound of Music made it in there.

Drummer Stixx Zadinia had little to say throughout the night, but he had complete control over his monstrous red DW kit. Throughout the set he would play around by throwing drumsticks to the band and crew, then catching them when thrown back and playing on without missing a beat.

 

The band’s real strength lay in how well they could improvise. There was plenty of stage banter, and although not all of it could have been original, much of it was. They interacted with the crowd, cracked jokes and brought girls up onstage to dance around.

One such girl was Asian, so got the dubious honour of being the centre of attention for the song “Asian Hooker”. Later in the night two scantily clad twins wearing studded bras got onstage and the band composed a song for them, each member ad-libbing couplets while Satchel strummed his acoustic guitar. It was a bit concerning seeing two sisters so desperate for attention that they would hook up with each other onstage, and even the band seemed slightly uncomfortable with it. Soon enough the stage was full, with girls being pulled up left, right and centre. It was undeniably crude, but that is all you would expect from Steel Panther. And that’s where the genius of their joke lies, because although they go all-out to shock with their content, it is hardly any different to the “serious” that they are spoofing, making the act believable.

At the end of the band started to throw items into the crowd: guitar picks, water bottles, empty hair spray canisters etc… One drumstick was thrown very close to where I was standing so I put my hand out to catch it, but it was just out of reach. The person who caught it raced to the back of our venue so I turned to see who it was, and lo and behold, it was none other than our Sanders-loving stoner friend from earlier in the night. Needless to say he was completely ecstatic with his prize.

Steel Panther put on an incredibly entertaining performance. It wasn’t just a concert, it was a show. A funny, absurd, inappropriate and improvised rock show. And it was awesome.

Death to all but metal indeed.

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The Steel Panther set list

Joseph James

Live Review: Strung Out playing Exile in Oblivion

strungout pears nz tour
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Strung Out playing Exile in Oblivion plus hits

w/ Night Gaunts and PEARS

San Fran, Wellington

Friday 1 April 2016

Strung Out San Fran Wellington (1)

Strung Out. Jake Kiley (L), Jason Cruz (R)

Albany act Night Gaunts started the night off with their upbeat high-pitched ska. They bounced around and got the small crowd grooving along to dub styled offbeat strumming, complemented by saxophone. I’m not sure why I was surprised, but they were far more polished than I expected. Their chirpy happy-go-lucky sound didn’t quite match the tone on the other two bands of the night, but they played well nonetheless.

PEARS have been through a lot on this tour, so we were lucky to even have them. Their bassist had dropped out of the tour mere days before the tour, leaving them scrambling to find players to fill in. Hayden from Night Gaunts obliged for most of their set, with super-smiley Strung Out  bassist Chris Aiken taking over for the last few songs.

Vocalist Zach Quinn had recently bust his fist PUNCHING THE STAGE on the Australian leg of the tour, resulting in pricey hospital bills and leaving him in a wrist brace/cast that you can see in the picture below. I recently broke a few bones in my wrist and I can tell you straight away that there is no way I would have been attempting half the stuff Quinn was doing on stage. He threw himself about with abandon, like violent interpretive dance. He jumped down into the audience and walked around – you know, just because – before climbing back onstage and writhing around on the floor.

PEARS San Fran (8)

PEARS vocalist Zach Quinn, with Jarrett Nathan behind him on drums.

When bands have members like this it always makes for a captivating show. It was so unpredictable. I don’t think the band members themselves even know quite what to expect.Guitarist Brian Pretus played front man, and rather than just rattling off obligatory nonsense to fill time between songs, he actually was worth paying attention to. He told stories, cracked jokes, and had the crowd chanting.

The date actually coincided with the release of the second PEARS album, Green Star, which meant that the band were in good spirits. I guess that this, combined with the show being the last of the tour, meant that the band really wanted to give their all. This was great to watch, with the performance being super high energy and frantic. As chaotic and wild as it seemed, there was still evidence of talent beneath the whirlwind. Quinn and Pretus shared some great vocal harmonies when they weren’t launching about the stage. Pretus displayed great abilities and drummer Jarrett Nathan kept them on their toes with his lightning beats. It looked like loads of punters were already loyal fans of the band and there were singalongs aplenty, especially when PEARS covered The Ramones’ “Judy is a Punk”.

