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.

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.

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

Killola : Live @ Knitting Factory

Killola Live @ The Knitting Factory
5.10.08 - Hollywood, CA
by Joe cortez
photos by M'Lou Elkins

"I make a terrible girl."

You'd be hard pressed to find a more ideal front woman for an indie rock band than Lisa Rieffel of Killola. Here is a singer that understands the power she wields on stage but also knows how to subvert her own punky image by coming out dressed as the belle of the ball just as she did at the Knitting Factory in Hollywood last Saturday evening. Writhing on the floor and stalking the stage in a frilly teal dress, she came off like a prom queen that decided to ditch her date and run away with the house band. It's hard not to focus on her while she's darting across the stage like a pixie on speed but make no mistake, Killola is a group. One with a killer set list and a twisted sense of fun.

Although vocalist Rieffel is the star of the show, that's not to take away from the music. Far from it, her performance brings the tracks to life like a shaman at a seance. There's little point trying to describe what they sound like since I myself was only made a believer after seeing them live. Suffice it to say, their songs are like bubble-gum power pop that cuts your cheek while chewing, insanely catchy with just enough of a perverse edge to make you wonder just what they'll do or say next. There was even a moment early on during the show when Rieffel called out to her mother, who was in attendance for this pre-Mother's Day concert, to help out on a cover of the Ween track "Dr. Rock," retitled "Dr. Twat" for the evening. It was a moment that was kind of sweet in its own way without being too sugary for its own good.


The Knitting Factory show was announced as a sort of release party for their new album, I Am The Messer. Although their set ran the gamut of old and new, the standout track for me was "You Can't See Me Because I'm a Stalker." It's a standout not necessarily because it's any better than the other songs in Killola's repertoire but because it's a decided change of pace from the rest of their raucous fare. It's a slower number, sung in a kind of Patsy Cline-esque vocal by the surprisingly versatile Rieffel detailing an unrequited love that's gone unnoticed for far too long. Think The Police's "Every Breath You Take" from the female perspective, only more cutting than haunting.


If you've been to and seen as many concert as I, you'll know how rare and rewarding an experience it is to truly be surprised by something you were completely unprepared for. The last time I experienced such an event was when I saw Northern State, the night's headliner, open for Tegan & Sara last year at The Orpheum. In a kind of cosmic kismet the girls of Northern State returned the favor allowing Killola to set the stage with a performance that left me battered, bruised and and loving every minute of it.

For more on Killola, visit MySpace.com/Killola.

White Denim : Review + Pics

White Denim
The Troubadour - 5.08.08 - West Hollywood, CA

by Genie Sanchez
photos by …totallylikeduh!

White Denim is a three piece funk infused rock band from Austin. To put it simply, they are rad! I first caught wind of them at this years SXSW at the Little Radio Day Party at the Red Eye Fly and instantly fell in love with the way they injected funk and soul into their rock, jam band tunes. So I was pretty excited to see them play in L.A. while they were on tour with Tapes ‘n Tapes. Fearing my “love” of white Denim was nothing more than a lust left over from the intoxicated week long musical indulgence that is South By Southwest, I didn’t want to get my hopes up with them. Much to my surprise it wasn’t! They took the stage quietly, did a quick sound check and before I knew it, they had rolled right into their first song. Early on in the set the crowd was won over by the barreling drums, groovin’ bass lines, dirty guitar licks and fist-pumping-hand-clapping vocals. Plain and simple, these boys put on a rock show. A hot, sweaty, dirty rock show. Normally bands like this are always hyped up by the hipsters and their blogs but don’t actually live up to all they are cracked up to be. Believe in the blogs! These guys are the real deal! White Denim is in and won’t be going out of style anytime soon.









Try them on for size here:
www.whitedenimmusic.com

RockStar Get A Life Tour : Review + Pics

5.07.08
RockStar Get A Life Tour
UCI Bren Center
Irvine, CA

by Genie Sanchez
photos by …totallylikeduh!

