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reviews

She Wants Revenge bring the darkwave to New York City at Webster Hall Tonight

She Wants Revenge bring the darkwave to New York City at Webster Hall Tonight

Prepare to get your sultry sway on this coming Monday when Justin Warfield and musical partner Adam 12
shall be performing live their new material from the album This Is Forever (Geffen) along with of course,
songs from the old that made you fall in love with them in the first place.

After a sold out national tour this summer and fall, raving reviews, crazed fans and critics being
converted who are now praising the electronic indie group after witnessing them live with a full band
and seeing what they’re really made of. This album is sheer proof that this band has truly evolved
since their spectacular debut and this is your chance to finally see them for yourselves.
.
“This Is Forever” Oct 9th (Geffen) “Someone’s gonna fall in love in here tonight.” – Just Begun by S.W.R
This Is Forever continues where their self-titled debut left off, a figurative morning after to the dance of the
night before. Still continuing on the same path of creating thought provoking and emotional dance music,
the album deals in the familiar themes of love, loss, and betrayal, yet somehow even darker in tone, with beats
that bang even harder, and if it’s possible, even catchier songs…a tall feat, but one they welcomed with open arms.
With no intention of playing it safe this time out, the guys have crafted a challenging and compelling album
that they are proud to present to their loyal fans and the uninitiated alike.

Much like their Electronic Rock fore-fathers; Dave Gahan, Robert Smith, Morrissey, and Ian Curtis
had done so before, She Wants Revenge offered a voice and a rhythm for scorned lovers,
bored housewives, jaded hipsters, gender-benders and club-kids across the nation, all seductively
swaying their hips and pouting along to the undeniably catchy tunes such as True Romance,
What I Want, These Things, Out of Control and the instant cross over hit Tear You Apart.

This show will be their third to last last on the east coast before they head back west toward their home of
Los Angeles. Adam 12 shall continue to DJ and write, with numerous projects in the pipeline. The same goes
for frontman Justin who will also be working on various things when he returns; but shall mostly be sharing dipers
duties with wife Stefanie King Warfield and cradling his new baby son Bowie Jonah who was born just last week!
Congrats Justin, and thanks for bringing to the world two amazing “collaborations” this year. We salute you!

Oct 23 – Boston, MA @ Paradise Rock Club
Oct 25 – Philadelphia, PA @ The Fillmore at Theatre of Living Arts
Oct 26 – Baltimore, MD @ Washington, DC
Oct 27 – Washington, DC @ Black Cat
Oct 28 – Carrboro, NC @ Cat’s Cradle
Oct 29 – Atlanta, GA @ The Loft
Oct 30 – Orlando, FL @ The Club at Firestone
Nov 1 – Dallas, TX @ Granada Theatre
Nov 2 – Houston, TX @ Meridian
Nov 3 – Austin, TX @ Emo’s Alternative Lounging (Outdoor)
Nov 5 – Tempe, AZ @ Marquee Theatre
Nov 6 – Tucson, AZ @ Rialto Theatre
Nov 7 – Anaheim, CA @ The Grove of Anaheim
Nov 8 – San Diego, CA @ House of BluesSan Diego, CA
Nov 9 & 10 – Los Angeles, CA @ Henry Fonda Theatre
Nov 12 – Ventura, CA @ Majestic Ventura Theatre
Nov 13 – Sacramento, CA @ Empire

Categories
music videos reviews

SHORT FILMS CREATED FOR TRACKS ON SERJ TANKIAN’S SOLO ALBUM – ELECT THE DEAD – TO BE SCREENED IN MOVIE THEATERS ACROSS THE U.S. ON OCTOBER 22ND

SHORT FILMS CREATED FOR TRACKS ON SERJ TANKIAN’S SOLO ALBUM – ELECT THE DEAD – TO BE SCREENED IN MOVIE THEATERS ACROSS THE U.S. ON OCTOBER 22ND

Special Los Angeles Screening with Serj Tankian in Attendance on October 23rd to Benefit Axis Of Justice

OCTOBER 18, 2007 – Burbank, CA – Earlier this year, Serj Tankian – the visionary frontman for multi-platinum rock band System Of A Down – asked a collection of video and film directors, painters, and digital artists to each create a video for one of the 12 tracks on his forthcoming solo debut album, “Elect the Dead,” which will be released on Serjical Strike/Reprise Records on October 23rd.

The directors involved in the video project include a prestigious array of artists whom Tankian has befriended over the last decade. They include music video director Tony Petrossian (Taking Back Sunday, Slipknot, Avenged Sevenfold), who shot the video for “Empty Walls,” the first single from “Elect The Dead,” photographer/video director Greg Watermann (Mudvayne, Lamb of God, Howie Day), Oscar-nominated Puerto Rican playwright and screenwriter Jose Rivera (“The Motorcycle Diaries”), digital artist Roger Kupelian (“The Lord of the Rings,” “Flags of Our Fathers”), documentary director Sevag Vrej (System Of A Down, Fair To Midland), short film/music video director Adam Egypt Mortimer (Against Me!, Idiot Pilot) and Beirut-born filmmaker Gariné Torossian (Sparklehorse), among others.

“I asked each of the directors for their visual interpretation of my work,” Tankian explains. “They were asked not to write treatments and that they could make whatever they liked. The results have been overwhelmingly amazing!”

Among the videos posted on Tankian’s website www.serjtankian.com
is an animated clip for the song “The Unthinking Majority” by filmmaker/video director Tawd Dorenfeld. Also available for viewing on the website are the videos for “Empty Walls” and “Saving Us”.

To celebrate the artistic collaboration of the music and visual interpretations of Serj Tankian’s solo album, Reprise Records and Serjical Strike, in conjunction with digital cinema/music marketing company D&E Entertainment (www.DandEentertainment.com), will screen the videos of “Elect The Dead” back-to-back, accompanied by an introduction by Tankian at movie theaters across the nation at 8pm on Monday, October 22nd. This unique experience on the eve of album release offers fans a preview of “Elect The Dead” in a premium listening and visual environment. A special screening event on the October 23rd album release date will take place in Los Angeles with Tankian in attendance.

