O'Death at Spaceland

It was difficult to escape death on this particular night at Spaceland. O'Death may hail from New York but sounds nothing like A Place To Bury Strangers or Sonic Youth. O'Death brought their mutant gothic country punk to Los Angeles with support from two fine local bands in the form of Le Switch and Death To Anders.


Death To Anders






My busy concert attendance schedule unfortunately prevented me from checking out the Death To Anders residency at the Echo in September. I was impressed when they recently released a quick EP Enigmatic Market as a follow up to Fictitious Business. By all accounts, Death To Anders is on a roll as they played a tightly spun set that impressed the sizable crowd at Spaceland.

Rob Danson (Vocals/Guitars) might be the only person in Silverlake that plays a Paul Reed Smith guitar as he slashed out the opening chords to "Corduroy Stitches". Nick Ceglio (Guitars/Vocals) had his Fender Stratocaster playing notes like Spiral Stairs from Pavement to Rob Danson's cribbing of Stephen Malkmus guitar squalls. The dusty tumbleweeds kept rolling through Spaceland as "Camera Lens" was executed with precision that made me forget about Sarah from the Happy Hollows contributes backing vocals on the album version. I still have yet to hear "Ghost Rock" but I think Death To Anders is strategically omitting the song in hopes that I will keep coming to their shows. Unfortunately, their strategy is working, as I will be sure to catch Death To Anders again.

Le Switch






It only took a few notes for me to regret missing some recent shows from Le Switch. I last caught up with Le Switch in February at the Prospector. Of course, Aquarium Drunkard was wise enough to sign and release their latest album And Now....Le Switch. Le Switch is not far removed from their label mates The Henry Clay People. Both bands should have been added to the Hold Steady and Drive-By Truckers tour.

Aaron Kyle (Vocals/Guitars) dialed up some twang by strumming his flat-black Fender Telecaster. Maria DeLuca (Violin/Trumpet) was not obstructed by the bandage on her right hand as she plucked the violin and danced up a storm. Josh Charney (Keyboards) filled out their sound with some choice piano riffs on his Roland Juno keyboard. Le Switch was in the giving spirit as they gave away a potato decorated as a turkey to one lucky audience member in the spirit of Thanksgiving. "Hard Talkin'" is worth the price of their album alone with its saloon vibe. Le Switch will be hitting Long Beach with The Minor Canon and Summer Darling on December 7th at Que Sera, which is the same night as The Henry Clay People and The Monolators at Alex's Bar. This is an example that Long Beach needs bigger venues because a bill with all those bands would be epic.

O'Death






It might be cliché to say O'Death slayed the audience, but it does sum up the vibe at Spaceland on this particular night. When all of the band members took a shot of whiskey prior to tearing into their set, I knew things would be interesting. O'Death played like they were a possessed version of the Charlie Daniels Band with insane banjo runs and a shredding electric violin. Broken Hymns, Limbs and Skin is a small slice of their rollicking vibrant live show.

"Home" might start quietly but slowly churns before picking up its pace. It served as a nice introduction to the avalanche of onstage action that would ensue. Gabe Darling (Banjo) blew me away with his fingerpicking good rendition of "Only Daughter" from their first album Head Home. The energy level continued to rise throughout the evening with each band member having their turn in the spotlight. Greg Jamie (Guitars/Vocals) properly fits the description of an old soul in terms of his singing voice. Spaceland seemed to morph into a backwoods campfire sing-along. "Lowtide" was another hellride through the south with its frantic pace. "Down To Rest" could easy be the soundtrack to a warped Country Bear Jamboree ride at Disneyland. Bob Pycior's (Violin) bow was shredded after a few songs as I could have sworn seeing billows of smoke coming from his instrument. O'Death will be wrapping up their tour at the Bowery Ballroom in New York on December 5th(Thanks Ryan!).

Coldplay at the Honda Center

Coldplay closed out their tour of the States after kicking it off back in July at the Forum.

Sleepercar went on stage close to 7:30 sharp which was a shame as most people missed their Texas tinged alternative country flavor. It wasn't the first time seeing Jim Ward (Vocals/Guitars) at the Honda Center as I remembered going to see Jim in Sparta when he opened for Incubus when it was dubbed the Arrowhead Pond. Sleepercar unveiled a batch of songs from their debut album West Texas and threw in a cover of The Flying Burrito Brothers "Older Guys".

