Dethklok : Live Review

Dethklok
6.6.08 - Wiltern Theatre - Los Angeles, CA
by Taylor Kingsbury

There is a heavy mist of genuine surreality in the air tonight at the Wiltern, as a sold out, sweaty mass of metal fans shake their horns in the air and chant the name of the band we await. Now, each part of this ritual is completely normal behavior for a metal show, but the reason it’s just a little unusual tonight is because the band we’re chanting for, death metal titans Dethklok, doesn’t actually exist.

Dethklok are in fact animated characters from the wickedly brilliant Adult Swim show “Metalocalypse” who, in addition to being one of the world’s premiere metal bands, routinely murder their fans and embezzle money from themselves, but still find time to found charitable organizations like the “Dethklok Home For Wayward Kitties”. Oh, and they write a mean coffee jingle.

Or, at least, that’s what they WERE. Thanks to the clever marketing of creator Brendan Small, Dethklok has managed to snag more mainstream exposure than most “real” metal bands could ever hope for. In addition to their episodic adventures, Dethklok have an actual album (2007’s “The Dethalbum”, naturally) that holds the distinction of being the highest charting Death Metal release of all time (Billboard #21). Also, button-mashing faux-rockers with way too much time on their hands no doubt recognize Dethklok’s hit single “Thunderhorse” as one of the unlockable songs from Guitar Hero II, and have likely strived for the holy grail of mastering the nimble tune on “Expert” mode. To further confuse things, Dethklok’s vocalist, the effortlessly gravel-throated Nathan Explosion, has even turned up on records by other, non-animated bands, most notably the recent release from Zimmer’s Hole, the side-project that features all of the guys from Strapping Young Lad in a band that’s not called Strapping Young Lad.

Considering how much Dethklok have crossed the plane between their cartoon world and our unsuspecting reality, it almost seems entirely possible that five animated dudes are about to walk on stage and completely lay waste to the Wiltern.

It turns out that only four guys walk out, and they’re not cartoons, but they DO, in fact, lay waste to the Wiltern.

Instead of Nathan Explosion, Skwisgaar Skwigelf (guitars), Toki Wartooth (guitars), William “Murderface Murderface” Murderface (bass), and Pickles The Drummer (uh… drums), we are greeted by an ensemble led by Brendan Small, who, along with drum god Gene Hoglan, is responsible for the unrelentingly brutal tunes that pack each episode of “Metalocalypse”, and the “Dethalbum”.

Of course, one of the reasons that Dethklok’s onscreen adventures hit such a perfect chord is that their music, as created by Small and associates, manages to strike a keen balance between lampooning the genre and owning it. If Dethklok WERE a real band (which, tonight, they apparently are… or something), even the most discerning metalhead would be hard-pressed to find a reason why “Briefcase Full Of Guts” doesn’t completely kill.

Though we don’t get the actual Dethklok live experience (which would be, you know, completely impossible, since they don’t really exist), what Small and his band present tonight is no less enjoyable. Our beloved heroes ARE on hand, thanks to a continuous screen feed that presents full-length videos for songs that are only teased in snippets on the show, as well as original content created specifically for the live performance (for any fan of the show, these humorous vignettes are worth the admission alone). But the “live” aspect of the show is handled by Small, who, with flying V in hand, tackles the parts of both Nathan Explosion and Skwisgaar Skwigelf, drummer Gene Hoglan, guitarist Mike Keneally, and bassist Bryan Beller, none of whom seem to have any trouble recreating the intricate and expertly-crafted corners of Dethklok’s catalog.

Special mention needs to be made of Gene Hoglan, the undisputed best metal drummer ever, whose savage beats are key to the success of Dethklok’s genre skewerings. For the uninitiated, Hoglan gained notice for his more nuanced work with legendary death metal pioneers Death and the good-in-drums-only Dark Angel, before showing the world that he can seriously put the hurt on a drum kit as the skinsman for the ludicrously awesome Strapping Young Lad. Since there was always a hint of parody lurking behind SYL’s smirking delivery (in fact, they’re the closest thing to Dethklok a “real” band has ever been), it makes sense that Hoglan would be the one to bring Dethklok’s backbeat to life.