Strung Out San Fran Wellington (3)

Jake Kiley (L), Chris Aiken (R)

As always, when bands play an entire album you know what to expect [examples: Nas performing Illmatic, Jimmy Eat World playing Futures], but also hope to hear handful of hits from other albums as well. Strung Out have been playing a selection of their albums start to finish over this Australasian tour. Last night was Twisted by Design in Auckland, and tonight they played Exile in Oblivion.

After a sound check the band kept us in suspense by playing a handful of old jazz numbers through the public address system, knowing that we were expecting one such song to be the intro to”Analog”, to first track of Exile. When said track finally played everyone cheered, knowing that this signaled the start of a brilliant set to complete an already-great night.

They’re tight, and play rippingly fast. And you can tell that they’re on top of their game. Exile came out 11 years ago, and they were able to play it through without a hitch. And on top of that, they’ve been playing many of their other albums in their entirety at other stops on their tour, showing that they are exceptionally rehearsed. They ripped through Exile, and followed up with half a dozen tracks from the rest of their catalogue.

Sweat dripped and the audience swarmed as fans rocked out and sang along to favourite tunes from one of their most beloved bands. Strung Out reciprocated, clearly appreciative that their fans enable them to play music for a living. Singer Jason Cruz told about how the band got a bit tired and jaded when they were first touring Exile on Warped Tour in 2005, until a crew member had told them to suck it up and take a reality check. This made an impact on them, and it is clear that they make the most of their opportunities and give back to the fans who support them to get where they are now.

This was the last night of the tour, and you could tell the PEARS and Strung Out had built a special camaraderie over the course of their time together. Throughout both sets, band members and crew from side of stage would throw bananas and potato chips at the band playing. During the last song – a cover of “Soulmate” by late No Use For a Name singer Tony Sly – members of PEARS and the crew started stealing away pieces of the drum kit one by one, making drummer Jordan Burns work extra hard as he tried to improvise with less equipment at his disposal. Somehow, by the end of the song the drum kit was scattered around the stage, with Strung Out singer Cruz stuck underneath a pile of the drums.

Strung Out San Fran Wellington (2)

Chris Aiken on bass


Although  we have had punk bands like GBH and The Buzzcocks come recently, it is a rare treat to have more modern international punk acts make their way to Wellington. Thanks to Chicks That Scream for organising shows like these. For me personally, gigs like this one are often key highlights of my year.

Special mention to Jordan Burns’ mother, who passed away three years ago. This show was dedicated to her.

Joseph James

Album Review: Into It. Over It. – Standards

Into It Over It Standards
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How does one describe Into It. Over It? Sometimes a solo folksy singer-songwriter, sometimes rocking pop-punk band. Always kooky. And the “E” word gets thrown around a lot. Does “really good” suffice for an accurate description?

Into It. Over It. is Evan Weiss, in the same sense that Nine Inch Nails is Trent Reznor. Weiss is extremely prolific, having released countless compilations and splits around his IIOI studio albums, as well as playing in a number of other projects (Stay Ahead of The Weather, Their/They’re/There, Pet Symmetry). He usually rocks the stereotypical folksy/hipster combo of a beard, thick glasses, and checked shirt, and most of his lyrics are introspective and poetic. And did I mention that his music is great?

I first heard IIOI featured in split EPs alongside the likes of Such Gold and Koji, and on a Fake Problems tour sampler. Later I fell in love with the adorable Daytrotter sessions. Discovering Weiss was so rewarding, because there were so many avenues to explore. One project, 52 Weeks contained a whopping 52 songs, written at the rate of one per week for an entire year. And all of the music is so diverse, yet irresistible.

Despite being so incredibly prolific, Standards is only the third full studio IIOI album. The first, Proper (2011), was lovably addictive upbeat pop-punk. Follow up album Intersections (2013) was less accessible, partly because Weiss chose not to include choruses when he wrote the album. And Standards? Read on to find out.

into It Over It Even Weiss The Rev Melbourne

Look back through Weiss’ previous work, and you’ll notice that he is a man obsessed with location and environment. Many of his songs are named after places and towns. It is interesting then, that for this album he choose to go to the middle of nowhere in Vermont. Isolated in a cabin in the woods with drummer and collaborator Josh Sparks, surrounded by snow and little else, they had no choice but to write.

We are introduced through “Open Casket”, with lightly picked guitar and xylophone, but become antiquated with the energetic IIOI sound in second track “Closing Argument”, which brings in the attitude in the second verse.

