Preview: Thrice @ the Catalyst, Santa Cruz 5/29/10

 

“I’m really excited to get back on the road and play live again, but I’m even more excited about having the opportunity to share the stage with two bands that I really love,” says drummer Riley Breckenridge on the band’s blog.  Experimental rockers Thrice formed in 1998 in Irvine, California, and are on tour performing their latest album Beggars with Manchester Orchestra and O' Brother.    

Drawing inspiration from the Beatles and comparisons to Radiohead, Thrice isn’t your average rock band.  They’ve been around the block, grew weary of what was on that block, and reinvented themselves time and again.  They pioneered a power-punk and screamo trend with their 2003 album The Artist in the Ambulance and headlined Coachella in 2006, but abandoned that sound and aesthetic for a more mature and atmospheric one.  Lead singer Dustin Kensrue’s solo efforts have been largely folksy and existential, providing an insight into the depth of the band’s range and intent.

Beggars, which was recorded in a studio built in guitarist Teppei Teranishi’s home, provides a sophisticated unification of the band’s 12 year experimental growth.  According to a review on BBC’s website by Mike Haydock, “they’re at the peak of their game.”  They’ve smoothed out the roughness, toned down the angst, and hammered out an album so powerful that it makes you wonder why you’d ever listen to another contemporary rock band.  In addition to their obvious talent for producing out-of-this-world melodies and sincere lyrics, they’re a band you can take home to mom: they donate a portion of their album sale proceeds to charities which aid breast cancer patients, support at-risk youth, sponsor literacy, and more.  You’d be hard-pressed to find another modern rock band that combines such musical talent with old-fashioned goodwill.  

http://www.myspace.com/thrice

Photoessay: Hot Chip and The XX @ Fox Oakland 4/16/2010

The XX:

Hot Chip:

Photos by Melissa Rachel Black.  More here.

AM Taxi: Q&A

Chicago’s up-and-coming AM Taxi chats with City on a Hill Press before their show in San Francisco at Slim's on April 29.

Good old-fashioned rock-n-roll is hard to come by these days, but AM Taxi’s vocalist and guitarist Adam Krier is intent on changing that.  No gimmicks and no funny business: this band wants to bring back the classic sound of rock.

Only a few years old and already gaining momentum, AM Taxi is all set for their U.S. tour and for their appearance on the Warped Tour this summer. 

Adam spills the goods on out-of-control gigs, banana slug encounters and the ups and downs of crowdsurfing.

For AM Taxi newbies, how did the band come together?  A brief history?

We are a Chicago group, we came together three-and-a-half years ago.  We were touring in different groups for years and years and knew each other through that.  Actually, it was me, Chris Smith [drums, backups] and Jason Schmitt (guitar, backups)  that got started together. Once we decided we wanted to play shows and do other things, we got my neighbor John and became a five-piece.

You used to be known as “American Taxi”—why the name change?

There was another group with a similar name [The Great American Taxi] and we had to in order to avoid confusion. 

Congratulations on signing with Virgin!  How did that come about and how has it changed things for you and the band?

It came about because, well, we just started talking to different record labels and the people at Virgin seemed to get what we were about and share the same vision we have for the project, so it was a really good fit for us.  Its changed things in that now we can focus on the music more instead of other things like trying to get t-shirt orders in and tours booked, and you know promotional things like that.  It’s really helped to get the word around.

According to Alternative Press, you’re in the top 100 bands I need to know.  For newcomers to your music, why are they going to fall in love with your band?

We’re not reinventing the wheel or anything. It’s just honest rock n’ roll music and you don’t see a lot of that any more.  Everything kind of has a gimmick to it, and you don’t see straight ahead.  I think it’ll be a breath of fresh air.

What was it like recording your album live and how do you feel about the outcome?

I think it was the only way we could have done it and I’m really glad we did it that way.  We talked to a dozen or so producers.  Everybody’s sort of in a room by themselves [when you don’t record it live].  Playing it live to a tape moving instead and playing it all together… that’s the way they made records up until the 80’s.  It was good for us because that’s where our influences come from.  A lot of great records were made that way.  There’s a lot of real energy that comes across when you make it that way—there’s mistakes, but they’re real mistakes and I think it comes across.

Do you have day jobs?

This has become pretty full time. We’ve been on the road—we’re about to go on our fourth tour, we leave next week for that, and then we’re on the Warped Tour all summer. 

What did you want to be when you grew up?

I just wanted to do this.  So I’m pretty happy.  I’m not sure if I could do anything else, really. I’m a bit of a one-trick pony I guess.

What’s the music scene like in Chicago and how do you fit in?