On record, Hoglan’s stunning double-kicks and blindingly quick blast beats sound so perfect, it seems impossible that they’re not machine-created. Live, it’s easy to see that Hoglan IS the machine, and he delivered his parts with the same preciseness and ease. Hoglan makes his work sound incredible, but look effortless, and he hardly seems to break a sweat onstage. This is amazing considering that the band blasted through most of the set without between-song lulls, and also considering that Hoglan is easily over 300 pounds.

The band played in relative darkness, letting the screen behind them provide the visual focal point. But, even though we were supposed to be watching the cartoon versions of the band, it was impossible not to stop to admire the live-action members as they slugged through most of the “Dethalbum” and tackled select bonus material like the immortal “Duncan Hills Coffee Jingle”.

At the end of the show, when Small finally broke character to introduce the “real” band, it didn’t seem like a cheat, nor did it cheapen the experience. The man certainly deserves credit for creating such a rich and enjoyable cross-medium experience, and the crowd broke character with him, cheering not for fictional lead singer Nathan Explosion, but for the man who puts the gurgle in his throat.

Initially, when Small announced the “Dethtour”, he compared the experience to a Gorillaz show, where the animated characters would be the emphasis of the presentation. Though this is what I walked in expecting, it turns out that what Small gave us instead was far more fitting. By taking center stage himself, he allowed the audience to be in on the joke, which is more in line with the sense of community that thrives in the metal scene.

And, after all, Small created Dethklok and wrote their music for the same reason that each person at the Wiltern converged to watch it: a sincere love of a much-maligned and hideously-misunderstood genre called “Metal”. The fact that so many of us gathered to watch a group of stand-ins play songs by a band that doesn’t really exist, and loved every minute of it, is a indication of the genius of Small’s creation. Whether or not Dethklok can be considered a legitimate band, the passion and energy behind them, and that which they solicit, are very real.

Miss Derringer : Show Review + Pics

Live at The Roxy
6.7.08 - West Hollywood, CA
by Joe Cortez
photos by Derek Liu

There's something about the idea of band like MIss Derringer that I love. One listen to their music reveals a range of likely influences as diverse as The Shangri-Las to Johnny Cash. Exceptional taste to be sure but as the curtain rose on the Roxy stage last Saturday night, revealing the quintet in all their glory, there was the realization that this was a band created solely for the purpose of filling its own niche. Call it alt-country-cabaret. Dressed in matching black western attire and turning out rockabilly infused licks, you can almost imagine them playing at the bar in a Tim Burton directed remake of "Johnny Guitar."

What's truly affirming about this group is the fact that there is genuine substance beneath the surface. Their songs have the appeal of simple pop ditties but cover terrain rarely traveled in contemporary commercial music. Hangings, deadly car trips and charcoal tear ducts, all served up with a deliciously subversive wink to the audience. Beyond that each member is an exceptional musician in their own right, coming together under the banner of Miss Derringer to create a tight sound that is punctuated by bouncy beats and rocking riffs. Even with such talent, it my be difficult for the band to overcome their own niche-y sound as they seek to gain a larger audience. Listening to the other bands on the bill for the night, Derringer stuck out like a sore thumb amidst the more traditional and straight forward rockers The Western States Motel and Nico Stai. However, it would be difficult to imagine anyother band suitably sharing space alongside these galloping goths.


For all the band's charm as purveyors of the pop occult, pouty singer Liz McGrath, who could have been a double for Marlene Dietrich had she been born about seven decades earlier, is the band's secret weapon. Her vocal stylings have a kind of bygone wistfulness, evoking a time when girl groups pinning about the boy that got away were the norm as she deadpanned through a series of choreographed dance routines.