I haven’t been to a BIG concert in awhile; I’ve gotten comfortable going to small intimate club shows around L.A. So I decided it’d be a good change of pace to get out and experience the very first RockStar Get A Life Tour featuring the Used, Straylight Run, Army of Me and Street Drum Corps. Seems like a pretty eclectic show right? It was. I noticed that even though every band was essentially very much different than the other, all the fans in attendance were fairly open minded and seemed to be enjoying the whole line up, every band and every song for what each was worth. That’s a beautiful thing, co-existence. Opposites attract right? That’s the vibe I got from this show. First of all, it was held at a school. Kids don’t normally willingly flock to schools but in this case the music and their love for it is what brought them in. Second it was a school night and the show started a little early but, to my surprise the place was pretty filled up by the end of the night. And not just with kids screaming their heads off to every single verse of the Used songs but parents were in attendance as well. I think that’s pretty awesome! Parents at an emo kids dream concert…awesome! Way-to-go RockStar!!!

The first band up was Street Drum Corps. They filled the stadium with some pretty loud and infectious beats who were later accompanied by Orange County band, No Doubt drummer Adriane Young.




Army of Me followed with a strong stage presence and the last song of their list struck as an unconventional closer but in my opinion, the song's extensive guitar solo made up for any confusion the song choice my have caused.




Straylight Run played a rather pleasing set as well. Their steady melodies flooded the stadium with song and as they performed their most popular “Existentialism on Prom-Night” where it felt like the whole place was singing along with them.




The show really picked up when headliners the Used took the stage. The crowd literally went crazy as they were clearly there to see the closing band perform. Minutes before the band even hit the stage fans were chanting the lyrics to “The Taste of Ink” from the bands self titled debut album. One the band started, front man Bert McCracken came out and gave the kids what they wanted…a show. This band knows how to perform and knows how to deliver. They were on beat and played for the fans, something you don’t see every day from newer bands trying to make it in the scene. This tour has something for everyone right along side a good time.

Candlebox : Live At The Roxy

by Taylor Kingsbury
3.15.08 - The Roxy - West Hollywood, CA

Nostalgia is a very strange beast, and its cagey powers were put on full display as the original members of Candlebox took the Roxy stage. The moment the proscenium curtains parted, it was as if the band’s story had been completely rewritten. As the near-capacity house erupted into a rapture of enthusiasm, Candlebox were not greeted as a slightly-relevant 90’s band who thrived for a moment based solely on the strength of two certifiably fantastic radio staples, then faded into nothingness after two subsequent releases generated little fanfare and even less commercial weight. Tonight, they were returning heroes, old friends who had been away far too long. Those assembled at the Roxy gave a roar of approval that indicated they hadn’t truly dismissed the band, they were merely anxiously waiting for their return.

Of course, this isn’t true.

See, Candlebox were a slighty-relevant 90’s band with two hit singles and two follow-up records that quickly became fixtures in the 99-cent bins of record stores nation wide. Said records—1995’s Lucy and their even less visible 1998 effort, Happy Pills—weren’t just ignored by the casual fans who drove the band’s eponymous debut into the Platinum club because you couldn’t download “Far Behind” for free in 1993, they were also summarily dismissed by the band’s mainstays (i.e.- the few people who wouldn’t have been ashamed to wear a Candlebox t-shirt to Lollapalooza that year).

And, let’s not forget, even at the height of their radio powers, the larger world regarded Candlebox as a third-rate Pearl Jam knock-off. This comparison was certainly unfair, as the two bands had little in common other than the fact that they both released debut records that relied heavily on bluesy rock anthems, but, to most people, that’s who Candlebox were back then. (On an aside, it’s also interesting to note that another band whose upcoming reunion is being met with unbridled excitement, Stone Temple Pilots, was also initially panned as a “baby Pearl Jam” in 1993, and it was even suggested that STP really stood for “Stealing Tunes from Pearl Jam”).

But, wait, I come to praise Candlebox, not bury them.

You see, on that fateful night at the Roxy, something even more extraordinary than the audience’s 15-years-tardy praise unfolded: Candlebox kicked some serious fucking ass. And, while the audience rewrote the band’s story by pretending they had never been away, the band seemed content to do the same, and while they were at it, pretend that they never made two records that no one bought.

Indeed, if you scanned the setlist, it would appear that Candlebox were road-testing material for their sophomore LP. With the exception of two underwhelming singles from their dark period (anyone remember “Simple Lessons” or “Happy Pills”?… didn’t think so), the band relied almost exclusively on a combination of songs from their forthcoming reformation release and about two thirds of the self-titled debut that made the Roxy return even remotely possible.