The music scene is amazing, there’s a whole lot of variety, which is good for us cause we can fit in and do a few different things.  We can play with indie rock bands, punk bands, rock-n-roll bands, pop bands, etc.  There are a lot of open-minded listeners.

You listed The Police as one of your influences on your Myspace—what’s your favorite song of theirs?

I really like their early stuff, the first two or three records. “Bring on the Night” is my favorite song of theirs.

Have you ever crowdsurfed?

[Laughs] I have a few times, when I was younger.  I haven’t in a few years.  I have a chain attached to my wallet and I lost a bit of money once.

What was it like working with Sum 41 and Offspring?

We didn’t really get a chance to meet Offspring and hang out with them, but they were great and their audience was great.  Sum 41 was really nice, they were really professional.  A lot of people still think of them as kids, but they’re a well-rounded, well-oiled machine — totally functional, totally pro.

What’s the weirdest show you’ve ever played?

There’s been some strange ones, let me think. We played on a race track once which was really bizarre.  There have been some crazy ones.  We got pranked the last night of the Billy Talent tour that we were on by them and their crew—they super-glued our drummer’s sticks together and filled the cymbal with baby powder… it just got everywhere.

What bullshit advice did you get when you were first starting out?

We talked to one manager in particular and he said that we shouldn’t be focusing just on the music.  Music has to be the priority.  There’s a lot of DIY Myspace Internet bands that promote their asses off, and that’s great, as long they are spending as much time rehearsing as they are getting Myspace fans.  Don’t get me wrong, I think its great that these young bands are working to promote themselves, but I think that music needs to come first.

UCSC’s mascot is a banana slug—have you ever seen one?  Would you lick one as it is a Santa Cruz tradition?

I haven’t.  But tey seem pretty cool, yeah I probably would lick one.

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See AM Taxi live at Slims in San Francisco on April 29.  Their album “We Don’t Stand a Chance” comes out June 8.  For more info, visit amtaximusic.com

Photo: Amber Meairs

Preview: Phoenix @ The Catalyst, Santa Cruz 4/17/10

The fantastic foursome from Versailles, France is set to grace the Catalyst's stage later this month, and the city of Santa Cruz is buzzing.  The show allegedly sold out with no advertising in less than 3 hours, and while the lucky few who snagged tickets are jumping for joy and bragging nonstop, those who missed their opportunity have been seen weeping into their hip flannel button-ups.  Even if this is just a Coachella warmup for the foxy Frenchmen, Santa Cruz doesn't seem to mind.

If you think you don't know Phoenix, you're wrong.  You've probably heard one of their songs--they seem to have hit every audience, sneaking their earworm single "Lisztomania" into trailers for blockbuster movies like Alice in Wonderland, Where the Wild Things Are, and Valentine's Day.  They've been touring their latest (and greatest?) album Wolfgang Amadeus Phoenix for almost a year now, and if you weren't already "totally stoked" about their sound, you'll be happy to know that you can download a live version of the album for free on their blog here.  Get ready for a wild n' crazy night, Santa Cruz.

Snoop Dogg @ the Catalyst 11/17/09

One could say that opening act "Hustle Boys" provided a fantastic performance... if we were speaking in terms of comedy.  Two men with baggy clothes and shiny bling busted on stage and did their darndest to get everyone hyped up and ready for the legendary Snoop Dogg, but for the life of me, all I could do was laugh.  Like a child trying to imitate their father, the Hustle Boys tried to re-create the success of previous hip-hop shows.  "Get your hands in the air," they beckoned as most folks stood, continued to sip their gin and juice, and chat with their buddies.  Just to make sure you knew that they were gangsters, the Hustle Boys employed the use of towels on stage, swinging them about with glee. 

"Before Snoop comes on, he wants to share something with you..." we read in anticipation on a big-screen behind the stage.  A video montage of Snoop in scenes from classic movies brought much amusement.  There was Up In Snoop, Snoopula, Snoop Brothers, Snoop the 13th, and a Snoop Dogg version of Being John Malkovich. 

The lights were low and the room was full of excitement as Snoop came out singing the classic "Smoke Weed Everyday".  Thunderous approval and puffs of smoke filled the sold-out venue, and the next song was another favorite, "P.I.M.P."  He performed with a full band, complete with a low-rider-bike-turned-drumset, as well as a bodyguard on each side of the stage.  His microphone was pimped out too-- diamonds spelled out his name and glistened in the light. 

A battle between the "eastside" and "westside" of the crowd ensued upon Snoop's direction, each side attempting to shout "EY!" louder than the other.  He played a few new songs such as "Gangsta Luv," but mainly stuck to classics such as "Who Am I (What's My Name?)", "Gin and Juice," and "Drop It Like It's Hot" to the delight of everyone.  A lot of musicians who've been performing for as long as Snoop has play their hits grudgingly, but Snoop put his all into the crowd favorites without even a hint of disdain. 