If there was one thing that was lacking from the performance it was the feeling that while Derringer had possession of the stage they never quite took ownership. The boys in the band seemed to be having a great time during their set, however singer McGrath seemed almost timid and reserved between numbers. A contradiction given her burlesque attire that left just enough to the imagination while remaining classy and appropriately theatrical. I have a feeling, however, that the band was suffering more from exhaustion than malaise considering their forthcoming tour in support of Blondie for a series of east coast performances. After all, if they have Debbie Harry's approval they must be doing something right.

Check out MySpace.com/MissDerringer for more info.

Pop Noir : Interview + Live Show Video (Teaser)

Jess from MishMashMagazine.com chatted up the multi-talented guys from Pop Noir before their packed show at the Roxy Theatre in West Hollywood, CA last Friday. Luke, Joe and Nico were a blast to hang out with! Check back for our full clip July 1st when we relaunch the new MishMash!!! Head over to MySpace.com/PopNoir for all things Pop Noir!

The Hard Lessons : Live Review + Pics

The Hard Lessons
Plush Lounge at the Key Club
West Hollywood, CA
5.20.08

by Genie Sanchez
Photos by …totallylikeduh!


Detroit bands always seem to amaze me. I don’t care what they look like as long as I know they are from Motown I can rest assured that I won’t be disappointed with how they sound. It must be something in the water, because every Detroit based band I’ve ever heard of seems to have one thing in common. These bands know how to rock. Now, I’m not talking about just getting up on stage and getting people to clap along to the chorus or being able to step into a studio and add a couple of effects here and there to compensate for the live shows - I’m talking rock! The kind of rocking out that gets people up off their asses, fist pumping and wagging their hair in the front row all the while shouting the lyrics to the songs at the top of their lungs. This kind of rocking can change lives. You know these bands, bands like MC5, the Stooges, the Dirtbombs, the Von Bondies and most importantly, the Hard Lessons. These bands are resilient, hard working and they rock! The Hard Lessons are no exception; these guys [and girl] pack a heavy punch.

Their sound is inescapable, lead singer/guitarist Augie’s licks are striking and worthy of a good head banging, while Koko Louise’s keys add depth to the powerful pounding drums of drummer “The Anvil” as the rhythm section caries the band’s intimate yet intense action packed live shows. Augie’s and Koko’s vocals are an influential force that has no problem bringing the crowd’s attention up to the stage. The band sounds and feels bigger than they really are, I saw them play to a tiny dark room of about 15 people but it felt like should have been buried in a sea of people ready to rock out.



They sounded and performed with such authority that upon closing my eyes I imagined they were playing to a stadium filled to capacity of rockers young and old. I’m amazed this band isn’t horrifyingly huge…yet. I guess only time will tell when the Hard Lessons will get their break and be able to rock out in the capacity they deserve, they certainly have the potential.







Check out the Hard Lessons:
MySpace.com/TheHardLessons
www.thehardlessons.com
Hard Lessons Photos

Iron Maiden/Anthrax : Show Review

Iron Maiden & Anthrax @ Verizon Wireless
5.31.08 - Irvine, CA
by Taylor Kingsbury

In this era of reunion tours and nostalgic harkenings back to times that weren’t really all that great the first time around (I was around in the 80’s, kids… it was actually pretty lame), it’s not surprising that a band like Iron Maiden continues to thrive. What is surprising is the REASON they continue to thrive: because, after three decades, Iron Maiden continue to be the absolute best at what they do.

Even during their formative years, when Metal as a genre was demonized as a corrupter of the young and blamed for murders, suicides, and rampant teen drug abuse, Iron Maiden was somehow spared the cold Christian hammer that was dealt to peers like Judas Priest, Slayer, and Ozzy Osbourne (although it’s admittedly strange to think of Ozzy as a frightening figure after you’ve watched him shamble around his mansion picking up Pekinese dung). Alarming as it may seem to those who don’t remember those trying times, there was a day when a lot of people though that a gay man in leather bondage gear was secretly telling children to kill themselves via backwards messages in songs that were mostly about being a gay man in leather bondage gear.