Special screenings of “Elect The Dead – The Short Films” will be held at 8pm on Monday, October 22nd at the following locations:
Long Island, NY: Herricks Cinema
Parsippany, NJ: Parsippany Cinema
San Francisco, CA: Embarcadero Center Cinema
San Diego, CA: Ultrastar Theatres Mission Valley
Boston, MA: Kendall Square Cinema
Chicago, IL: Century Centre Cinema
Detroit, MI: Emagine Novi
Philadelphia, PA: Clearview’s Anthony Wayne Cinema
Seattle, WA: Metro Cinemas
Houston, TX: The River Oaks
Minneapolis, MN: Lagoon Cinema
Phoenix, AZ: Harkins Tempe Marketplace
To usher in the release date on Tuesday, October 23rd, Serj Tankian will attend a 9pm screening that evening of “Elect The Dead – The Short Films” in Los Angeles at the Vista Theater (4473 Sunset Drive, Los Angeles, CA 90027). Starting at 7:30pm on October 23rd, the first 300 people in line at the box office to buy tickets for the 9pm showing will be able to have their CDs autographed by Serj after the show. Lining up at the Vista Theatre before is 7:30pm is prohibited. Copies of “Elect The Dead” will be available for sale at the Vista Theater that night, along with a free poster for every CD purchased. Tickets will be sold for $10 a the box office, with all net proceeds donated to Axis Of Justice (www.axisofjustice.org), an organization founded by Tankian and Tom Morello of Rage Against The Machine.

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interviews music videos reviews

Biffy Clyro joins Queens of the Stone Age on Tour

Now these Celtic rock warriors are about to meet their match and embark on an October tour with Queens of the Stone Age, a pairing no credible and die hard rock fan can deny is genius and worth any tickets’ price.

“Now I’m Everyone” lays a (just as good, if not better) QOTSA worthy bittersweet melody over a backbeat sure to
inspire massive FIST-PUMPING” – ( Sup.)

“Debuting at No. 2 in the UK and marking the emergence of a proprietary sound. … sturdy songwriting and singer-
quitarist Simon Neil’s wounded tough-guy yearning keeps things appealingly unhistrionic. “The Conversation Is…”
chimes with endorphin rush guitars, “As Dust Dances” is a slow-burning neo-grunge ballad ideal for Zippo-waving,
and the whole manages to rock hard and spring surprises in equal measure.” – (Blender)

If you don’t want to take our word for it: Take theirs;

“Heads began bobbing and ripples of moshing emanating out from around the band…The band truly came into their
own on harmony-heavy songs like “Who’s Got a Match,” where all three members harmonize like a heavy metal
barbershop quartet – a quality that distinguishes them from other hard rock bands… They finished the set with
“Glitter and Trauma”…with its long disco beat and almost incongruously hard guitars, the track pitches the band
somewhere between alt. heroes Tool and 70’s rockers KISS” – Ewan Anderson, Filter Magazine
(show review- The Wittern, Los Angeles).

“Pursuing a bigger, more direct style… with such jumpy ravers as ‘A Whole Child Ago’ and ‘Now I’m Everyone,’
which pilot Gang of Four-style verses toward big, paunchy refrains. And ‘Love Has a Diameter’ demonstrates that,
much of the time, the band even does arena-rock well” – (The Washington Post)

“Biffy Clyro were arguably the most notable and somewhat notorious name on the ticket for many” says Pensatos.
“Both “Living is a Problem Because Everything Dies” and the spine tingling “Folding Stars” tore the stage up and
put the fire and balls into a room filled with your average Smiths/Morrissey fan waiting for The Editors. It may also
have well showed them up. Tonight they were nothing but rock geniuses on stage; parry and jousting along shake and
strike jangles larger then their parts.” – (Pensatos.com)

Indeed Biffy Clyro are an incredible live band, which is one of the reasons why they were hand selected by Josh Homme
to open up on the east coast leg of the QOTSA tour. They are a bands’ band — since the release of PUZZLE
their (thier 4th UK release debuted at #2 on the UK charts and this is their US Debut) , everyone from The Rolling Stones,
The Who, The Red Hot Chili Peppers, Bloc Party and The Editors have requested Biffy Clyro as their opening act.
There is a reason why these bands choose Biffy Clyro!

To get a more intimate look and to see just how genuine and powerful this Scottish trio is, check out this epk which
includes live footage/video clips and interviews with Simon Neil (vocals/lead guitar) and twins Ben (Drummer)
and James Johnson (bass/rhythm section): http://www.roadrunnerrecords.com/video/showVideo.aspx?fileID=2904

Along with the radio campaign kicking in this week for the single “Living is a Problem Because Everything Dies ”
(Highlights at radio include adds at WBCN – Boston,WROX – Norfolk, KMRJ – Palm Springs, WPBZ – West Palm Beach)
MTV has jumped on board , the video has been selected as an MTV2 DISCOVER AND DOWNLOAD video.
The video straight into an ELITE 8 Rotation (The highest rotation on the channel). The band will also be featured on all
platforms of MTV2 and MTV.com for 6 weeks after the start date. As a part of the “Discover and Download” program,
“Living is a Problem…” can be seen on MTVu starting at 35 spins per week.

