Dragon in Stiilletos

By Gena Perala/Photo by Avi Leigh Bader

She: Singer Songwriter, He: Bassist/Producer for ‘The New Deal’. They, met at a music festival - slept together at some point, started making music together at some point, he broke up with his, then girlfriend at some point, and they got married… at some point.

Joined forces with drummer Joel Stouffer and guitar player Simon Craig to form electro pop band “Dragonette”.

Recently on tour, promoting their first album “Galore”, I caught Dragonette at the Plaza. After checking them out online (their photos are amazing by the way) and listening to a couple of their tracks, I was hopeful that they would be better live. I don’t, not like them, but they’re not great. Lead Singer, Martina Sorbara started as a ‘Singer Songwriter gal’ and it’s easy to hear why. I love the timber of her voice. It’s so smooth and strong, really enjoyable. Her voice reminds me of Emily Haines from ‘Metric’ (as does their music) and Nina Personn’s from ‘The Cardigans’ – not bad company. Unfortunately however, I’d rather listen to The Cardigans and Metric than I would to Dragonette. Their electro pop provides nothing new, aside from maybe the great thought they put into their visual presentation, which in the end doesn’t carry the day. Dragonette is a decent band, with a decent sound – they definitely give ‘er, live, and they are all very nice to look at, but simply don’t quite cut it. They are just ok. I wouldn’t write them off completely after one album though, I have a feeling this band has the ability to evolve (Dan Kurtz did produce ‘Monarch’ one of Feist’s early albums) and if they hope to keep playing together, they better do so. After low sales Dragonette was dropped from Mercury Records in 2007 but still retains a deal with Universal. Their next album will give us an idea which direction this band might be headed…the curb? Or back on tour?

Ultimately, I’d rather listen to Metric.

The Pipettes live review by Gena Perala

I caught The Pipettes at the Plaza not too long ago. The show was ok, yup simply ok. I was expecting much more since a friend
of mine had heard they were great live. Their performances however left much to be desired.

The Pipettes are a British indie pop group consisting of 3 gals up front on vocals and backed by an all male band named ‘The Cassettes’. They were started by drummer and DJ, ‘Monster Bobby’, when he realized the reaction girl group songs got during his DJ sets. The most impressive thing about the band though, is their look. The girls are beautiful, they always wear polka dots and they have a sexy, innocence thing going on, sort of like half Betty, half Veronica.

They successfully execute the choreographed moves, the doe eyes and the doo-wops. The Pipettes are a throw back to the 60s girl group era and are often compared to the Shangri-Las. But the Shangri-Las could be considered ahead of their time combining an innocent charm with a darker side during a period when women were supposed to be all smiles and sunshine.

Had The Pipettes existed in the 60s, their sexually aggressive, confidant and independent attitudes really would have been something. In today’s music though, it’s nothing new and unfortunately unlike The Supremes or The Ronettes, The Pipettes, got no soul. They are as white snow. If you like their album I suggest keeping it at that. Their voices weren’t even that great live however Rosay outshines both Gwenno and RiotBecki and might consider going solo. Her sexy alto voice was the highlight.

Ultimately, The Pipettes are fun but forgettable and I think they pretty much accomplish their goal, they make “simple, practical, music” – but who wants that?

The Panthers, with Coliseum, Mono, and High on Fire; October 24, 2007 at Richards on Richards

by Erin Hanson

The opening slots in a night of guaranteed heavy, quality rock cannot be an easy spot to fill, especially when the crowd is clearly there for someone else, and you know you’re only going to be followed by a group as enigmatic as the atmospheric yet heavy psychedelic Japanese rock act Mono. But the Panthers pulled through and delivered an energetic set which guaranteed some newly converted fans.

Coliseum got things going first off in the night, which could not have been an easy spot to fill for an audience who was clearly wanting to be impressed. The band played songs from their new album “No Salvation” to a largely empty dance floor, but kept the volume loud and the tempo up to set the pace for the night.