Yet, Iron Maiden somehow avoided being pigeonholed as a negative musical force, unlike Slayer, who mostly sang about Satan precisely to piss off the very people who later reviled them, Ozzy, who mostly sang about Satan to tell people to stay away from Satan, or W.A.S.P., who didn’t really sing about Satan at all, but they did sing about violent sex, which was considered even more harmful than Satan. This is intriguing for two reasons: 1) If the devil is the root of all evil, and violent sex is evil, then the devil is responsible for violent sex, which kind of gives him the edge, and 2) Your average 80’s Metalhead couldn’t get laid to save their life, violently or otherwise.

The reason for this is quite simple, actually: Iron Maiden have always had an air of sophistication about them that most other bands of the era never came close to channeling. While their peers were searching for new ways to shock and titillate their audiences, Maiden was turning “Rime Of The Ancient Mariner” into an eleven-minute prog-rock opus. Even from their earliest work, Iron Maiden were a strikingly literate band. When they did write about sex, they seemed to prefer Victorian bodice-rippers to Hustler magazine. When they wrote about the devil, they made his odes so catchy that he sounded like a pretty alright guy. And when they wrote about violence, they wrote about soldiers marching through Civil War bloodtide looking for just one more enemy combatant to strike down with their sabers before their wounds weakened them to the point of collapse.

Yet, even as they projected culture and wit, they remained the very embodiment of all things Metal. Their impossibly intricate riffs both defined and elevated the genre each time out. Their mascot Eddie was (and remains) the absolutely coolest looking trademark of all time. And, more importantly, their songs were anthemic enough to stir your blood, and heavy enough to make you bang your head until every drop of blood rushed out of it.

Thirty years later, all of these things are still true. And, this is why 15,000 people will gladly converge unto Verizon Wireless every time Maiden comes to town and throw a sea of devil horns into the crisp, open sky.

This is also why the band is bigger today than they were when they were writing the vintage material that they delivered on this “Somewhere Back In Time: 80-89” tour. Now the Metal kids have Metal kids of their own, and the gambit of ages on hand to revel in the part-circus, part-history lesson, part-kick-fucking-ass Metal show ran from barely walking to freshly in a walker.

To the 2-year old girl with the denim vest adorned with a “Killers” back patch who tossed me devil horns: welcome to the family.

This tour was specifically geared toward revisiting the past, yet as Maiden thundered through their well-constructed, impossibly tight set, it was clear that they remain the future of the genre as well. After all, someday, that toddler with a stitched emblem of the band’s best album on her back is going to have a toddler of her own, and they’re going to want to see Maiden too. Judging by the energy the band set forth on their second sold-out night in Irvine, they’ve still got plenty left in them to travel that distance.

Vocalist Bruce Dickinson, in particular, hasn’t aged a day since he first belted out “Invaders”. His pipes are still remarkably polished, and not only did he hit every dizzyingly high note, he injected new energy into the tested material. He also made great use of the labyrinthine stage set, prowling the catwalks that surrounded the drum riser and leaping over monitors like a precocious child discovering chocolate.

The setlist drew heavily on the band’s more recognizable material, yet even at the expense of omitting crucial bits (“Flight Of Icarus”, “Sanctuary”, “Running Free”), they still seemed to relish in revisiting more obscure catalog gems, particularly material from their “Seventh Son Of A Seventh Son” LP that hasn’t been touched since that tour twenty years ago. In the end, it was a perfect mix of bread and butter for the first-timers, and first-timers for the bread and butter fans who have seen the band on multiple tour outings.