Living Is A Problem Because Everything Dies

“As the opening symphony of “Living is a Problem..” gains momentum and starts to kick you in the head repeatedly
one thing becomes very clear. Whoever the fuck Biffy Clyro is they made one hell of an epic album. Arena rock is back,
straight outta Glasgow and serving up power chords like no tomorrow”. “Saturday Superhouse” wins as the eponymous
single, but Puzzle is not only for wall-to-wall headbanging” – (Sup Magazine)

“With irresistibly catchy vocals, and melodies set within spiky, squealing guitars, Scottish three-man post-punk group
Biffy Clyro creates an energized sound that’s poppy enough to appeal to Fall Out Boy fans while holding on to the
dirty sound that made the Pixies and Nirvana so appealing… Contagious sing-alongs are undercut by fuzz and feedback,
giving it the Pinkerton- era Weezer appeal – music made more believably emotive and ultimately enjoyable by the struggle
between its infectious nature and its raw, jagged sound” – (CMJ)

“One of the UK’s best kept secrets until now. “Puzzle” the trio’s 4th album is a testament to their inventive mastery of epic
chords, complex drumming and tugging melodies. Fans of Queens of The Stone Age and the post-emo dynamics of Sunny
Day Real Estate are sure to swoon over what critics are calling one of the best rock records this year.” – (Trace)

“Imagine the backroom of a dive bar in a bad neighborhood where the All American Rejects and Foo Fighters are
chain-smoking, throwing back shots and playing cards. Sound good? Check this Scottish trio out on Warped this year
and secure future bragging rights to your friends for later.” — (ALTERNATIVE PRESS’ 22 BEST
UNDERGROUND BANDS THAT LIKELY WON’T STAY UNDERGROUND FOR LONG)

“Slicker than grunge, grungier than new wave, less cocky than metal and more metal than your pub-crawling cadre.”
– (Rokovoko: Tune Head)

“FUGAZI influenced emo ramblings meet the epic rock of Muse with a little Mew thrown in. TEXAS SIZE GUITAR
SPECTACLE caveman hair more than just a little angst and a dash of sophistication!” – (CMJ)

“Biffy Clyro combine the melodic charge of the Foo Fighters with the rhythmic shifts and emotional resonance of Sunny
Day Real Estate.” – (Revolver)

“Daring in structure” – (Music Snobbery)

“Enthusiastic music fans feel a sense of pride when an underground band they’ve been championing finds success.
For me, that band is Biffy Clyro…” – The Boston Herald

On tour with Queens of the Stone Age
Oct 12 – Boston, MA @ Orpheum Theatre
Oct 13 – New York City, NY @ Theatre at Madison Square Garden
Oct 15 – Torono, ONT @ Hummingbird Centre For The Perf. Arts Toronto
Oct 16 – Montreal, Quebec @ Metropolis
Oct 17 – Clifton Park, NJ @ Northern Lights
Oct 20 – Columbus, OH @ The LC Pavilion
Oct 22 – Grand Rapids, MI @ Orbit Theatre
Oct 23 – Detroit, MI @ The Fillmore FKA State Theatre
Oct 24 – Milwaukee, WI @ The Rave
Oct 25 – Chicago, IL @ Riviera Theatre

* Biffy Clyro at CMJ – New York City
Oct 18 – Fader Party – Sideshow, 146 Orchard (b/w Stanton & Rivington) 6:00pm
Oct 18 – Blender Party – Blender Theatre at Gramercy 127 East 23rd Street (B/w Lexington & Park Ave South) 9:00pm

Categories
interviews press releases reviews tour dates

Old Time Relijun wants to tell you a thing or two about Catharsis In Crisis, darlings of the rockcritstocracy host press day in midst of CMJ showcases and grueling national tour.

Old Time Relijun wants to tell you a thing or two about Catharsis In Crisis, darlings of the rockcritstocracy host press day in midst of CMJ showcases and grueling national tour.

“Unless I read them wrong (and I may; the music itself is the opposite of describing it: it’s wet, and bloody, and it smells like fresh earth and red cinders, and it’s a good goddamn time, is what it is) Old Time Relijun’s theory is that ‘the underground’ (I know. I know. I know) isn’t an identity that reinvents itself once or twice per generation, but a permanent place within a culture – maybe within all cultures – where styles don’t go in and out of fashion but are always floating around in the air just above our heads.” — John Darnielle, Last Plane to Jakarta

“The music kicks ass: brutal, fluid, funky, spasmodic, violent, sexual…I wish there were more visionaries like Dionyso around.” — Everett True, Village Voice

The Pacific Northwest’s beloved, esoteric uprooters of rock’s antecedents, Old Time Relijun has announced it will host an interview day in New York City on Thursday, October 18th in the midst of its comprehensive U.S. tour. The band will also play two showcases during the CMJ Music Festival: Fanatic Promotion’s daytime party at Soundfix Records (onstage at 4pm sharp on 10/19) and Panache Booking’s showcase at the Knitting Factory later that night. For complete tour dates, please see below.

Old Time Relijun’s latest K Records meisterwerk Catharsis In Crisis (STREAM) has already received an impressive outpouring of premature critical praise months prior to its release this week. Legendary music scribe Everett True — he who put Sub Pop and myriad others on the map with his writing in NME and Melody Maker, as well as current author and Plan B editor — rated Catharsis In Crisis #1 in his “Top 5 Antifolk Songs” column in the Village Voice. A couple of weeks later, True followed that article with a column raving yet again about Old Time Relijun.

Likewise, esteemed critic and musician John Darnielle (singer/songwriter of The Mountain Goats and Last Plane to Jakarta editor, et al.) writes one of the most eloquent and flowing prose pieces about the latest Old Time Relijun disc in his latest zine. The review (clumsily quoted above) must be read in its entirety to be fully appreciated.

However, in addition to what the critics are saying, the band’s spokesmen, guitarist/vocalist Arrington de Dionyso and bassist Aaron Hartman have their own unique ideas to express regarding the concepts behind the album and its execution. So, the eminently quotable musical adventurers have made time available for interviews in order to share their vast ideas with members of the press (and blogs alike.)