The Panthers hit the stage next, to a once again clear floor. Their set started off solidly with their not-so-unique brand of catchy 70’s-esque metal. Yet as they entered seamlessly into their second song, the floor was crowding up again with those intrigued by what they were hearing. The music was heavy on the guitar riffs and predictable yet enjoyable bass lines to keep their tunes speeding forward. Drummer Jeff Salane’s high energy and mini solos would steal the spotlight occasionally and keep their sound interesting.

At one point, singer Jayson Green surveyed the timid audience largely hanging out in the back and happily commented: “I think it’s full… Vancouver, you got it together! That’s good!” The Panthers, hailing from Brooklyn, were clearly excited that they were getting a relatively warm reception, showing that they really do come by their music honestly. It was when they launched into Goblin City, their first single off their new album “The Trick” which truly won the crowd over; something which the band was very thankful for after a two-day drive from Minneapolis.

The Panthers’ live show has the full sound and energy which their recordings lack. And although the band will no doubt be constantly cursed by comparisons to Black Sabbath and Woflmother– during “Panther Moderns” I half-expected him to break out into Wolfmother’s “Woman”– the Panthers’ high energy and familiar yet addictive riffs give the audience a quality rock show, plain and simple. It may not be the most original thing you’ll hear or see, but the band members are clearly giving it their all, and their passion is contagious.

Original Article

written by Mike Cox

I can recall in vivid detail, the moment I first heard The Aggrolites. We were pulling onto the Santa Monica freeway somewhere
around 11:00 P.M., claustrophobic from the San Francisco to L.A. drive. Though on the verge of being stir - crazy, we were pumped, just an hour drive from the old stomping grounds. Give ‘Em The Boot IV; the latest compilation from Hellcat Records was churning in the stereo, and what comes rippling through the speakers? Dirty Reggae. It was pure jubilation, the windows went down, the volume went up, and something started burning. It was summertime and we were on vacation.

This last week I was once again afforded those splendid emotions, and not by coincidence, The Aggrolites were a major factor.

Though the So-Cal quintets’ self - titled release is not exactly brand new by time standards, it is in fact brand new to a significant
audience. Released in May of 2006, The Aggrolites was typically an on-line purchase. You knew what you wanted and where to get it. You liked Reggae Hit L.A. or maybe you (like me) picked up G.E.T.B. IV simply because you like a lot of what Hellcat puts out. Regardless 2007 saw The Aggrolites backing Tim Armstrong (Op. Ivy/ Rancid) on his solo debut, opening themselves up to a whole new audience and semi-mainstream availability. They do not disappoint! Having backed reggae legends along the lines of Prince Buster, King Terror and so many others, the band has street cred, this is not Snow trying to pass off Informer as real roots rock.

The Aggrolites- a name honoring both the Aggrovators and The Crystalites- happened almost by chance. Brian Dixon put together two line-ups’ in support of Derrick Morgan, one for the ska sessions and one for reggae. Somewhere along the line, Dixon asked the members of both camps if they’d like to continue touring. Thus a band was born.

Funky Fire kicks things off it’s this crazy, groovy, revival tune that really showcases frontman Jesse Wagner’s vocal ability (intense
yet soulful) and Roger Rivas’s aptitude on the keys. The feel good jam is followed directly by Mr. Misery, a down-tempo ode to some mystical dark figure with the powers to transcend emotion and task. These two tracks are easily the most powerful one-two punch on the album.

Listeners will notice some formidable influences, the late 60’s early 70’s revival sound so prevalent with Toot’s and the Maytals and the Wailers. Some critics have had the audacity to say these influences are too heavy. Amateurs. The only thing heavy about this album is the sound, and that is just the way I like it.

At 19 tracks, the album is not light on content. Other notables in rotation include the country funky Countryman Fiddle, a twangy ditty about a boy and his grandfather sharing the joy of song. Introducing one another to new sounds and new generations. Lightning & Thunder clocks in a soulful salute to the impoverished of the world and at the same time, a scathing warning to those who have it all. Prisoner Song is a classic waiting to happen. Its’ deep organ groove, flows seamlessly with the punk lyrics and introspection.