Jon Hopkins was up next with his electronic textural washed DJ set. Jon co-produced a couple of tracks from the newly released Coldplay EP Prospekts March. Jon played a similar set to his Forum gig and I would have preferred he opened the show as it brought down the energy level from Sleepercar.

Having witnessed a number of Coldplay performances over the years, I wasn't as impressed compared to the OC Register and OC Weekly. I felt Chris's voice was a little off. Chris was emphasing some of the notes in the songs differently. It could have been me but the excitement and electricity wasn't as elevated compared to the Forum show. The only moment were the intensity was matched was during "Viva La Vida". Here is a rough timeline of the events:

9:15 Lights dim. Crowd screams. "Life in Technicolor".

9:22 Que the lasers, it is time for "Clocks". Chris has a delay effect on his piano.

9:27 Chris says, "Hello, We are from Orange County"

9:31 "Speed of Sound"

9:38 "Cemeteries Of London"

9:41 Jonny Buckland is strumming a Fender Jazzmaster. Has Coldplay gone shoegazer?

9:44 Chris heads back to the piano for "42"

9:48 A blue wash of lights blare as Chris changes the lyrics during "Fix You" stating you are in "row 57 at a Coldplay show"

9:53 "Strawberry Swing"

9:58 Coldplay relocates to middle of the floor for a mini-electronic set of "God Put A Smile On Your Face" and "Talk". Will Champion hits his electronic drum kit in a way that reminds me of Portishead's "Machine Gun".

10:04 "The Hardest Part" where Chris laments his age at 31 and that he isn't as talented as the Jonas Brothers.

10:06 Chris flubs the lyrics.....audience appalause and cheer at the show of humility.

10:09 "Viva La Vida" despite how many times you heard the song, it is epic in the live setting.

10:13 "Lost!"

10:17 Ushers put up caution tape and line the floor.

10:18 Coldplay runs down the floor to the back of the arena for an acoustic version of "The Scientist".

10:22 Will Champion sings "Death Will Never Conquer".

10:25 "Viva La Vida" remix blares while Coldplay run back on stage.

10:28 The crashing piano chords of "Politik" raise the energy level.

10:35 My favorite tune from Viva La Vida..."Lovers In Japan".

10:36 I am showered in hundreds of paper butterflies.

10:40 "Viva" banner unfurls on stage.

10:45 Chris talks about coming here eight years ago(KROQ Acoustic Christmas 2000) before starting to play "Yellow".

10:50 Get soaked running to the car.

Coldplay setlist at the Honda Center (11/25/08)
"Life In Technicolor"
"Violet Hill"
"Clocks"
"In My Place"
"Speed of Sound"
"Cemeteries of London"
"Chinese Sleep Chant"
"42"
"Fix You"
"Strawberry Swing"
"God Put A Smile On Your Face"
"Talk"
"The Hardest Part"
"Viva La Vida"
"Lost!"
"The Scientist"
"Death Will Never Conquer"
"Politik"
"Lovers In Japan"
"Death And All His Friends"
"Yellow"

Everest and Henry Clay People at the Echoplex

It was an impressive turnout for the reboot of Indie 103.1's Check One.Twosdays at the Echoplex last week with Earlimart and the Afternoons. This week boasted another strong assortment of bands with Nico Stai, The Henry Clay People, Everest and Dazzler.

Nico Stai



After a prolonged soundcheck, The Echoplex opened nearly thirty minutes late to throw off the evening's festivities. Luckily, it didn't take too long for before Nico Stai hit the stage. It has been quite awhile since I saw Nico Stai earlier this year at the Paul Gleason Theater. The Victory Of Miss Friday How To Bury Your Heart and Five Songs To Die For is the longest titled EP of the year and contains five songs.

The weathered jangle of "You Came Around" filled the Echoplex, as Nico seemed more comfortable with his full backing band compared to his stripped down performance at the Paul Gleason Theater. "Covered Too" was another propulsive guitar jangle jam accented with Nico's smokey vocals. Nico Stai will be opening for the Movies during their Spaceland Residency on December 15th.

The Henry Clay People





I regretted not attending the Spaceland record release party for The Henry Clay People. One can almost smell the whiskey in the air that permeates from their new album For Cheap or For Free released by Aquarium Drunkard's record label Autumn Tone.

My prior reviews of The Henry Clay People at Little Radio, The Echo and the Prospector were alcohol fueled furies. Realizing that they were heading down the fast path to cirrhosis, The Henry Clay People played a sobering set that demonstrated how well their songs are carefully crafted.