Old Time Relijun continues to further shatter rock’s imperious formalism with its latest K Records release that landed in shops on October 9th, 2007. Song after song, the ferocity of vocalist/guitarist Arrington de Dionyso draws listeners deeper into a world where language, rhythm and unrepentant libido collide. The music is temperamental, unwieldy and unyielding; aimed to cut listeners to the bone.

Catharsis in Crisis was written and recorded at Calvin Johnson’s fabled Dub Narcotic Studio in Olympia, WA over four inspired days and nights. Legendary producer Steve Fisk was recruited to mix this raw material into OTR’s most fully realized album to date. OTR + Calvin Johnson + Steve Fisk = a magical alchemy of sound and light. But don’t worry folks, it’s still terrible background music.

Arrington de Dionyso’s electrifying vocal delivery retains the blood-soaked risk of a true underground visionary, while showcasing his mastery of over-the-top nuance. Aaron Hartman (contrabass) and Germaine Baca (drums) propel the album forward with relentless bump-and-grind. Catharsis in Crisis is the first album to reveal OTR’s new secret weapon, subversive “saxophonista” Benjamin Hartman, who uses and abuses his classical training to drive the band further into the spheres.

Often lazily compared to a No Wave version of Captain Beefheart, Old Time Relijun’s subversive — dare we call it sadistic — mashing of world folk music styles sounds brutally fresh. No Wave? Forget that. Catharsis in Crisis is Yes Wave for the young millennium. “Daemon Meeting”(MP3) blazes through a bizarre convocation of underworld creatures, to conclude with the query, “what does it mean to be human?” A tenor saxophone throttles the dub-infected “Liberation” with propulsive urgency through a zone of “young life and decay,” while songs such as “In the Crown of Lost Light” and “Invisible New” confront infinity with their bright shimmering sound. Even Dante is given a run for his money with the Ennio Morricone influenced junk-disco centerpiece “Veleno Mortale,” actually an Italian “re-translation” of the brutal “Burial Mound” featured on OTR’s album 2012.

Taken as a whole, the three discs of “The Lost Light Trilogy” (in reverse chronological order Catharsis in Crisis, 2012 and Lost Light) are a tour-de-force of myth, dream and autobiography. ”We wanted ‘The Lost Light Trilogy’ to be a kind of rock opera,” de Dionyso says. “But with a non-linear development of plots and characters. Every song on each album contains musical or lyrical fragments of other songs within the trilogy, like broken shards of mirrors reflecting each other infinitely, the way a cubist painting presents multiple perspectives of the same subject, or the labyrinthine twists in a Borges story.”

Catharsis in Crisis, while concluding the trilogy, also stands on its own. Like the confrontational, compulsively danceable live show for which OTR is known and loved, Catharsis is a record and a testament to the oscillations of opposites. Darkness and Light, Water and Fire, Spirit and Matter struggle within Old Time Relijun’s alchemical oeuvre. From this elemental battle, the music emerges, dripping and triumphant.

More About Old Time Relijun:

Olympia, Washington. New Year’s Day, 1995. A dark and smelly basement. Three young musicians gather to tackle the vast songbook of Arrington de Dionyso. They had heard his self-recorded cassettes. The songs were wild and lovely. Arrington (the rebellious son of Methodist ministers) played every instrument with the soul of an outsider artist who didn’t know any better. He knew he needed to bring his songs to life.

The original trio was brought together for one show. Just to see what would happen. They called themselves Old Time Relijun. Arrington played a $20 guitar and a beat up bass clarinet. He sang with a mixture of piss and vinegar that exploded with naive charisma. Bryce Panic harassed the drums. Aaron Hartman beat on a two-string upright bass with a microphone taped to its bridge. They communicated with the clairvoyance of long-married ninjas.

That first show, everything went red: strings broke, the bass was a solid mass of feedback, the PA was blown. They used Arrington’s songs as a template to meld shock-ritual with a mad-tea-party-dance-vibe. They barely noticed the college kids in full Riot Grrrl gear screaming, they had no idea that punkers and hippies were dancing together. Something awful happened that night. A band was born.

Soon they were playing full sets to friends and taste-making Olympia hipsters alike. They played every show they could – whether or not they were on the bill. They developed the kind of intuitive free-jazz rapport of which most bands could only dream.

In 1996, OTR recorded its first album, Songbook Volume One. They released it themselves, financing the production by tricking a friend out of his meager inheritance. The CD was packaged in stolen popcorn bags.

In 1997, Calvin Johnson invited the band to record a song for the Selector Dub Narcotic compilation for his K Records label. At that point, a beautiful relationship was born.

After Bryce left to pursue a life of dance and yoga in India, one of the band’s younger fans, Phil Elvrum, asked if he could join. He moved to Olympia, and OTR’s second of many lives began. Phil’s caveman beats and undeniable production savvy helped launch the first three Relijun albums K would release. Uterus and Fire (1999), was a bombastic exercise in recording in the red. Serena de Pecera (2000) was a one-night multilingual wonder, acting as a coda to the unyielding momentum of Uterus and Fire. Then came the band’s first true masterwork, Witchcraft Rebellion (2001), an album as deep and bizarre as anything you’ll find on your record shelf. A retelling of the first chapters of Genesis from the serpent’s point of view.

After a couple U.S. and European tours, Phil decided to focus his energy on his recording projects and his own band, the Microphones. Old Time Relijun continued in a variety of mutated formations, with various lost souls sitting behind the drum set.

The group experienced a brief lull in activity as Arrington began a vagabond period that would take him hitch-hiking across the United States and back and forth between Italy, France and Argentina. A compilation of unreleased oddities, Varieties of Religious Experience, was released in 2003, and both Arrington and Hartman had time to reevaluate the direction their band would take.

During his travels, Arrington composed an outline for what would become “The Lost Light Trilogy”. The first two installments, Lost Light (2003) and 2012 (2005), recorded with the help of drummers Rives Elliot and Jamie Peterson, respectively, saw extensive touring, a wider audience for the band, as well as high praise from critics world wide.