Also included on the album are six instrumentals, again some critics have had the gumption to call it filler. I don’t see it that way. All you have to do is listen to tunes like Grave Digger or 5 Deadly Venoms to appreciate the melodic arrangement. The tracks are well placed and don’t drag, pairing perfectly with the overall sound.

Thoughtful and emotional, the album should sell well in several different circles. Reggae purists will respect it. Punks will buy it
(everyone needs some down time) and your girl will love it. It’s the perfect soundtrack for your soul summer.

written by Jessica Star Rockers

Imagine a traveling circus freak show where the freaks are engaged in a mutinous revolt. They’ve listened to The Clash, hijacked a carnival band’s instruments, and are about to take control. Can you hear the oompa oompa? If so, it’s probably Pick Up Sticks, the latest album from the Kill Rock Stars band They Shoot Horses Don’t They?.

They Shoot Horses’ previous album, Boo Hoo Hoo Boo, sounded more like the high school marching band rejects these twenty-somethings might actually be. As if the image of their old band director was still hovering in the back of their subconscious, tapping his baton to keep the beat.

Thankfully, on Pick Up Sticks, the band has purged itself of this apparition and done away with the metronome, kicking off those years of band class. There’s a much more punk esthetic here, more shambolic and raw. They’ve let go of the self-containment and are marching forward, beginning with the intro song “One Last Final Push”: “We go on marching forward; Through all the silent faces; Sing! This noise! This drum! Well, here we come!”

The band name comes from the 1935 Horace McCoy book (and the subsequent 1969 Sydney Pollack movie) depicting a depression-era dance marathon where the contestants are starving and hopeless, yet dance to exhaustion in the hopes of winning the cash prize. The band quotes the book blurb on their Myspace page: “They Shoot Horses, Don’t They? present us with a dark and violent world where people are readily exploited for the pennies that they might bring in from a viewing audience. Marathon dances last for weeks, even months, draining their participants of self-respect and gradually turning them into the walking dead.”

The album itself often feels like a dance marathon that will never end. The songs are relentless in their energy, each registering at fever pitch. But while this makes for somewhat exhausting listening on their 10-song LP, it translates best when seen live. Their shows have been compared to the Sammy David Jr. “Rythym of Life” scene from the movie Sweet Charity, a kind of joy-filled musical cult indoctrination. (Beware of churches that meet in underground parking lots.)

But They Shoot Horses Don’t They? isn’t staying underground, they’re taking it to the streets, confident they’ll convert the whole neighborhood or die trying.

This album upon the first few listens seems to be a very lateral movement for Tegan and Sara. As always there are a few shining tracks on the album but they almost serve to contrast some of the lesser songs. As a whole “The
Con” is lacking more bright spots. After a few more runs, if you’re really looking for it, depth is discovered in some elements here and there. Mainly lyrically and vocally, the trademark double layered, spitfire vocals are a pleasure to listen to, accented by the poetic, smart lyrics… this album should have been produced with an 808, I would probably like it more. In fairness I could see “The Con” being the type of album that grows on you over time and somewhere in my ears garnering a cult following, but it will
always have those tracks that are left off playlists or have me reaching for the skip button.

Now I don’t want to come off sounding like its all bad, in fact its not bad at all, its just that, when someone asks how this album is one would shrug and sincerely say “its not bad”. “The Con” and “Back in Your Head” (coincidentally the two songs released off the album first) are the strongest and best songs on the disc, quick, smart, clever, and catchy. “Hop a Plane” and “Nineteen” are a close second, with the former being a fun and toe tapping pop song, and the latter full of the swell and emotion Tegan and
Sara fans are used to. (In retrospect four days after I wrote this review I have decided “Nineteen” is probably the best song on the cd)

When I heard Chris Walla of Death Cab for Cutie fame was producing the disc my hopes for this album were very high. Well you can definitely hear his touches drum production, the keys, and the guitars, both sounds and layering… and maybe that’s part of the flaw of this disc. I firmly believe you should be able to hear a producers influence but not identify his fingerprints clearly in the songs. It almost sounds like a Death Cab Tegan and Sara mash up, maybe a little Gwen Stefani thrown in there on the track “Like O, Like H”. You think with all the guest players one sound wouldn’t have so dominated this disc.