It’s a great time to be a where-are-they-now contending 90’s band. After all, with almost nothing near listenable, let alone great, emerging on current Active Rock charts, it’s nice to re-visit a time when the shittiest band on the radio was Bush, and Bush was still a halfway decent band. Certainly, KROQ (L.A.’s “modern rock” monolith slash evil corporation that blackmails competing stations off the air and makes sure that when their listeners’ favorite bands come to town, there aren’t any tickets available to purchase) knows this state well, which is why about 75 % percent of their playlist relies on material recorded before the turn of the century.
Candlebox seem to know it too, and they relished in the adoration of the small, but packed, house before them as the assembled greeted even deep catalog numbers like “Arrow” with furor. And they benefited from the timeless quality of the nostalgia in the air as well. Without contemporary context to pigeonhole their tunes, a song like “Don’t You” doesn’t sound like a Pearl Jam rip-off, even as it nicks its groove and basic vibe from “Even Flow”; it just sounds like a great rock song.

One particularly gratifying aspect of the performance was that, while many bands of Candlebox’s stature struggle to get even a polite response to their new material, the several infant songs they nestled into the set received ovations that often matched those given to their more classic numbers. And, with good reason. The tunes the band premiered at the gig (their new record is due in July) were undeniably strong, propulsive dervishes that didn’t seem at odds with the decade-and-a-half old material they shared a set with, but actually complemented it. Surely, the more traditional hard rock leanings revealed that the band wasn’t looking much farther ahead than 1993, but, as we’ve already established, their fans aren’t either, so the debuts were a tantalizing glimpse of a future the band may have once again.

Of course, there’s a reason fans still care about Candlebox 15 years after they released their first disc; actually, there are two reasons. Reason Number One served as the finale of the set proper, and as the band launched into a powerful rendering of “You”, aided by the pipes of everyone else present, the Roxy could have easily been any arena in the world. Reason Two closed out the brief encore, and no one singing along with the anthemic strains of “Far Behind” seemed to notice that vocalist Kevin Martin could have been addressing them personally when he roared, “you left me far behind.”

But, he probably wasn’t. Because, after all, tonight Candlebox had never gone away. And, whether or not their upcoming release re-establishes them as a name again, they were sent away from the Roxy with the knowledge that they cemented a couple of genuine moments into Pop culture lore.

Not bad for a third-rate Pearl Jam knock-off, eh?

The 88 : Show Review

by Aaron Pompey
photos by M'Lou Elkins
7.13.07 - Troubadour - Los Angeles

If L.A. bands sometimes have one shameless advantage over even the most talented groups coming out of music hotspots like Seattle, Minneapolis, or New York, it is their proximity to the entertainment industry. TV networks have become increasingly reliant on local music connoisseurs like Jason Eldredge to help round out the emotional force of shows like Six Feet Under with popular music like Death Cab For Cutie's "Transatlanticism". Eldredge, the current host of KCRW's Accidental Rhythm, has worked on shows like Six Feet Under and The Closer as a music coordinator, crafting soundtracks for the shows' unique visual landscapes.

And certainly in film. That added layer of popular music was critical to pet projects like High Fidelity - which featured a 15-song pop music soundtrack, along with 40-something more songs dispersed throughout the film - and the interminable, over-inflated Garden State mixtape-slash-soundtrack.

While some of these bands are well known, most play gig after under-the-radar gig. Outside of a relatively established local L.A. fan base, The 88 seem to have made themselves a ubiquitous presence in the few years since releasing their first LP in June 2003. Songs like "Good Feeling," "Hide Another Mistake," "How Good It Can Be," and "Hard To Be You" have appeared in television (How I Met Your Mother, Grey's Anatomy and The O.C), film (Failure to Launch, Surviving Christmas, You, Me, and Dupree), and in various commercials (Target, Sears).

The 88's July 13 show at the Troubadour brought out the local fanatics. Gracefully inhabiting their post-Weezer world of hooks and irony, The 88 is not a band that enjoys the kind of name recognition afforded to Chris Martin's band, or Dave Grohl's spinoff outfit. Still, people in fly-over states probably know the band's songs from one soundtrack or another. And in L.A., they definitely know the band. Maybe that's all that matters for now.

The Troub show (introduced by Orange County band Satisfaction) rolled out an image change for the quartet, too. Abandoning their casual style, keyboardist Adam Merring, bassist Todd O'Keefe, singer/guitarist Keith Slettedahl, and drummer Anthony Zimmitti now appear onstage as something akin to four different versions of lovesick office cynic Jim Halpert.