Old Time Relijun Live:

10/10 Pittsburgh, PA Garfield Artworks
10/11 Middleton, CT Wesleyan
10/12 Hanover, NH Dartmouth
10/13 Brooklyn, NY Southpaw (WFMU event w/ Oneida)
10/14 Montreal, QC Divan Orange*
10/15 Quebec City, QC Bal du Lezard*
10/16 Halifax, NS The Seahorse*
10/19 Brooklyn, NY Soundfix Records (Fanatic CMJ Party)
10/19 New York, NY Knitting Factory (Panache CMJ Showcase)*
10/21 Annandale on Hudson, NY Bard College*
10/24 Asbury, NJ Asbury Lanes*
10/25 Poughkeepsie, NY Vassar College*
10/26 Jamaica Plane, MA The Milky Way*
10/27 Providence, RI as220*
10/28 Philadelphia, PA COPY Gallery*
10/29 Baltimore, MD The Talking Head Club*
10/30 Washington, DC Velvet Lounge*
10/31 Brooklyn, NY Todd P NYC*
11/01 Hudson Valley, NY WFMU Live Performance
11/02 Chapel Hill, NC Local 506
11/03 Charleston, SC Cumberlands
11/04 Athens, GA Secret Squirrel
11/06 Birmingham, AL Bottletree w/ Don Caballero
11/07 New Orleans, LA Circle Bar
11/08 Houston, TX Proletariat
11/09 Austin, TX Emo’s
11/10 Denton, TX Hailey’s
11/11 Oklahoma City, OK Conservatory
11/13 Kansas City, MO Record Bar
11/15 Denver, CO Hi-Dive
11/16 Salt Lake City, UT Urban Lounge
11/17 Boise, ID Neurolux

Catharsis In Crisis Tracklisting:

Stream The Album HERE

Release Date: October 9th, 2007

01. Indestructible Life!
02. The Tightest Cage
03. Daemon Meeting (MP3)
04. Liberation
05. Garden of Pomegranates
06. Akavishim
07. Dark Matter
08. The Circular Ruins
09. Veleno Mortale
10. Dig Down Deeper
11. A Wild Harvest
12. The Second Day of Creation
13. In The Crown of Lost Light
14. The Invisible New

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reviews tour dates

The Fucking Champs review

by Gena Perala

You have to have balls to call yourselves “The Fucking Champs”. I mean you better be able to bring the mother f***ing noise! This was my assumption stumbling down Granville Street to their Sep 7th show at the Plaza.

“They’re stoner metal… well, they’re not really metal”, “they’re rock…but not rock” were the vague, yet best descriptions my friends could give. I was already intrigued by the band name (you can’t beat it) so the fact that my “music head” friends couldn’t define this band had me sold.

Walking into the Plaza I ran into an old friend from Vancouver’s small punk scene, a local hipster, a few handlebar moustaches, some skaters, a western shirt, a “God is Great” shirt and thought…good crowd…this is going to be a good show (of course it had nothing to do with the shot of tequila a cute boy offered me…good crowd indeed).

“The Fucking Champs”, formerly “The Champs”, if you ask them why they changed their name their answer is “fuck you”…why question genius?!? came out riffs a’ blazing. Words that come to mind after seeing The Fucking Champs live are: Rock…not just rock, intelligent rock, often referred to as math rock, melodic patterns, burning riffs, tight as in together, and hard as in aggressive. This largely instrumental band, an occasional vocal was added for good measure, comprising of 2 lead guitars and a drummer create such a full sound, it’s nearly orchestral, (if that’s a word).

Their time changes are almost frustrating as you find yourself wanting to dance but not quite able to find the rhythm because once you’ve got it, they’ve seamlessly changed it again. I don’t know if that’s a plus or a negative, regardless The Fucking Champs are all about the music. There’s no stage show, no presence, no banter. They play hard, they play well and then everybody goes home. It’s unfortunate actually, because after reading their hate mail replies which can be found on their website (check it out) these are the kind of guys I would want to hang out with and get a little ummm…banter.

None the less, their complete lack of stage personality only adds to their charm. Confirms the fact that they are serious about music if nothing else. Did they bring the noise? Yes, in a much more mature way than I expected. The Fucking Champs latest album is VI their tour dates and hate mail can be found on their website www.thefuckingchamps.com.

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reviews

Wooden Shjips sjet sjail. San Francjisco psjch-rock quartet’s forthcoming Holy Mountain debut earns praise from rock-crit royalty.

Wooden Shjips sjet sjail. San Francjisco psjch-rock quartet’s forthcoming Holy Mountain debut earns praise from rock-crit royalty.

“Tight-wound repeato psych guitar raunch with spoony (maybe even imaginary) percussion, surprisingly Rev-like keys, and vocals buried under burning driftwood.” — Byron Coley, The Wire

Wooden Shjips (not a typo) are from San Francisco, but the concentrated ferocity of the freakouts on their two very-underground releases — a white-label ten-inch EP (the band gave away the first 300 copies) and a clear-vinyl single (“Dance, California”) — arrives via the Seventies Germanic-guitar lunacy of Guru Guru and the confrontational repetition of VU.” – David Fricke, Rolling Stone

With glowing endorsements from legendary critics like David Fricke (Rolling Stone) and Byron Coley (The Wire, Forced Exposure, Arthur, et al) as well as visionary labels Holy Mountain and Sub Pop, San Francisco’s highly-touted garage-drone group Wooden Shjips (that’s not a typo) sets sail this fall.

Soon, others outside of the music biz cognoscenti will have the opportunity to set sail aboard Wooden Shjips‘ psjchedelic adventure. Its self-titled debut on the Holy Mountain label (OM, Lesbian, Six Organs of Admittance) follows quickly on the heels of the band’s forthcoming Sub Pop single. And, Wooden Shjips plans to dock briefly for an appearance during this year’s CMJ music festival in New York City.