Lead single “No EQ” centres around a mantra that reminds me of a doorbell my parents had when I was a child. The drumming is frantic and busy, while Weiss sings calmly in the verses, with more urgency in the chorus. Sparks’ style of urgent, hurried drumming is noticeable in a number of songs on the album “Vis Major” sounds straight up punk, with added flourishes of complexity, and “Adult Contempt” follows suit with highlights on cymbal bells and plenty of wash. “Bible Black” also standouts as a drumming track due to the odd trashy percussion that punctuates the song with attention grabbing tones.

Tracks four and five signal a slump in the album . The slow burning “Your Lasting Image” seems to drag for almost 5minutes, full of swirling swells and echoing accents. Weiss sadly sings “I can’t remember your touch”. The dreamy hazy music runs seamlessly into “Old Lace and Ivory”, which keeps the mood low, but sounds more hopeful than forlorn. There’s a lovely extended bridge of guitar picking over simple drumming, slowly building up and gaining fuzz to lead us back into the more energetic songs on the album.

“Who You Are ≠ Where You Are” has a delightful bouncing riff that stops abruptly while a hi-hat beat dances merrily in the background. For a man touted as the figurehead of the new wave of emo, this album sure sounds upbeat. He does show versatility though. Weiss rates “Anesthetic” as one of his proudest moments. It’s another soothing slow-burner, rich in atmosphere and layered with distant vocal tracks.

This is truly an album, not just a handpicked selection of songs. You can tell by how the transitions between tracks sound so flawless. Weiss commented on a recent Reddit AMA that he had been inspired by “mostly instrumental ambient stuff when it came to most of the textures. brian eno. harold budd. yes. michael hedges. 60’s prestige and blue note stuff.” You hear the fuzzy tones, odd percussion, quirky doorbell riffs. You hear distorted acoustic guitar, moog synthesisers, and a range of effect pedals – weird sounds, textures and tones that all add to the appeal and make the album cohesive. There’s also a lively feel that could be attributed to the less-than-perfect analogue method of recording the album, at the insistence of  producer John Vanderslice.

With Standards, Into It. Over It. still defy clear genre definition, with the tender songs full of folksy finger picking somehow fitting seamlessly next to punk belters.

Urgent. Intimate. Upbeat. Quirky. Perfect. Evan Weiss, the emo revival figurehead, went reclusive with his drummer and together they churned out some of their best work to date.

 

Joseph James

Album Review: Ignite – A War Against You

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This album caught me off guard at first listen. I thought that Ignite were punk, bordering on melodic hardcore. But the first song “Begin Again” is straight up glam metal.

Don’t get me wrong, I’m not saying that this is a bad thing. It was just unexpected. Throughout A War Against You We hear soaring harmonies and bombastic riffs that are fun and infectious. Like a more epic Pennywise with searing guitar solos, which makes sense, seeing as vocalist Zoli Téglás also fronted Pennywise for a few years.

It’s been a decade since Ignite released Our Darkest Days (2006), so it is understandable that Ignite would have changed their sound since we heard them last. That said, it isn’t a complete departure from the Ignite we know. They have the speed and urgency of punk, crossed with the listenability  of stadium rock.

The band borrows from a range of genres to fuel their political charge. “This Is A War” commences with an intro riff that has filthy grungy guitar tone, before breaking into a fast gallop. “Oh No Not Again” musically gives a nod to Foo Fighters’ “My Hero” whilst delivering a message of unrest. Téglás’ vocals are as much power metal as they are punk rock. There is even a bit of a European flair brought into the OC punk band’s mix, with the album closing ballad “Work”, first sung in English, and later repeated in what I presume is Téglás’ native tongue of Hungarian.

Thematically, A War Against You is a war cry against war. Téglás addresses the very topical plight of refugees worldwide, something personally relevant to him and his family, who immigrated to America in the early 1960’s. There is also a definite eco-warrior buzz going on. Despite the serious topics, the music is still positive and uplifting, thanks to the vocal delivery style.

A War Against You is anthemic Cali-punk with both blistering attitude and soaring harmonies. And as odd as that sounds, it works.

For fans of: Rise Against, Nations Afire, Pennywise, H2O, Strike Anywhere

Joseph James

 

LIVE REVIEW: THE MENZINGERS AND MEWITHOUTYOU AT NEUMOS, SEATTLE

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The Menzingers (Scranton, PA, USA)
mewithoutYou (Philadelphia, PA, USA)
Pianos Become The Teeth (Baltimore, MD, USA)
Restorations (Philadelphia, PA, USA)

Neumos, Seattle, WA, USA
Saturday November 14th, 2015

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It had been a very long time since my last live show experience.  I’ve been to plenty of local shows over the past few years but I’m not even sure I can recall the last time I attended a live show where the sound check happened before the doors opened, people were actually at the venue on time, and the first band actually took the stage precisely at the time stated on the flier.  I’m sure very few paid attention to these details.  But for me, being reminded how professional bands operate at professionally run venues, like Neumos, was a breath of fresh air.  Obviously, I need to get out more.