In keeping with the spirit of the tour, to revisit the prime sections of their catalog, the band brought along an inclusive stage rig to resurrect the more ambitious highlights of their legendary live history. There was plenty of fire and explosions to go around, but the night’s transcendent moment arrived when Eddie, the multi-faceted mascot that adorns all of their records and shirts in his various guises, was revealed amidst billowing clouds of smoke. Ultimately, the fact that a group of dudes in their 50’s can get away with shredding beneath a 30-foot animatronic mummy puppet without looking completely ridiculous, is a pretty special thing.

Perhaps it has taken the gift of time to prove exactly how timeless Maiden’s delivery is. After all, a show that announced itself as a celebration of the past never got mired in nostalgia, and I’d imagine that, if anything, the awesome majesty of “The Trooper” sounded even better on this night than it did when the band played their famous series of shows at the Long Beach Arena in 1985. Whatever magic descended on this band when they began their journey remains very much intact, and though many have tried to mirror the dexterous and ridiculously wicked triple-guitar harmonies the band’s heavily-axed front section delivered with ease (I’m looking at you Iced Earth and HammerFall), none have come close to crafting the undeniably solid SONGS that Maiden still uses to summon deafening cries from an arena full of devotees.

Support band Anthrax have an admirable legacy behind them, but their set faltered because of the wistful dreaming of days gone by that Maiden managed to avoid. Even with their classic line-up almost intact, it was very distracting to meet their new singer, as he more resembled an American Idol early eliminatee than a Metal frontman. Granted, former vocalist Joey Belladonna used to prance around shirtless with an Indian headdress on, but somehow that made a lot more sense than the preening Rock Star 101 poses on display here. Vocally, the kid did a decent job of capturing the notes, but in the end, the collective suffered from poor song selection and an overall feeling that you were actually watching a merely decent Anthrax cover band.

The band did score points by including a couple of gems from their sadly under-appreciated “Sound Of White Noise” LP (“Room For One More” and “Only”), which was commendable since they only had about 45 minutes to work with. But, by omitting the more crushing material from “Persistence Of Time” and “State Of Euphoria”, Anthrax sounded more like an arena rock band than a Metal band, and this point was hammered home as their un-introduced frontman sounded far more comfortable belting out a crossover-baiting track like “Safe Home” than he did leading the troops through a rousing stomper like “Caught In A Mosh”.

Their finish was quite limp as well, as they closed the set out with “I Am The Law”, a song that was written about the now-obscure comic character Judge Dredd, who is best remembered via a notably lame movie/Taco Bell commercial that marks the absolute low-point of Sylvester Stallone’s career (yes, worse than “Demolition Man”… I’m fucking serious). Great music is timeless, but “I Am The Law” is about is relevant today as a shirt that says “Frankie Says Relax”.

I don’t mean to be so hard on Anthrax. They certainly have a respectable catalog, and their consistent presence within the genre reveals a fine degree of tenacity. However, they need to discover that finding a singer with a comparable voice means nothing if he doesn’t fit with the band. Once they do, I’m confident they’ll be able to provide a more serviceable set, and one that accurately reflects the best music in their catalog.

Maiden didn’t have that problem, despite reaching into the fascinatingly obtuse corners of their discography. They also cheated a bit, and any music geek will tell you that “Fear Of The Dark” was recorded a couple of years after the ”80-89” misnomer in their tour name. But, as far as presenting the most enjoyable and anthemic aspects of Iron Maiden’s musical output, they couldn’t have chosen their songs any better. “Revelations” was a stunning and perfect inclusion, and finales don’t get much better than the haunting “Hallowed Be Thy Name”, which the band concluded its encore with.

Sure, we can quibble about how maybe they should have represented their pre-Dickinson material more fairly, since the lone set entry from this period was their namesake. But that’s the thing with a band like Iron Maiden; they’ve simply recorded so many classic tunes that it would be impossible to play them all.