Wooden Shjips is a vital and refreshingly inspired quartet playing loud rock ‘n’ roll in a style heavily influenced by the experimentalism of psychedelia, classical minimalism and garage rock excess. Started as an experiment in rhythmic primitivism and group improvisation, the current lineup brings a more structured rock approach to its performances, utilizing a traditional lineup of drums (Omar Ahsanuddin), bass (Dusty Jermier), organ (Nash Whalen), guitar (Erik “Ripley” Johnson) and vocals.

Its songs sound something akin to the icy garage rock of early Echo & The Bunnymen crossed with the sun-bleached tremolo-punk of The Scientists. There are hints of krautrock, the trance-inducing organ haze of Suicide, Deerhunter style dance-drone, classic desert-fried garage psych and the mysterious, obscure Japanese lysergic-rock band Les Rallizes Denudes all mixed into one explosive whole on Wooden Shjips self-titled Holy Mountain debut.

The experience of Wooden Shjips has been equated to that of the Japanese phenomenon called maboroshi, which is somewhat similar to seeing a mirage or hallucinating in time. In the context of imagination/dreams, maboroshi is attributed to past occurrences and can take on a meaning like “phantoms.” The group’s songs seem to exist in a dream state in which anything is possible.

Wooden Shjips released two acclaimed records in 2006, beginning early in the year with the self-released 10” EP Shrinking Moon For You. The record quickly sold-out, after capturing the attention of well-regarded tastemakers, such as Tom Lax and Byron Coley, who penned rave reviews on Siltblog and in The Wire magazine, respectively. A 7” followed on the Sick Thirst label, and received similar praise from music bloggers, as well as from veteran scribe David Fricke in Rolling Stone.

The band has three new releases lined up for 2007: the LP/CD for Holy Mountain, a 7” for Sub Pop and a 7” for Pollymaggoo Records. The group played at NoisePop 2007 with Roky Erickson in March, as well as playing a packed showcase at the SXSW Music conference in Austin, TX.

Wooden Shjips Live:

09/15 San Francisco, CA Bottom of The Hill

09/16 Davis, CA Delta of Venus

10/05 Oakland, CA Ghost Town Gallery

10/20 New York, NY The Annex (Fanatic CMJ Showcase)

Wooden Shjips Tracklisting:

01. We Ask You To Ride (MP3)
02. Losin’ Time
03. Lucy’s Ride
04. Blue Sky Bends
05. Shine Like Suns

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reviews

Bridgeport elementary school teacher moonlights as musician Cannonball Jane with help from Adrock of Beastie Boys.

Bridgeport elementary school teacher moonlights as musician Cannonball Jane with help from Adrock of Beastie Boys.

Cannonball Jane is the coolest one woman band I’ve heard in a long time. This is what Carole King would sound like if she had a sampler and was really into Francoise Hardy. I love her recordings and can’t wait for more!” – Kathleen Hanna of Bikini Kill & Le Tigre

Cannonball Jane purveys an inventive mishmash of hip hop beats and day-glo ’60s pop that suggests a female Beck weaned on The Ronettes and The Raincoats.” – Time Out London

“Frothy, infectious sampledelica…dreamy doo-wop oohs and aahs with old-school breaks and beats…it could all be a musical car crash, but charm and sassy beats win the day. And to complete this mini-masterpiece’s feel good credentials: by day Jane is a music teacher, Miss Hagopian, and she recorded it in her bedroom.” – The Times (UK)

By day she’s mild-mannered Bridgeport, CT based elementary school music teacher Sharon Hagopian, but by night she’s smart and sassy electro-pop underground darling Cannonball Jane, maker of a mind-bendingly brilliant mix of hip-hop samples and sixties girl group pop. Her first musical go was the album Street Vernacular, released last year in the UK (and to be released in North America September 25th) to rave reviews in Time Out London, NME, Uncut, The Independent and many more besides and now comes her latest EP, Knees Up!, that features remixes of the hit “Take It To Fantastic” by Adrock of Beastie Boys and UK producer DJ Downfall.

Sounding more like the work of a group (sleeps-in-his-leather-jacket guitarist, banned-from-the-academy maverick multi-instrumentalist, recently-diagnosed-schizophrenic drummer, typewriter-sampling-avant-garde keyboardist, etc.) the reality is rather different. It’s just hard to believe that there’s not more than one of her!

Recorded entirely at home, Hagopian’s studio set up of beatboxes, samplers, tambourines, guitars, turntables, piano, synths, various noise gadgets and effects shines through, creating an innovative retro-modern mix, elegant and sweetly beguiling but still rough enough to handle something bigger than a moped! From the Spector-soul of “Take it to Fantastic” (MP3) onwards, Knees Up! combines such diverse influences as Run-DMC, The Aislers Set, Solex, The Shangri-La’s, The Go-Go’s, Luscious Jackson and Devo, while remaining fresh, exciting and original at all times.

On top of this is Sharon’s singing – her truly lovely and pleasing voice polishes off each mini pop masterpiece on Knees Up!. Hagopian has previously taken the Cannonball Jane sound out on the road with support slots for The Go! Team, Gravy Train!!!!, E.S.G. and super-fans Le Tigre and has plans for more shows upon the release of Knees Up! this fall.