Typically, the reason you attend a show and subsequently write a live review is to highlight the headliner, or in this case, the headliners.  And while The Menzingers and mewithoutYou put on a great show, I didn’t necessarily find anything too remarkable about their sets.  Honestly, this was my first experience with The Menzingers so, to be fair, I can’t really say much about them as I know very little about them (shame on me, I know).  As I like to say, “they were fine”, meaning they did their thing and people enjoyed it and I appreciated what they did.  Enough said.

mewithoutYou on Audiotree Live

mewithoutYou has always been one of my favorite bands.  They are fantastic at writing catchy music that is capable of hitting the heart strings of whatever emotion you’re in the mood to meddle with.  Ever since [A->B] Life came out in 2002 I’ve been quite comfortable keeping their music in my arsenal.  Frontman Aaron Weiss has a unique lyrical style that absolutely works for me.  While others may struggle digesting his lyrics, I am continually impressed with anyone that can work “pumpernickel bread” into their writing.

Restorations opened the night and did a great job setting the vibe for the evening.  I hadn’t really heard much from these guys prior to the show but they are definitely headed in the right direction.  Their stage presence was enjoyable to watch and kept a newbie, like me, entranced for their full set.  Like Restorations, mewithoutYou and The Menzingers held the attention of the venue for the entirety of their sets and I would definitely see them again.

This brings me to Pianos Become The Teeth.  While I had every intention of writing this review on mewithoutYou, it was Pianos Become The Teeth that absolutely stole the show for me.  And it was absolutely for reasons I did not expect.

Pianos Become The Teeth live @ The Underworld, London

Like most bands I come to discover, Pianos Become The Teeth have been around for a while.  They formed in 2006 and have honed their sound over the past nine years moving from an aggressive, post-hardcore band to masters of gloomy, emotionally packed, post-rock.  For those of you who have yet to indulge in their newest record, Keep You, I highly recommend you do so.  If you need an enticing comparison, this album is very reminiscent of Oceana’s Clean Head from 2010.

While the other three bands put on visually stimulating performances, Pianos Become The Teeth struck me in a different way.  I was lucky enough to get to the venue early enough to grab one of the few spots on the balcony that gave me a great view of both the band and the crowd.  Pianos Become The Teeth were steady, energetic at times, but the way they moved the crowd was absolutely stunning.  The movement I witnessed was not physical by any means.  In fact, the crowd was absolutely motionless, aside from a bit of head-banging here and there.  Being fairly in tune with my mushy side, the emotional grip that pushed and pulled throughout the crowd was mesmerizing.

I think I spent most of my time watching one specific kid in the crowd.  By appearance alone, he was completely out of place.  If I would have seen him walking on the street prior to the show there was no way I would have thought he and I were headed to the same destination.  But this kid knew absolutely every word to absolutely every song Pianos Become The Teeth played.

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Pianos Become The Teeth from the balcony @ Neumos

For those who are familiar with frontman Kyle Durfey’s lyrics, you know they are very sad and tend to center around the loss of his father in 2010.  Like many lyricists, Durfey’s lyrics are dark and contemplative.  But unlike some, Durfey is surrounded by an exceptional band that is able to add deep dimension to his words.  The coupling of his lyrics with the desolate tones of his band’s music is nearly heartbreaking.  To me, it’s the cohesion of these two elements that make my eyes well up with tears and send chills down my arms.  I’m sure we all experience these phenomenons in our own way, but experiencing Pianos Become The Teeth live was the pinnacle of emotional overflow for me.

The kid three rows back, belting Durfey’s lyrics will forever be seared into my musical memories.  It was a profoundly powerful moment for me.  It left me wondering how this out of place kid related to Durfey’s lyrics.  What was it that moved him by this band.  Being witness to the connection between the writer and the listener added a totally new experience for me.  Usually you only get to see the back of everyone’s head at a show, but my balcony vantage point let me see things in a new light.  It was truly an honor for me to be in the same place at the same time with five guys in a band, the kid in the third row, a few friends, and a room full of strangers.

C.J. Blessum