The songs are catchy and the fans sing along rabidly. After opening with "Go Go Go," "All 'Cause of You," and "Like You Do," the set drew equally from Kind of Light and their 2005 follow-up, Over and Over. Between songs, the audience screamed out requests. Frontman Slettedahl just smiled coyly, glanced down at the 8½ x 11 set list duct-taped to the stage floor, and continued with the prescribed schedule.

The audience didn't mind. There's hardly a song they don't love. And that they didn't hear before that goddamn Sears commercial.

The 88 continue their California tour in San Francisco with the Smashing Pumpkins and down along the coast with Satisfaction. They wrap their Summer Tour in Vegas, where they reunite with the Pumpkins at The Pearl. For more info, check out www.the88.net.

QOTSA & Eagles of Death Metal : Show Review

by Aaron Pompey
photos by M'Lou Elkins
7.22.07 - PacAmp - Costa Mesa, CA

Queens of the Stone Age are the definitive fuck-you collective. Josh Homme, who formed the band of out the ashes of his own youthful discontent seems to have avenged the disadvantages that plagued him during those fucked up adolescent years (Homme walked away from high school at age 16) with the mega-success of his "robot rock" band.

QOTSA played the Pacific Amphitheater on July 22 and, while I generally steer clear of the arena venue, The PacAmp was a mix of perfect Summer weather and dynamic energy.

The Palm Desert supergroup has been a revolving door of guest musicians, both in the studio and on tour, and an important influence on the flexible creative expression that seems to have defined music to a much greater degree in the last several years. But more than that, QOTSA has made a significant impact on the sound of rock music.

Opening for QOTSA were The Duke Spirit, a My Bloody Valentine-inspired English group led by Liela Moss, and Eagles of Death Metal, Homme's project with Jesse Hughes. Homme has lent his drumming to EODM's albums and to a few tour dates, but has more often shared that seat with Joey Castillo and guest performers like Dave Grohl.

EODM's catchy 70s rock sound and the flamboyant stage dancing of the iconic Hughes has made EODM a destination band - attracting the talents of Jack Black, Ween's Claude Coleman, The Distillers' Brody Dalle, and both Grohl and bandmate Taylor Hawkins.

Hughes plays the crowd with flair and confidence, tailoring his performance to the crowd's energy and wandering into the aisles. Hughes takes his cues from instinctual showmen like Mick Jagger, who could conduct his audience with almost as much creativity and control as he could his own vocal musings. Am I comparing Hughes to Jagger? Absolutely. Hughes' swagger rivals even the most prolific stage performers and arena rockers.

Unlike the colorful Hughes, Homme's presence is more commanding, more authoritative. But both performers know exactly what their bated audience wants to hear and, what's more, what they want to feel. Homme has said in interviews that he wants sex to, essentially, bleed from QOTSA's music. For music to rouse our most fundamental urges is maybe the most any performer could expect from fans.

QOTSA's new album, Era Vulgaris, is harder-edged fare - even for trailblazing hard-asses like these guys. It's a step further off from 2004's Lullabyes. The show featured a number of tracks off the June release, including "3's and 7's," "Battery Acid," "Into the Hollow," and "Make It Wit Chu." Mixed in were QOTSA standbys like "Feel Good Hit of the Summer," "Little Sister," "No One Knows," and the band's brief encore "Song for the Dead."

The Queens continue to play U.S. and Canadian dates through to the end of September. Check out www.qotsa.com/tour for dates, venues, and ticket information.

Social Distortion : Show Review

by Josh S. Henaman
photos by M'Lou Elkins
12.1.04 - The Wiltern - Los Angeles

And like the song says, "I only wish the good times would last a little longer." But as short and fleeting as the good times may be one thing is for certain, you enjoy the HELL out of 'em when they roll around. Such was the case on a chilly December 1st when Social Distortion banged out their sixth and final gig of a phenomenal run at the Wiltern. Tacked on at the last minute, the sixth show ended the band's Los Angeles leg of their tour promoting Sex, Love and Rock’n’Roll, their first full length album since 1996. Like a battle scarred reunion with the one friend who had stuck with you through all the highs and lows, the band ground out not just an hour and a half of music, but two and a half decades of hard fought and won memories.