I very much enjoy the quirky weirdness of the girls songwriting it guarantees that this album will be a grower not a shower so give me a few months and keep an eye on the blogs and eventually I will probably be professing my love for this record, if I can aurally separate Chris Walla from its DNA

Let me suffice this review by saying dedicated TNS fans with love this album but I am a music fan not a fan of musicians so this review is unbiased from someone familiar with their music who has seen them live a few times and actually really likes them don’t hate me or hit me if I am out at a show.

- 6/10 - JKE Dean

written by Mike Cox

Heretic? Misogynist? The devil incarnate? Nah, just Peter Steele; death obsessed, self-loathing front man of the Brighton Beach (Brooklyn, N.Y.) based Goth rockers Type O Negative. Laugh at them. Go ahead. They actually enjoy it.

Formed in demise, and doom, the band is (in my opinion) solely responsible for starting the whole Goth/Metal genre. Argument is futile. Your fight will fall upon deaf ears. Accept this as the word of God himself.

Almost two decades deep, T.O.N. is still churning out some of the darkest, lyrically provocative music in the world. Evidence lays in the bands seventh studio release, 2007’s “Dead Again.”

Musically the band never saw themselves as, well “talented”. Steele and the others constantly used self-deprecating humor, to sort of justify what it was they were doing. What they never realized, was that no justification was needed. With guitars tuned so low, the hands of the dead could well reach from the bowels of hell to assist in playing, and lyrical content so politically incorrect were it not put in an artistic (theatrical and sarcastic none the less) light, it may well have endured constant protest. Fans adore them. Parents despise them. And with the release of “Dead Again”, I’ve never heard more life.

Musically the band has peaked. The line-up has been stable as an E.R. flat-line for sometime now. “Dead Again” the title track, begins with sludging guitars, and a ghostly choir, quickly ascending into a bass driven hardcore breakdown eventually keeping the tempo at a punk rock pace. All the while Steele harmonizes, melodic and soulful, never really needing to scream. With lines like “No excuse for drug abuse”, “Chemical enjoyment turning thee paranoid”, and my personal favorite “There are some things worse than death” his depression and anger come au natural. Shades of emotion that turn “Dead Again” into a heartfelt sentiment on drug addiction, coming off a stern warning. The joy of temptation leads to the evil of indulgence, and Steele’s own story seems to serve as one dark lesson.

Wallowing in the same shades of depravity comes “Tripping a Blind Man” the albums number two track. The combination of tracks one and two is T.O.N. at their best. Again fans are treated to a meat grinder style guitar intro that quickly morphs into a full speed self-serving tyrannical rant. The track breaks and changes several times, allowing Steele to experiment with every vocal range known to man. Addressing the condemned that serve to judge…taking the low road all the way “Want to play god, and I know you will, but if that’s the case I’ll be the devil.”

As for the album’s rotten core, it’s classic Bella Lugosi with modern mental depravities. “Profits of Doom” incorporates more of the horror movie style fans have come to know and love. Grandiose Goth Rock at it’s best. Picking up on a serious note, “These Three Things” is a ranting ode on the evils of abortion (obliviously this topic struck a chord somewhere in Steele) clocking in at 14 minutes and 21 seconds; it’s the albums longest track and possibly the most thought provoking. The track is confrontational on several levels, stemming possibly from Steele’s shocking spiritual conversion (he’s a devout Roman Catholic).