Everyone on stage ducked for cover as a soundbit of the Santa Cruz police boomed on the speakers.  "If you don't give a fuck like I don't, get your asses up!" yelled Snoop, and the crowd erupted to "Jump Around."  The night wound down, but the energy was just as high as he finished with another pun, singing an altered version of Steam's song, "Na Na Na, Hey Hey Hey, Snoop Dogg!"  With a flash of the peace sign and a reminder to "smoke weed motha fuckas!" he was gone, leaving us with only the memory of the greatest night of our lives.

See more of my photos from that night and other gigs at http://www.flickr.com/photos/melissarachelblack/sets/72157621887663417/

Mickey Avalon @ the Catalyst 11/6/09

I had a naked moment with Mickey Avalon. Gearing up for his tour to promote his sophomore album to be released this February, Mickey Avalon scheduled a phone interview to promote his show at The Catalyst this Friday.
“Can I call you back in three minutes?” he asked. “I just got out of the shower and got to put some clothes on.” Five minutes later, Mickey Avalon called back.
“You got some clothes on now?” I asked.
“A robe,” he said. “Good enough.”

He immediately set in to rambling about his room at the Red Rocks Casino Resort & Spa in Las Vegas.
“It’s like a club,” he sais, going on to describe the view of Sin City from his suite, which was outfitted with a grand chandelier, multiple flat screen TVs, two turntable booths, a stand up shower, several jacuzzis and a “crazy round bed with a disco ball mirror thing” hanging over it — fitting for Mr. Avalon, who is often described as a “glam rapper.”
The man comes with a story that supersedes his music, about how he grew up in Hollywood, sold pot with his mom at the age of 14 and eventually worked as a male prostitute to support his heroin addiction.
Avalon’s new identity as a musician began when he met Simon Rex (aka Dirt Nasty), the former MTV VJ, now rapper, who got him in the recording studio, as well as clubs with Hollywood’s rich and famous.
In 2006, Avalon rose to fame with his self-titled debut album which detailed his life journey and L.A. lifestyle, with it’s silicone, sex, drugs and of course, rock and roll.
Mickey Avalon spoke with City on a Hill Press about his views on Hollywood and hippies, false Wikipedia entries and the dirt on his falling out with Dirt Nasty.