The band's sound hasn't changed much in the last 25 years, but then again, we’re talking about Social Distortion here. They’re growth comes from the emotional evolution of their music. From the oftentimes violent Orange County punk scene of the late ‘70’s/early 80’s to the reflections of loss and maturity of today, they bring a "been there, lived that" insight that demolishes any thought of technical advancement. If you’re looking for the next big turntable cum emo whinefest, then you came to the wrong place. Social Distortion has long since ceased the frantic run and dodge across the stage which has sadly become commonplace in today’s market. Instead, for this band, the music IS the show.

From the moment Social Distortion filed onstage and Mike Ness broke into "Mommy’s Little Monster", the audience’s excitement and applause never died down and the furor of the pit continuously built upon itself until the mad crescendo of the final performance, "Story of My Life". As the band slid into their third song, "Cold Feelings", the night’s theme of disenchantment and ultimate redemption became evident. "Reach for the Sky" found Ness alone as the band took a step back and let the frontman do his thing. If anybody could trademark or patent the guttural growl brought on by the early years of hard living, then it should be Ness. The man exudes a rough cool you can’t fake onstage. But if it’s anything Ness has learned over the years it is that you can’t go it alone. You would expect more than ever after an almost total lineup change, the band would focus solely on one man, but Ness had no qualms about stepping out of the spotlight. After "Highway 101" kicks in with Charlie Quintana’s thump-thumping beat, you realize Social Distortion isn’t just about one man, it never was. It’s about living life and looking back. Every song had a meaning, every minute held a memory, never more so than with "Don’t Take Me for Granted", Ness’s first attempt at dealing with the death of his friend, and former bandmate, Dennis Danell.

Of course, no Social Distortion show would be complete without some of their vast achievements. "Bad Luck", "Prison Bound" and "Ring of Fire" burned through the audience like a rapid-fire compendium of greatest hits and Ness’s brogue and haunted opening of "Making Believe" brought the audience to an emotional standstill, that is, until the lights blazed on and the song became a rousing and oddly upbeat paean to love lost. Soon to be staples of future Social Distortion concerts, "Nickels and Dimes" and "Footprints on My Ceiling" were also included and Ness, in the role of the storyteller, peppered the night with snippets of trademark insight. It was during these moments between songs that you became aware that Ness wasn’t just lecturing on past events or just trying to keep the momentum of the evening flowing, but rather, he was talking to the audience as a man who wanted to share his life experiences.

The band knows where they came from and knows where they’re going. It never became more apparent than when Ness invited little 5 yr. old Tyler onstage and informed the audience the little boy was the future of Social Distortion. Looking back on the multiple changes in the band’s roster over the years, the statement made perfect sense. Social Distortion is about rejuvenation. Taking the experiences and lessons of yesteryear and moving forward. Always forward. And knowing you’ll have a few hundred friends to join you on the way.

KMFDM & Combichrist : Show Review

by Aaron Pompey
photos by M'Lou Elkins
10.27.06 - Fonda Theatre - Los Angeles, CA

The line that divides the satanic from the godly is more grossly misrepresented in some contexts than in others. When I was a teenager, I was forced to watch an extremist right-wing video about how demonic artists like Cheap Trick and Meatloaf were enabling the corruption and dissolution of morality among worldwide youth. The film, Hell's Bells: The Dangers of Rock and Roll, demonized everything but the most impotent songwriters of the 1980s, with its message that anything that wasn't written for the flock was written for the Devil himself.

I'm certain that both Combichrist and KMFDM would have made it into that pseudo-documentary, had their brand of hard-edged tribalism been around a couple of decades ago. But what parents and youth leaders alike might be missing is that what might seem like Satanism, even marketed as something spiritually deviant, might simply be its own brand of modern primordialism. After all, the rhythms, melodies, and performance art of these artists perhaps trace back more directly to alternative forms of communication than to devil worship.

Combichrist's earsplitting "This Shit Will Fuck You Up" incited a crowd who seemed to be waiting as anxiously for the aggrotech Norweigan expats as they were for KMFDM. "Intruder Alert," "Feed Your Anger," and "Without Emotions" seemed to flood their signature aggressive melodies right on out to Hollywood Boulevard. And the iconoclasm of their white banners, emblazoned with angry fists, framed the white-faced Andy LaPlegua, whose performance alongside Mr Petersen, Joe L, Jon H, Shaun F, Syn M swelled with the energy of the music. Combichrist closed out their set with "Get Your Body Beat" and "Blut Royale" before exiting the stage, whetting the crowd for the taste of KMFDM, whose own brand of heaving musicianship could perhaps co-anchor a Hell's Bells 2.