The ragged guitars of "Rock and Roll has Lost Its Teeth" had plenty of bite as the Henry Clay People delivered a large helping of boozy rock. Joey Siara (Vocals/Guitars) was switching between two homemade Fender Telecaster shaped guitars while Andy Siara (Guitars) was in full rock twang mode on his Fender Telecaster.

"This Ain't A Scene" had Andy coming up with the bluesy metal slide riff, as the song could easy fit on a Tom Petty record. An extra speedy version of "Working Part Time" convinced me that the Henry Clay People need to be packaged on a national tour to take their message to the masses. The Henry Clay People will join up with the Pity Party for a New Year's Eve show at Spaceland that is guaranteed to start your 2009 on the right foot.

Everest





It might be an understatement to say that Everest has had a whirlwind year. Their year started quietly by opening up for The Parson Red Heads during their residency at Spaceland. Everest would later open for the Radar Bros at the Echo in February. I also caught their prior appearance during a Check One Two show at the Viper Room in May. Everest would later tour with My Morning Jacket and Neil Young.

Ghost Notes will be criminally overlooked on many best of lists for 2008. An animated backdrop of falling snow juxtaposed the warm guitar tones of "Stumble Waltz". Jason Soda had a drool worthy twelve string Epiphone hollowbody guitar that cemented their way of sound. The soft twang of "Trees" was hypnotizing, as Russell Pollard (Vocals/Guitars) seemed to be happy to be playing in front of a hometown audience. Everest was extremely well rehearsed and worthy of their opening slot for Neil Young.

It was a nice surprise to see the Watson Twins assist Everest as Jason and Russell used to perform in their band. There is a reason why "Rebels and The Roses" has 62,000 plays and counting. Your extra credit homework assignment is to give it listen, preferably with headphones. Everest will be playing the El Rey Theatre with Delta Spirit on January 16th and I suggest you get your tickets soon.

Annuals and Minus The Bear at the Henry Fonda Theater

The Henry Fonda theater was bustling on Sunday night as a diverse group of bands had assembled. My primary objective was to catch up with Annuals who impressed me back in December of 2006 when they played to a packed house at Spaceland. I was also curious about Helms Alee who is signed to Hydrahead records. As I don't own any of their albums, Minus The Bear were the wild card of the night.

Helms Alee




I have to tip my hat again to Inflight At Night for the heads up regarding Helms Alee. It didn't take long for me to appreciate the fractured heaviness of Helms Alee. Ben Verellen (Vocals/Guitars) sounded as fierce as he looked playing his Fender Jazzmaster through a Sunn Amplifier. Ben seemed to have three main shades of guitar tone (Jangle, Heavy and Beyond Heavy) as they sounded like a cross between Archers of Loaf sprinkled with elements of Slayer.

I will be checking out their album Night Of Terror. "Left Handy Man Handle" is a good example of Ben's jangly guitars as he weaves an intricate sonic pattern that devolves into a storm of fuzz. Dana James and Hozoji Matheson-Margullis are a potent rhythm section holding down the bass and drums. They have been added to my must see again list.

Annuals






The Henry Fonda started to fill out as the Annuals were set to play. Such Fun is their sophomore album that expands upon the impressive debut album Be He Me. Annuals seemed at home on stage as they had plenty of room for their six members.

The wistful acoustic guitar notes of "Brother" kicked off their set as Anna Spence (Keyboards/Vocals) triggered the lush strings on her Korg keyboard. Adam Baker (Vocals/Guitars) is the focal point of the band with his impassioned performance. "Brother" slowly shape shifts going from lush ballad to an overdriven fast paced soaring anthem. Donzel Radford (Drums) switched from delicately tapping on his cymbals to a full-bore bashing maniac. "Confessor" was hypnotic with its psychedelic guitars underpinning Adam's vocals. Random samples of dialogue were integrated into the opening of "Complete or Completing" as a ragtime piano riff accompanied the bluesy overdriven guitars. Mike Robinson (Bass) reminded me of Flea from the Red Hot Chili Peppers with his animated style of bass playing.

Annuals dived head first into alt-country with a whiskey soaked version of "Always Do". "Springtime" was an epic call to arms with its sing along chorus. "Sore" from their Wet Zoo EP was took things down a notch but perfectly set the stage for "Down The Mountain". "Hot Night Hounds" closed out their forty minute set. The Annuals will be back on February 19th at the Troubadour along with What Laura Says. Stream their song "Confessor" here while you watch the video here.