Winding through, we have the staple (and often misinterpreted as misogynistic) rants on the evils of women. A common theme in Steele’s writing, we find it toned down this time. “September Sun” and “She Burned Me Down” come closest, both slightly vindictive tales dealing with loss and infidelity (consider these my personal interpretations). Both tracks are done with a softer touch than say…”Unsuccessfully Coping With The Natural Beauty Of Infidelity” as heard on 1991’s “Slow Deep and Hard.”

Alas I find myself going track by track, and that’s not what I’m about. Take the time to soak this album in. Love it for all it does and doesn’t have to offer. Sit like me in a pool of self inflicted pain; agonize over love lost, wasted time and mental illness. Drink heavily and wear a heavier heart. Type O Negative is half empty, yet still full of anger, guilt, shame and sincerity. An appropriate choice considering toady is Friday the 13th of June 2007.

written by Mike Cox

P.H.D. toting punk –rocker Greg Graffin has done it again. Fans rejoice. Critics be silenced! 27 years and 14 full-length albums into it, Bad Religion has rekindled the fire burning in the moral minority.

“New Maps of Hell” the bands first studio release since 2004’s (mostly) disappointing “The Empire Strikes First” showcases the bands depth and resilience. Baptized by fire and armed with a six man front including a three guitar arsenal, listeners are treated to a ferocity reminiscent of late eighties, early nineties Bad Religion. Evident just a few bars into the albums opening track “52 Seconds”, the band lets loose a sonic tidal wave that goes on to flood almost every track on the album.

Long fueled by Graffins’ lyrical proselytizing, 2007 finds the band breaking new musical ground, fusing their traditional melodic skate punk sound with a little hardcore, producing the darkest sounds to date in a long celebrated career. Lyrically Graffin stays true to form, highlighting social inequity and political injustice. His conviction remains just as powerful as his command of the English language, solidifying his reputation as one of the more intelligent songwriters of our time.

So deep is the lyrical content, that trying to interpret each individual track could amount to writing a senior thesis sure to enrage Theologians and Poly Sci professors around the world. Bad
Religion is vehement in chastising our overbearing, judgmental society. “New Dark Ages” a blistering track warning the unnamed and aforementioned of some metaphoric Armageddon really hits hard. Like brick to skull hard.

Though the first single “Heroes and Martyrs” was ill received true fans will appreciate it, which may not be the case with the likely second single “Honest Goodbye” a radio friendly rant full
of the signature Oozin Aah’s…lets just hope an accompanying video is NEVER produced.

Love it or hate it, Bad Religion is back, punkin’ the government, condemning the puritan masses, and invigorating the moral minority. RESPECT.

Maybe it was some lineup changes, maybe it was getting that concept album out of their system, maybe it was deciding to self-title the record. Whatever it was Boys Night Out have created an incredibly solid record. It rises and falls in a natural progression, the tracking and consistently great songs really make it a beginning to end success for the band. Connors hooks, the group vocals and harmonies, layers and layers of guitar, and songs that you can listen to again and again, and still notice something new give the release from Burlington Ontario rockers a longevity and quality rare to find in the pool of bands BNO usually finds themselves swimming.

The album opens with the infectiously catchy “Get Your Head Straight” and sets the pace for the rest of the disc. Honest lyrics immediately bring you in and make you feel like part of the family. Clever and conversational the song is an anthem, a quick introduction to the sound of Boys Night Out for those unfamiliar. The next two tracks let the band flex their muscles a little more. “Swift and Unforgiving” a track more on the technical side of things with swerving tempo changes held perfectly together by melodies and vocal patterns. “The Push and Pull” seemingly straight-ahead but with the
subtleties of the guitar work it becomes a song with real depth.

“Up With Me” is the best example of the songwriting abilities within the band. Musically intriguing with vocals full of hooks and emotion. One of the stand out songs on the album full of little different parts to enjoy not to mention the fact that I cannot get this song out of my head! Next up “The Heirs of Errors” the roots of Boys Night Out start to show. Fast and direct, palm muting, octave work and riffing all pull together to make this song a wake up in case you weren’t paying attention. With the addition of the heavier vocals and group sing along parts this track is one I have to see the band play live. “Let Me Be Your Swear Word” and “Hey Thanks” again both let the band experiment a little. With more elaborate guitar work and arrangements these songs really stress the inability to categorize Boys Night Out into a particular genre and sets them apart from the bands they occasionally get lumped in with.