And, ultimately, the fact that Maiden can solicit such a deep wishlist is a testament to just how important they remain to the genre they helped define. Since that’s exactly what this night was meant to celebrate, even the omissions were perfect, because they left the crowd wanting more. Not only after a 2-hour show, but after a 30 year career.

And, guess what? When I’ve got a little toddler Metalhead of my own, you best believe that I’ll be holding that kid up to the heavens so that they can raise their pudgy horns and shout the chorus to “Run To The Hills” at the top of their tiny lungs.

I really can’t wait now, because after the thrilling, powerful, and ageless set that I heard on this night, I’m now certain that Maiden will still be around when that day comes.

Radiohead : Photo Feature

Radiohead
Verizon Wireless - 5.9.08 - Charlotte, NC
by Jeremy Deal (Lunahzon Photography)

The Kooks : Live Review + Pics

The Kooks @ The Wiltern
Los Angeles, CA - 5.19.08

by Genie Sanchez
photos by …totallylikeduh!

Being a product of the 80’s, one might not suspect that I’ve ever witnessed any musical phenomenon. Yes, I am young but I’m experienced. Now don’t get me wrong, I’ll never be able to say that I physically experienced 1960’s teenage girls crying their eyes out, anxious shrieks of excitement, and the occasional faint or short of breath amongst a sea of people as they anticipate a band getting ready to hit the stage. I’m too young for Beatle Mania. I simply wasn’t around yet. I’ll never be able to say that I physically experienced dropping acid in a mud pit while listening to Jimi Hendrix play the National Anthem at Woodstock. Again, I simply wasn’t around yet although part of me wishes I was. I’ll never be able to say that I physically snorted a line with a Heavy Metal band, and I’ll never be able to say that I physically experienced the overwhelmingly Disney-ness of a Hannah Montana concert…thank god I’m too old to ride that bus. Amidst all of these absent “you had to be there” moments in music history I was however, around in the 80’s and the 90’s when boy bands abound and homemade t-shirts of NKOTB adorned a portion of my closet. Those were good times, you had to be there! I thought the days of bands being held as idols, crushes and gods had gone far far away. There just hasn’t been anyone good for fans to put out the effort…at least that’s what I thought up until I experienced the Kooks play at the Wiltern to sold out crowd on a sold out tour.

Insane, right? No one sells out tours anymore, at least not a rock band. The Kooks played the second show of their sold out tour at the Wiltern in Los Angeles and to say the least…whole show surprised me. Now I am young but I know my rock history and hold my music knowledge very highly and close to my heart, this mentality of “rockliness is godliness” impresses me when others live and stand by it as well. The Kooks are a young band and just by looking at them I wouldn’t expect them to really know anything rock history or even want to grasp on to it. Quite frankly they look like their fans; young, naïve, youthful, innocent and above all else, purveyors in vintage clothing. So its not surprising when the cliché of this demographic might question the greats of rock n rolls past “why waste time brushing up on old smelly records?” These kids have no time for that, plug in the ipod and push play. Not surprising. This bias was in my head as I was trying to squeeze my way through the teen/twenty-something hipsters clad with hippy head bands, skin tight jeans and homemade “I heart kooks” t-shirts filled lobby as I made my way to the press area to await the Kooks set. “What are these kids doing here?” I questioned, But I threw all that out the window about 30 seconds before the Kooks hit the stage.



The bands entrance song was Link Wrays’ "Rumble." Not many teen hipsters concerned with their messy hair fitting under their head bands know of Link Wray, so I was surprised that not only the band liked this song but that once it came on over the house monitors the fans went crazy. The band quickly rolled into their set, mostly songs from their new album titled Konk and some from their older album. All were crowd favorites. At some points in the performance it sounded as if the crowd was singing louder than front man Luke Pritchard. The people in the pit created what looked like a sea of hands, each reaching out to try to touch the band, if only with their fingertips.