Minus The Bear





It was a small cadre of guitar pedals on stage for Minus The Bear. Line 6 must sponsor them as they had 4 or 5 Line 6 delay pedals on stage for their knotted delay looped jams. Ironically, Minus The Bear recently released Acoustics, which are acoustic interpretations of their songs. Minus The Bear would later perform a trio of acoustic songs "Pachuca Sunrise", "We Are Not A Football Team" and "Guns & Ammo". Alex Rose (Synthesizers) had a nice little setup with Nord Lead 2x and an Apple Laptop with a keyboard controller to add various noise washes to the songs. I didn't recognize too many of the songs but it reminded me a little bit of Pinback mixed with Death Cab For Cutie. Minus The Bear will be heading down to Australia for a short tour.

Torche at Spaceland

If the Deftones had not played Spaceland earlier this year, this would have easily been the heaviest show of the year at Spaceland. A monstrous combination of Clouds, Black Cobra and Torche pummeled an audience of longhaired devotees. I momentarily wished for long hair so I could have joined in the throng of head bangers.


Clouds






There was nothing fluffy or light about the Clouds. When I saw an amplifier being wheeled onstage stamped with "Cave In Boston", the picture came into view. It turns out Clouds is co-fronted by Adam McGrath who used to play guitar in Cave In. Their cheeky titled new album is We Are Above You

The slow sludgy riffs of "Empires In Basements" methodically trudged while Adam and Jim (Guitars) punished their Gibson Les Pauls. "Feed The Horse" mixed up the tempo with a pile-driving beat. The vocal duties in the band are rotated between Adam, Jim and Johnny (Bass), which kept me interested and overall changed the dynamics with each song. "Heisenberg Song" represented another sonic shift as it ventured into Bad Brains hardcore punk territory. There were no similarities to Nine Inch Nails as they blasted through "Year Zero". Clouds definitely brought the thunder.

Black Cobra





Black Cobra made a ton of noise for a two piece band. Jason Landrian (Guitars/Vocals) handled the low and lower end as his guitar signal was split into a guitar and bass amplifier for a gigantic sound. Rafael Martinez (Drums) looked like he was drumming with four drumsticks due to the speed of his attack. Feather and Stone is the latest poisonous dosage from Black Cobra.

"Five Daggers" was devastating as Jason crushed the opening riff for an extended period of time accented by Rafael's hyperkinetic drumming. A fury of drums and guitars roared for the opening of "Thrown From Great Heights". It sounded like Minor Threat was in the mosh pit with Mastodon. It should be noted that Jason was playing a Gibson Les Paul Silverburst possibly channeling some of Adam Jones's riffs from Tool. "Omniscient" could be the soundtrack to the apocalypse with its dirge like guitars and drums. Black Cobra gets the medication song title award with "Kay-Dur-Twenty" which is the brand name for potassium chloride twenty miliequivalents.

Torche






In terms of full disclosure, I must give credit to Inflight At Night for expanding my musical database with Torche. Meanderthal has been my latest go-to metal tinged album. The whole album is extremely solid and melodically mixes elements of punk, thrash, space rock and heavy metal.

A Marshall stack was on the left side of the stage as Juan Montoya (Guitars) pulled out his blue Gibson Explorer. Steve Brooks (Vocals/Guitars) had his Gibson Les Paul plugged into an Orange amplifier to complement Juan's tone. The vocals were mixed a little low but that could also be attributed to the loudness of the guitar amps. "Piranha" packs a sharp bite with its start stop introduction before diving into a bone crushing palm muted riff. Torche doesn't mess around as the song barely clocks in less than two minutes. Another two minute gem is "Healer" which displays Torche's stranglehold on melodic metal with the blazing guitar line appearing at the forty-five seconds mark.

"Speed of The Nail" was executed at a break neck pace as Rick Smith (Drums) earned his paycheck blistering his drum kit. It was entertaining to watch Steve play guitar as his facial expressions mimicked the heaviness of guitar playing. "Fat Waves" might be my favorite track from them as it borrows the melody of Down By Law, a screaming octave breakdown of Hum and the heaviness of Mastodon. Juan also employed two Line 6 delay pedals for his delay soaked solo during "Amnesian". It seemed like seconds when Torche thanked the crowd to conclude the evening, but I won't hesitate to see Torche again when they come through town.