“…a concise summary of her aesthetic: cartoonish hip hop breakbeats, elegant piano chords, twinkling chimes, girl group melodies and a swirl of miscellaneous musical elements that fill out every available space in her songs without weighing down their buoyant grooves. Hagopian comes across as the world’s most ideal music educator — someone endlessly enthusiastic about a wide range of music who’s open both to old fashioned instruments and cut-and-paste sample-based compositions “ – Matthew Perpetua, The Associated Press

Knees Up! Tracklisting:

Release Date: October 9, 2007

01. Take It To Fantastic (MP3)
02. Slumber Party
03. Breaker Breaker
04. Take It To Fantastic (Smallstars Remix by Adrock)
05. The Secret Handshake
06. Bossa Tug
07. Take It To Fantastic (DJ Downfall Smash Hit Radio Remix)

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reviews tour dates

Old Time Relijun receives early praise from rock-crit legends for forthcoming album Catharsis In Crisis. Band launches seemingly endless tour in support.

Old Time Relijun receives early praise from rock-crit legends for forthcoming album Catharsis In Crisis. Band launches seemingly endless tour in support.

“Unless I read them wrong (and I may; the music itself is the opposite of describing it: it’s wet, and bloody, and it smells like fresh earth and red cinders, and it’s a good goddamn time, is what it is) Old Time Relijun’s theory is that ‘the underground’ (I know. I know. I know.) isn’t an identity that reinvents itself once or twice per generation, but a permanent place within a culture – maybe within all cultures – where styles don’t go in and out of fashion but are always floating around in the air just above our heads.” — John Darnielle, Last Plane To Jakarta

“The music kicks ass: brutal, fluid, funky, spasmodic, violent, sexual…I wish there were more visionaries like Dionyso around.” — Everett True, Village Voice

The Pacific Northwest’s beloved, esoteric uprooters of rock’s antecedents, Old Time Relijun has already received an impressive outpouring of premature critical praise months in advance of its K Records meisterwerk Catharsis In Crisis. Legendary music scribe Everett True — he who put Sub Pop and myriad others on the map with his writing in NME and Melody Maker, as well as current author and Plan B editor — rated Catharsis In Crisis #1 in his “Top 5 Antifolk Songs” column in the Village Voice. A couple of weeks later, True followed that article with a column raving yet again about Old Time Relijun. Read the entire colorful passage HERE.

Likewise, esteemed critic and musician John Darnielle (singer/songwriter of The Mountain Goats and Last Plane to Jakarta editor, et al.) writes one of the most eloquent and flowing prose pieces about the latest Old Time Relijun disc in his latest zine. The review (clumsily quoted above) must be read in its entirety to be fully appreciated. Read it HERE.

Part of the reason for this early excitement about the album is due to the band’s return to the road, beginning with a Western states jaunt running from August 24th to September 8th, followed by a full U.S. tour beginning September 29th. Dates are still being confirmed for the fall, but all current confirmations can be found below.

Old Time Relijun continues to further shatter rock’s imperious formalism with its forthcoming latest K Records release, due October 9th, 2007. Song after song, the ferocity of vocalist/guitarist Arrington De Dionyso draws listeners deeper into a world where language, rhythm and unrepentant libido collide. The music is temperamental, unwieldy and unyielding; aimed to cut listeners to the bone.

Catharsis In Crisis was written and recorded at Calvin Johnson’s fabled Dub Narcotic Studio in Olympia, WA over four inspired days and nights. Legendary producer Steve Fisk was recruited to mix this raw material into Old Time Relijun’s most fully realized album to date. Old Time Relijun + Calvin Johnson + Steve Fisk = a magical alchemy of sound and light. But don’t worry folks, it’s still terrible background music.

Arrington de Dionyso’s electrifying vocal delivery retains the blood-soaked risk of a true underground visionary, while showcasing his mastery of over-the-top nuance. Aaron Hartman (contrabass) and Germaine Baca (drums) propel the album forward with relentless bump-and-grind. Catharsis In Crisis is the first album to reveal Old Time Relijun’s new secret weapon, subversive “saxophonista” Benjamin Hartman, who uses and abuses his classical training to drive the band further into the spheres.

Often lazily compared to a No Wave version of Captain Beefheart, Old Time Relijun’s subversive — dare we call it sadistic — mashing of world folk music styles sounds brutally fresh. No Wave? Forget that. Catharsis In Crisis is Yes Wave for the young millennium. “Daemon Meeting” (MP3) blazes through a bizarre convocation of underworld creatures, to conclude with the query, “what does it mean to be human?” A tenor saxophone throttles the dub-infected “Liberation” with propulsive urgency through a zone of “young life and decay,” while songs such as “In the Crown of Lost Light” and “Invisible New” confront infinity with their bright shimmering sound. Even Dante is given a run for his money with the Ennio Morricone influenced junk-disco centerpiece “Veleno Mortale,” actually an Italian “re-translation” of the brutal “Burial Mound” featured on Old Time Relijun’s album 2012.

Taken as a whole, the three discs of “The Lost Light Trilogy“ (in reverse chronological order Catharsis In Crisis, 2012 and Lost Light) are a tour-de-force of myth, dream and autobiography. ”We wanted ‘The Lost Light Trilogy’ to be a kind of rock opera,” de Dionyso says. “But with a non-linear development of plots and characters. Every song on each album contains musical or lyrical fragments of other songs within the trilogy, like broken shards of mirrors reflecting each other infinitely, the way a cubist painting presents multiple perspectives of the same subject, or the labyrinthine twists in a Borges story.”

Catharsis In Crisis, while concluding the trilogy, also stands on its own. Like the confrontational, compulsively danceable live show for which Old Time Relijun is known and loved, Catharsis In Crisis is a record and a testament to the oscillations of opposites. Darkness and Light, Water and Fire, Spirit and Matter struggle within Old Time Relijun’s alchemical oeuvre. From this elemental battle, the music emerges, dripping and triumphant.

More about Old Time Relijun:

Olympia, Washington. New Year’s Day, 1995. A dark and smelly basement. Three young musicians gather to tackle the vast songbook of Arrington de Dionyso. They had heard his self-recorded cassettes. The songs were wild and lovely. de Dionyso (the rebellious son of Methodist ministers) played every instrument with the soul of an outsider artist who didn’t know any better. He knew he needed to bring his songs to life.