In fact, KMFDM's set was on par with the energy that Combichrist had raised. Sascha Konietzko's Parisian industrial collective stormed the stage. Like Combichrist, KMFDM is an ensemble cast of characters whose talent lies in the overlapping of their unique performances and musicianship. KMFDM grew out of artistic collaborations that were comprehensively musical and multimedia and continues to be a revolving door of artistic contributions. Bringing their "ultra-heavy beat" sounds to the Fonda, KMFDM's shows seem to be an extension of their offstage, online connections to fans. Their hour-and-a-half-long set featured songs from both the pre-breakup years and since the 2002 reformation, including songs off the recent 2005 album Hau Ruck and their EP Ruck Zuck.

During those years of purgation, KMFDM secured some unwanted publicity when Columbine gunman Eric Harris posted several of Konietzko's lyrics on his website days before the national tragedy. In the immediate wake of that, and in the years since, KMFDM has demonstrated that its commitment has been to creating unique and powerful art through music, bringing together a subculture of fans with its featured members and consistent output.

Combichrist and KMFDM wrapped their recent tour on Halloween night in Seattle. Get Your Body Beat, Combichrist's latest EP, is available on Metropolis Records, as is their full-length 2005 album Everybody Hates You and the rest of their catalog. And check out their Myspace page www.myspace.com/combichrist and their official website at www.combichrist.com. KMFDM is online at www.kmfdm.com and www.myspace.com/kmfdm. Pick up their latest EPs and stayed tuned for more concert dates. The Music Box Theater at the Henry Fonda is located at 6126 Hollywood Blvd and at www.thefondatheater.com. Hell's Bells 2 and 3 are bound to hit theaters some time within the next few years of the Bush presidency.

30 Seconds To Mars : Interview

by Aaron Pompey

Hours before 30 Seconds to Mars takes the stage at the Roxy in West Hollywood for the first time in over a year, the band is huddled around a booth in the venue's VIP lounge talking about inspiration. Jared Leto, the band's frontman and guitarist, likes to attribute some of his own inspiration to simple circumstance. "Wherever you go, there you are," he remarks glibly. And before he can elaborate, his cell phone rings. Jared frowns and reaches into his back pocket. "It's all the last-minute motherfuckers," Jared mumbles as he pulls out a flip phone and stares blankly at the number flashing on its screen. "The funny thing is," Jared places the blinking phone on the large round table in front of him, "there are a couple tickets that sold on eBay for $217." He shakes his head, "Crazy motherfuckers."

But Jared's predilection for Oedipal metaphors is meant to be neither harsh nor disparaging. In truth, the band – which also includes Jared's older brother Shannon Leto on drums, Matt Wachter on bass, and Tomo Milicevic on guitar – has enormous affection for its ever-growing fan base, including those who would shell out two hundred dollars for a standing-room-only show. "We definitely have some very, very hardcore committed fans out there who like what we did the first time around," he notes with a kind of deliberate reticence, referring to the band's 2002 eponymous debut.

But before there was 30STM, there was Jared and Shannon, two brothers sharing a bedroom with some Marshall amps and a drum set. "You know what, it was a great time," recalls Shannon. "It was very cool." Although the brothers lived in Hollywood, they avoided playing venues in L.A., opting instead to travel cities – sometimes states – away. "We refused to play L.A. – we were in it for art rock's sake. We would change our name every night. We didn't give a fuck if a show was promoted or advertised or any of that. We played to play." Shannon nods, "We were playing for ourselves." And their sound was slightly different back then. "It was like super long progressive songs," says Jared, "and it was basically a 'Fuck you – love it or leave it'."

The brothers' fearlessness eventually paid off when EMI's Virgin label signed 30STM in 1998. By that time, the band's sound had evolved into what some critics were calling neo-Prog and post-Grunge. Then their music caught the ear of legendary record producer Bob Ezrin, who had worked previously on several groundbreaking projects – including Alice Cooper's Love it to Death, KISS's Destroyer, and Lou Reed's Berlin – but who may be best known for his production of Pink Floyd's The Wall. Ezrin came on to produce the band's first album, helping them to create a larger, more distinct sound that would set them apart from the mainstream. "The size of the guitars, and everything really, was big. But it's not aggressive. It's not heavy music. It's not metal. But it's not shoegazing indie rock, either. It's kind of it's own thing, it's own world." Matt agrees, noting that "It's somewhere in between." Ezrin also helped the boys understand the importance of an album's structure and how to create a progression, rather than a simple series of songs. "Bob Ezrin was really helpful with that because there could be two songs that are really great, but share too similar territory."