The band's rhythm section was strong all the way through as drummer Paul Gerrad kept a steady beat while not in the least being distracted by the mezzanine filled to capacity with jumping screaming fans threatening to tear the place down in excitement.



Guitarist Hugh Harris looked as if he was hiding behind his big black hat, staying out of the spotlight during solos but the crowd ate it all up just the same and begged for more each time. I’m proud to say that I physically experienced the Kooks in all their glory, I have a feeling this is only their beginning.

More on the Kooks => MySpace.com/theKooks

Comedy Spotlight : "Freak Dance" at UCB Theatre

Freak Dance: The Forbidden Dirty Boogaloo
Upright Citizens Brigade - Hollywood, CA
by Josh Henaman

On a cold, rainy Friday night, tucked away in the relatively cozy atmosphere of the UCB Theatre in Los Angeles, I discovered something about each and every one of us. In the simplest of terms, I found out that each one of us is a brain… and an athlete… and a basket case… and…. Ah screw this Breakfast Club bullshit. The only thing I learned on that cold and rainy night is that dancing isn't about sex. It's all about the looove...and we can blame weed for everything… including terrorism.

In case you didn't know, I'm talking about Freak Dance: The Forbidden Dirty Boogaloo. Billed as a straight-up, activated and in your face musical extravaganza, Freak Dance is the absolute must-see show of the decade because you never know when you'll keel over dead as your head implodes because you danced on the ceiling one too many times. WTF? That's right, I'll bet you didn't even know the threat of head implosion existed. Well, thank Christ for Freak Dance.

Written by UCB alum, Matt Besser, directed by Lindsay Hendrickson and with songs by Brian Fountain and Jake Anthony, Freak Dance follows the tried and true story of a group of inner city youths as they strive to save their dance hang-out from closure and in the process discover something about themselves and everyone around them. But what separates their story from those in Save the Last Dance or Step Up or Step Up 2: The Streets or even that non-dancing movie where Sean Connery shouts, "You're the man now, dog!", Freak Dance isn't just about preaching to us the joys of dancing, it oozes it from its break-dance lovin' pores. This show isn't above reminding us every thirty seconds or so that dancing isn't something to do, but something to be.

From the opening dance number that introduces us to a world of oversized man junk and the art of the dance fight, we are fully engrossed in the plight of Funky Bunch, Sassy, Egghead and Barrio as they welcome the rich, wannabe-poor girl, Special Flavor, into the fold. With guidance from their mentor, Asteroid, an old school dance machine who once danced the forbidden boogaloo so fast and so hard the friction burnt his penis off, the gang set out to save their hang-out, Fantaseez, after it's shut down due to a bathroom deemed too dark to pee (among other things.) For about two hours, we're enveloped in a setting where dance numbers involving illiteracy, weed and slaughtering a pig might be considered the tamest of the bunch. And while it's hard to review a show that is as non-stop riotous as Freak Dance and single out all great standouts, random highlights and snippets include The Bad Newz Bears Crew BBoyz, smoking weed to forget I'm ugly, my dead brother, ten and the evil genius that is Dazzle.

With only two shows left in their run, May 30th and June 6th, you would not only be wise to check it out, but you might even be branded a friggin' genius by all of your friends. And to paraphrase Funky Bunch's signature line… "Activate! And go see Freak Dance: The Forbidden Dirty Boogaloo. It's fucking awesome."

For more information on UCB Theatre => UCB Theatre Los Angeles

The Von Bondies : On-Cam Interview + Live Show Footage

MishMashMag.com caught up with The Von Bondies before their show @ Safari Sams in Los Angeles, May 23, 2008. Check out our teaser...full coverage coming in July!

Interview hosted by Adam Kruger
Video by M'Lou Elkins

Serj Tankian : Live Pics

Terminal 5 - 5.14.08 - NYC
photos by Alyssa Scheinson

Thrice : Live Pics

Amos' Southend - 5.2.08 - Charlotte, NC
photos by Debby Flores