The original trio was brought together for one show. Just to see what would happen. They called themselves Old Time Relijun. Arrington played a $20 guitar and a beat up bass clarinet. He sang with a mixture of piss and vinegar that exploded with naive charisma. Bryce Panic harassed the drums. Aaron Hartman beat on a two-string upright bass with a microphone taped to its bridge. They communicated with the clairvoyance of long-married ninjas.

That first show, everything went red: strings broke, the bass was a solid mass of feedback, the PA was blown. They used de Dionyso’s songs as a template to meld shock-ritual with a mad-tea-party-dance-vibe. They barely noticed the college kids in full Riot Grrrl gear screaming, they had no idea that punkers and hippies were dancing together. Something awful happened that night. A band was born.

Soon they were playing full sets to friends and taste-making Olympia hipsters alike. They played every show they could – whether or not they were on the bill. They developed the kind of intuitive free-jazz rapport of which most bands could only dream.

In 1996, Old Time Relijun recorded their first album, Songbook Volume One. They released it themselves, financing the production by tricking a friend out of his meager inheritance. The CD was packaged in stolen popcorn bags.

In 1997, Calvin Johnson invited the band to record a song for the “Selector Dub Narcotic” compilation for his K Records label. At that point, a beautiful relationship was born.

After Panic left to pursue a life of dance and yoga in India, one of the band’s younger fans, Phil Elvrum, asked if he could join. He moved to Olympia, and Old Time Relijun’s second of many lives began. Elvrum’s caveman beats and undeniable production savvy helped launch the first three Old Time Relijun albums K would release. Uterus and Fire (1999), was a bombastic exercise in recording in the red. Serena de Pecera (2000) was a one-night multilingual wonder, acting as a coda to the unyielding momentum of Uterus and Fire. Then came the band’s first true masterwork, Witchcraft Rebellion (2001), an album as deep and bizarre as anything you’ll find on your record shelf. A retelling of the first chapters of Genesis from the serpent’s point of view.

After a couple U.S. and European tours, Elvrum’s decided to focus his energy on his recording projects and his own band, The Microphones. Old Time Relijun continued in a variety of mutated formations, with various lost souls sitting behind the drum set.

The group experienced a brief lull in activity as de Dionyso began a vagabond period that would take him hitch-hiking across the United States and back and forth between Italy, France and Argentina. A compilation of unreleased oddities, Varieties of Religious Experience, was released in 2003, and both de Dionyso and Hartman had time to reevaluate the direction their band would take.

During his travels, de Dionyso composed an outline for what would become “The Lost Light Trilogy”. The first two installments, Lost Light (2003) and 2012 (2005), recorded with the help of drummers Rives Elliot and Jamie Peterson, respectively, saw extensive touring, a wider audience for the band, as well as high praise from critics world wide.

Old Time Relijun Live:

w/ AIDS Wolf

08/24 Eugene, OR John Henry’s

08/25 San Francisco, CA The Knockout

08/26 Santa Cruz, CA Blue Lagoon

08/28 San Diego, CA Casbah

08/29 Upland, CA Baldy Brewery

08/30 Los Angeles, CA The Echo

08/31 Los Angeles, CA The Smell

09/01 Oakland, CA 21 Grand

09/04 Davis, CA Delta of Venus

09/06 Eureka, CA Accident Gallery

09/07 Portland, OR Satyricon

09/08 Seattle, WA Atlas Clothing

09/29 Missoula, MT Badlander

09/30 Bozeman, MT The Filling Station

10/02 St. Paul, MN V’s Club

10/03 Iowa City, IA Picador

10/04 Chicago, IL Ronny’s

10/05 Bloomington, IN Bear’s Place

10/07 Columbus, OH Bourbon St.

10/09 Oberlin, OH The Sco

10/10 Pittsburgh, PA Garfield Artworks

10/11 Middleton, CT Wesleyan

10/13 Brooklyn, NY Southpaw (WFMU event w/ Oneida)

10/14 Montreal, QC Divan Orange*

10/15 Quebec City, QC Bal du Lezard*

10/16 Halifax, NS The Seahorse*

10/17 Sackville, NB Mount Allison*

10/19 Brooklyn, NY Soundfix Records (Fanatic CMJ Party)

10/19 New York, NY Knitting Factory (Panache CMJ Showcase)*

10/21 Annandale on Hudson, NY Bard College*

10/24 Hartford, CT Charter Oak Center*

10/25 Poughkeepsie, NY Vassar College*

10/26 Jamaica Plane, MA The Milky Way*

10/27 Providence, RI as220*

10/28 Philadelphia, PA COPY Gallery

10/30 Washington, DC Velvet Lounge*

10/31 New York, NY TBA*

11/01 Hoboken, NJ WFMU Live Performance

11/02 Chapel Hill, NC Local 506

11/03 Charleston, SC Cumberlands

11/04 Athens, GA Secret Squirrel

11/06 Birmingham, AL Bottletree w/ Don Caballero

11/07 New Orleans, LA Circle Bar

11/08 Houston, TX Proletariat

11/09 Austin, TX Emo’s

11/11 Oklahoma City, OK Conservatory

Catharsis In Crisis Tracklisting:

Release Date: October 9th, 2007

01. Indestructible Life!
02. The Tightest Cage
03. Daemon Meeting (MP3)
04. Liberation
05. Garden of Pomegranates
06. Akavishim
07. Dark Matter
08. The Circular Ruins
09. Veleno Mortale
10. Dig Down Deeper
11. A Wild Harvest
12. The Second Day of Creation
13. In The Crown of Lost Light
14. The Invisible New

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reviews

The Aggrolites – The Aggrolites album review

The Aggroliteswritten 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.

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reviews

They Shoot Horses Don’t They? – Pick Up Sticks album review

They Shoot Horses 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.