CHP: I read the LA Weekly piece on what was essentially your life story. I’m sure you get a lot of questions about your past prostitution, drug use and family history. How does it feel to be so explicit about your life? Does it get old?
When we did the piece years ago, I wasn’t really thinking about hiding anything. I kind of said everything.
It feels like a different lifetime—not that its not relevant anymore, I don’t necessarily revisit those times in my mind. When they wrote all that stuff, I was still in the middle of it and was poking fun of it. I liked a lot of that stuff I was writing about.
It’s a little trickier now that I have success. People might misunderstand the jokes.
CHP: Most of your songs have to deal with a certain Southern California lifestyle. For example, “So Rich, So Pretty” talks about girls who obtain beauty through designer clothing, plastic surgeries and eating disorders. What do you think about the Northern California? What would you write about?
Being that I live in SoCal, I just kind of wrote was around me. People are a lot the same around, but then there are differences. Northern California is more hippie. I say that in a good way. I don’t think hippie is a bad word. It’s not as plastic.
People are still funny no matter what. I moved to Portland awhile ago. I got married and had a kid. I wanted to leave all the stuff I talk about in my songs. I wanted to raise my kids in a good area without that bullshit.
I was shopping at the health food store and had to get food for the kid and thought that the hippies loved everybody and were open-minded. They had like dreadlocks and tie dye and Birkenstocks. I thought that was uniform for loving everybody and being open.
However, they were really into everyone that looked like them. They didn’t treat me really nice and it felt like L.A. in a way. I thought I left this materialist shit, these people were still were like, “My club is better than your club.” I had a shaved head. Since I didn’t have dreadlocks and Birkenstocks I didn’t really fit in.
CHP: Speaking of L.A. culture, what do you like most about it?
Most is the weather and being by the ocean. Go somewhere where you like the weather.
CHP: Least?
Everyone’s into their career. If you met someone, rather than “How are you, what’s your deal?”, they would ask “What do you do?” Everyone’s so driven. Rather than going to parties and having fun they’re to trying to network and be ahead.
Where I live, it’s not easier because people are full of shit. It’s so hard to find people that aren’t.
CHP: According to Wikipedia, you attended Webster University in St. Louis before you signed with Interscope Records.
That’s the only thing that’s not true. I’ve been to St. Louis one time and I didn’t go to college.
I did a brief stint at a community college in Portland. I got some little loans to pay for the classes. I took some art classes and a few writing classes. I actually became a writing tutor and got paid. At the time, the most I’d gotten paid was minimum wage—five to six bucks. They paid me nine bucks.
I dig school. Some people are really anti-school. If you have the means to do it, do it. I didn’t—I was already married and had a kid.
CHP: I read you used to be apart of a well-known graffiti crew in Hollywood. What kind of art you doing now?
I did [art] when I was younger. I will [again] when the time’s right, when I have a nice collection of paintings that won’t be connected to Mickey Avalon. I do oil paints, paint figures and stuff.
Take for example Marilyn Manson. He’s a painter and does cool watercolors. But then people might want to go because of Marilyn Manson. I’ll rather them like the art and find out later that it was me.
My favorite living painter is a guy named David Choe. I went to school with him. I didn’t even know he was artist. He is the sickest painter. He does paintings on campus and painting outside. Graffiti, but not pieces with letters. He does the crazy figures and scenes and shit.
CHP: You were in a rap group called Dyslexic Speedreaders along with Dirt Nasty, Andre Legacy and Beardo. In a Myspace blog entry posted August 16th, you wrote that the Dylexic Speedreaders were “finito.” What happened?
Unfortunately, things happen that you hear happen to people but you don’t think will happen to you. Bands break up and hate each other. We thought that it wouldn’t happen to us because we’re boring.
Soon things got in the way. Money stuff. We were best friends. I had a manager, then we all had him, then I left him, then they stayed with him. That would’ve been fine, but things got worse and worse. Not only did they not help me out with that situation, they got in the other side and screwed me.
I still have to send money to my old manager, shit they could’ve helped me get out of but didn’t. Our first few tours ended costing me a ton. I come back in the negative and my manager paid them also. They came home with a certain amount of money and I came home with negative $50,000. Everyone got their commission except me, so I got deeper and deeper in a hole.
It got to the point where we couldn’t really talk.
CHP: You and Simon Rex (Dirt Nasty) aren’t friends anymore?
No, we’re not anymore. Or Andre Legacy. But Beardo’s on tour with us. He’s the only one I’m friends with.
CHP: Tell me about your new record. How’s that coming along? How is it different than your first?
The only difference is on my first record I hadn’t played any shows. I wrote from my head whereas now I still work in my head, but say for a chorus, I think about some things work better live. As far as the chorus, I think more of the audience and what they would take to better.
CHP: I first heard your music when I was cleaning some dude’s apartment in exchange for weed my freshman year of college. He was playing “Jane Fonda.” Under what circumstances do people usually play your music?
Sex, drugs and rock and roll. People said they get laid to my music. Boys and girls—people say they get lucky at my shows. Even if they don’t dig what I’m doing, they can pick somebody up.
Strip clubs play my songs a lot. People said they’ve worked out to it, appropriate for a song like “Jane Fonda.” That’s about everything—expect sleeping.


Words by Valerie Luu.
Photography by Melissa Rachel Black

Matisyahu @ The Catalyst 10/20/09

Heavyweight Dub Champion started off the evening without any introduction.  Rather, the founder of the band, Grant McDonald Chambers who goes by “Resurrector”, showed up in a white wife-beater, touting the longest dreads you’ve ever seen and began slaving away at what appeared to be a synthesizer, drum machine, and sampler.  He literally almost blasted the audience away with booming rap and dub beats.  The young crowd was a bit unprepared for the loud, trance-like reggae vocals and underground dancehall which vibrated the walls, and most folks stood still in awe.

The Catalyst was packed to the brim by the time Matisyahu took the spotlight, and he opened with “Jerusalem” to roars of approval.  With his Peyos (curly sideburns), kipah (head covering), Tzitzis (tassles), and long straggly beard, Matisyahu looked like many other Orthodox Jews.  However, unlike most, Matisyahu is a pioneer of Jewish reggae, which he infuses masterfully with rock and hip hop. 

On stage, Matisyahu was extremely relaxed, creating a very easygoing and unpretentious atmosphere.  Guitarist Dave Holmes executed an epic solo while Matisyahu did the most adorable jig that can best be described as “the happy dance,” in which he hopped around and swayed his arms.    They played older material such as “We Will Walk”, and “Time of Your Song” as well as gems such as “One Day” from the new album Festival Light.  A rendition of the top 40 hit “King Without A Crown” was uproariously received, at which point a friend of his came and joined in on the happy dance.  Matisyahu also busted out astonishing beat boxing skills, and surprised the audience when he altered his reggae vocals to a deep accent-less rap voice. 

My favourite part of the evening was when Matisyahu’s kipah slipped while doing his jig and he had to take a short break from busting a groove to adjust it.   Not only are his lyrics inspiring, and his talent unbeatable, he’s just plain adorable.