For the fans of Trainwreck the bands previous release “Fall For the Drinker” all of the elements that worked so well on that album return here refreshed and capture a staple of the Boys Night Out sound. It also seems that the more familiar song on the album is followed by the real departure of the record, “Apartment 4” is in the ballpark of the BNO sound but has a wonderful collection of pop and even post-hardcore touches thrown in. This song almost feels like its looking forward to the next album, with a chorus
that is goose bump worthy for those who really appreciate the complications of writing a good hook.

“Reason Ain’t Our Long Suit” is a semi-closer a power track to finish of the record really pulling together parts of older and newer Boys Night Out. The line “now were better than ever” pretty much sums up the idea here and my feelings about the band after hearing this record. The album finishes with a perfect closing track, the lyrics tell a story and usher you to the end of
the disc. This is a great encore track midtempo and building to a grand sing along finish, closing the CD in fantastic boys night out style.

8/10 - JKE Dean

written by Mike Cox

“Music From The Regions Beyond” may be Tiger Army’s fourth full length offering, but it’s their first attempt at a radio friendly album. Oblivious only seconds into “Prelude: Signal Return” (track one) “Music From Regions Beyond” is just that, music from regions far beyond what has become the trademark Tiger Army style.

Prelude: Signal Return is IIII’s version of the recurring intro fans have become accustomed to. Gone is the black streaked Psycho-Billy style, replaced with a dark neo-disco pop sound that seems to be all the rage these days. Suffice it to say the track is saved by the dark thumping of Jeff Roffredo’s bass and the omnipresent group shout out: “Tiger Army Never Die!” followed by a bass laden track just oozing punk ferocity. The second cut “Hotprowl” starts full bore and never backs down. Highlighted by Nick13 showcasing his vocal talent, these two are the closest anyone is getting to vintage T.A. on IIII.

At this point things change. Now the catalyst for change could and should be attributed to several things. The slick “put me in rotation” sound comes as no surprise to anyone familiar with Producer Jerry Finn’s work. That’s right, the same Jerry Finn credited for
thrusting AFI into the national spotlight and jacking up Alkaline Trio’s Sound Scan. Finn really exerts his influence on tracks like “Afterworld” and “Forever Fades Away” the former even featuring AFI front man Davey Havok. Loyal fans may reject both tracks, but expect them to get some heavy airtime. And speaking of rejection, one has to question Nick13’s departure from the normal T.A. lyrical content. Gone are the days of evil anthems and b-grade blood and guts. Bye, bye Bram Stoker hello Anne Rice. When did Psycho-Billy become “emo” sensitive?

Musically the band has switched things up as well. Take for example track eight, “As The Cold Rain Falls” a confusing rant on some love lost supported by an eighties soundtrack that just reeks new wave revival. It’s almost contradictory. Listening to numbers like “Lunatone” and the Spanish take “Hechizo de Amor” (Spell of Love) will make loyal fans grimace with pain, yearn to grab T.A. II and play F.T.W. at full volume. Alas we are saved, “Where the Moss Slowly Grows” the albums eleventh and final song is a thought provoking Rock-a-Billy classic. The perfect medium for Nicks newer writing and softer vocal styles. Stirring chilling visions of a graveside outpouring with a lover no longer of this world.

Complaints and criticism aside, Tiger Army IIII amounts to a mediocre album from an excellent group. Even so fans should still be thankful. Nick13 is the sole reason T.A. exists. Having released four albums, the band has seen four different drummers and three count em three bass players. Nicks vision and dedication have never been more evident. So werecatyouth give thanks and send the evil shout out to Nick. Remember critical acclaim comes and goes with the moonlight, but loyal fans remain…like zombies in the night.

Original Article