Ezrin's influence on the band carried over into their conception of a follow-up project. "The thing that the first album set up," Jared recalls, "was that we wanted to be different." And the first album was different, establishing the group as a unique voice in music. So when Jared began thinking about the kind of music he wanted to write for the second album, he anticipated a challenge, albeit a good one. "We knew it was going to be a long experience and we made a decision to embrace opportunities when they became apparent."

And an opportunity soon came along when Oliver Stone cast Jared in his grand epic Alexander. The film was shot on location in, among other places, Northern Africa and Thailand. During that period, he found a great deal of inspiration, writing several new songs – including what would become their first single "Attack". But "Attack" proved to be somewhat problematic, and was nearly excluded from the album. "'Attack' was a song that wasn't scheduled to be recorded at all," Jared recalls. "I'd been playing it – I'd play it in the desert in Morocco, I was playing it in Thailand – I was playing it everywhere." But when he tried performing the song with the rest of the band, something wasn't falling into place. "On acoustic it was great; but when we played it as a band, it just fell flat on its face." The guys nod. "As soon as the bass got in there…" Matt interjects, hanging his head in disgrace. Jared takes the cue. "Yeah, so it was either replace Matt or throw the song out." Thinking that the song had hit a dead end, but holding out hope, Jared played it for Josh Abraham, their promoter and Virgin's VP of A&R. "I was playing it outside of the studio one night on acoustic guitar and Josh walked out and, as a joke, I said 'Hey, you wanna hear a hit song?' I was just talking shit. I started playing the verse and went into the chorus and he stopped me on the first chorus and said 'It's the best song you have. You have to record it'." Having already given the song a shot, something needed to change for it to come alive. "So we all got in a circle and something about it changed. Something about us changed. And now it became the first song on the record and the first single off our new album. So he did a great job on encouraging us to do that song. And now I really love it."

That's when his cell phone begins ringing with those eleventh-hour requests for comp tickets to the show.

Matt brings the conversation back, touting Jared's inspired writing. "Jared was in Africa a few months before we got there," he recalls. "When we got to Africa, one of the first songs Jared played for us was 'Was it a Dream?' and it was unlike anything he'd ever written before." "'A Beautiful Lie' came out of Africa," Jared remarks, "Really productive time. Almost every song that we worked on down there ended up on the record." But Matt brings it back to Jared. "When he played 'Was it a Dream?' for us, all of us were just like 'Wow, this is a great direction he's going.' He was obviously influenced by his surroundings." Matt pauses a moment, then adds, "Because it's like no other place on earth. If we were stuck in L.A. the whole time, I think there would have been a much different record."

When 30STM finally entered the studio in April 2004, Josh Abraham was at the controls. Abraham, who had produced Velvet Revolver's Grammy-winning debut album, brought perspective to 30STM's shift toward a more confessional sound. "Josh likes to keep things organic," Jared observes. Abraham's organic approach meant catching the spontaneity and immediacy of the band's in-studio performances. "A lot of the songs were their very immediate takes," Jared explains. "We wanted to catch that excitement of something being fresh and new." Which, of course, can be challenging among perfectionists. "A very difficult thing to do," Matt admits, "is to let go and just be like 'It's good'." The result was a substantial stride in the band's creative evolution. "We're always on a search for our own true voice and to be as unique as possible," says Jared, "We definitely, I think, succeeded a lot of times, even on the first record. But there are clear moments, this time around, where I hear it."

But that doesn't mean that the band doesn't acknowledge their creative influences. As Jared will quickly point out, embracing your creative influences is a natural part of finding that voice. "I think anybody has someone – whether they apprentice with a painter, or you have a teacher, if you're a writer – who influences your style." And 30STM counts among its influences some classic artists. "I don't listen to music very much, and the music I play is pretty old." But artists like Pink Floyd, U2, Björk, The Cure, Zeppelin, and The Police continue to resonate with the band. In fact, some of the melodic phrases and stylistic twists on A Beautiful Lie bear their signature. "There are songs where it was kind of fun to let the influence kind of be alive," Jared admits. On a few songs, that influence is unmistakable, including the heavy Cure sound shaping "Was it a Dream?" and the early U2 sound that is particularly striking on "The Fantasy." "It was nice to let that be there and to put that in there as homage or a nod to one of our heroes." And there are notably clear distinctions between artists like 30STM - who absorb inspiration, using it to generate innovative music – and bands that offer little in the way of stylistic imagination.

And what about more recent artists? Jared pauses to think of a few. "Interpol…Muse…Bloc Party's pretty good." Jared looks over at Tomo and adds, "These guys have been listening to the new Nine Inch Nails." Tomo jumps in with "My Chemical Romance." The other guys nod. "We played with them recently," Jared explains. "Very nice guys. And we opened for Incubus. They're a very melodic band and good friends of ours now. That went really well." What about an artist like Aphex Twin? "I used a lot of his drum sounds on the album. I manipulated some of the sounds he manipulated. He's a genius," Jared pauses, then adds, "or a retard." Matt chews on that idea for a second, then notes, "there's a fine line between genius and retard." Jared pauses again and it seems as though he may be pondering that fine line. "We're weird, though," he says. "We're strange compared to a lot of rock out there. It's always really difficult to think who we would tour with." That's a good question. 30STM is currently touring alongside Chicago band Chevelle, hitting about 35 U.S. cities this summer. They will also join The Used later this year.

Since the growth of the band from two to four members, 30STM has enjoyed a new dynamic, complete with greater variance in style and influence. "Matt and Tomo were really instrumental in helping shape the new record," says Jared of Wachter and Milicevic, who had been playing live shows with the band before officially joining them for studio work on A Beautiful Lie. For Matt, being a part of 30STM has been a critical part of his development as a musician. "For myself," explains Matt, "it was rewarding in a couple of ways: I got to be on an amazing record – it's something I'm very proud of. And I've learned a lot from these guys." One thing he learned was how to do less, "which is something that is a really hard lesson to learn. It's easy to go in there and go –" Matt interrupts himself to make some hardcore bass solo sounds. "But the songs are so strong that we wanted to let them breathe on their own." And that may be what distinguishes 30STM. It's difficult to create exceptional music marked by so much honesty, yet the band's inspired execution of Jared's exceptional writing achieves that with skill, maturity and, perhaps most importantly, grace.

Far too many albums produced by recent bands wind up being 10-track CDs with so much filler that they might well have been cut down to 5-song EPs. Another too many albums open with introspective ballads and don't really hit their stride until the third or, god forbid, fourth track. A Beautiful Lie dodges any potential missteps by opening the album with the strong, driving sounds of "Attack", then gradually steering the album toward more contemplative, introspective tracks – all without compromising the energy that has become one of the band's signature elements. This may be one of the greatest compliments paid to a band who has worked under a producer like Ezrin and who appreciate the importance of an album's structure and its progression. "That's exactly what we wanted – not just a collection of songs that were trying to make it to the top of the list, but a record that was cohesive. Otherwise it just becomes white noise."

Creating a cohesive narrative after having written over 40 songs for the album, meant having to decide which songs would be eliminated from the finished project. And deciding that meant again drawing on what the band had learned from working under Ezrin's guidance. "It was about telling the story and what songs were appropriate," Jared observes. Ultimately, the band faced the daunting task of paring down those 40-something songs to a damn-near-impossible 10 for the album. Jared laughs. "Somebody said to me that I'm very decisive. But I said that I'm only indecisive when I'm undecided. So once I make that decision, I'm good. But until then, the songs take their beating. And they all took their beating." So which ten made the cut, conceptually speaking? "The ten that tell the story the best, the ten that are the strongest. The ten that survived." And now that the album is complete and set for an August 30 release, does he maintain his decisiveness? "Absolutely. I still feel like the ten most important songs made the record."

Although it may be too soon to be thinking about what's next for 30STM, it's worth a shot. "Who knows what's in the future. But this time around, I think we explored every possibility of what the first record was about. So to repeat any of those things would have been a big mistake."

"We made sure this time around that we were going to be brave enough to leave all the tricks of the past behind. And in order, I think, to move forward, you have to let go of your past. It's not always an easy thing to do, especially if certain things worked."

"And sometimes people aren't going to grow with you, and that's okay. But I think that means you're doing the right thing." So don't expect a simple return to form from 30STM. "I heard, when I was a kid, this quote that's attributed to Picasso, but I think he probably stole it from somewhere else. It's that an artist who doesn't move forward, moves backward. And I've always applied that to myself as an artist."

A Beautiful Lie hits stores August 30. "Attack", the new single, is available now.