- Part 2

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Deltron 3030 Lights Up The Social in Orlando

Concert Reviews No Responses »

Apr 052014

deltron-3030-performing-at-the-social-in-orlando_kisses-and-noise

Image via @OfficialDELTRON

I’m a pretty big fan of hip hop. Clever lyrics, killer samples, and bowel-shaking bass rattling my car and/or house make me feel warm and fuzzy. Hip hop live shows, on the other hand, are hit or miss – mostly miss. Del tha Funkee Homosapien‘s unique vocals and tight beats make him a pretty sure bet for live performances as far as rap goes. Add the wizardry of Dan the Automator and the ninja-like turntable prowess of Kid Koala and you might have one of the best live hip hop acts – ever.

Kid Koala came out for a warm-up DJ set. He began with a story of how the tour managers fucked up, got the wrong equipment for him and explained he has been borrowing turntables at every stop along the way. Kid assured us this was a disclaimer and not an excuse. I’m not sure if he was fucking around. He said something about them bringing in guitar equipment instead of his turntables, but he may have been obfuscating, trying to add mystery as to why guitar, bass, and drums were on stage. I’m not sure. The Social was packed and loud. Anyway, he set them motherfuckers on fire during his DJ set.

Deltron came out with the assistance of the aforementioned instruments; guitar bass and drums bolstered the already powerful 3030 trio. Simply put, they fucking rocked it. They came out swinging with a fast-paced, high energy set that felt more like a rock concert than a hip hop show. Hands down one of the best rap/hip hop concerts I’ve seen.

Dylan Miles Frechette sits in with Trevor Jones Band at Cervantes, Denver

Editorial No Responses »

Apr 022014

Dylan Miles Frechette continues his World Domination Tour. Not only has he moved on from Orlando, FL to Denver, CO, but he pushed past the drums and added guitar to his repertoire. He is only seven years old! Dylan Miles still plays the drums everyday, but has been taking weekly guitar lessons for several months. He took to the stage recently to add a little rhythm gee-tar to the Trevor Jones Band.

Dylan got on stage at Cervantes in Denver to sit in with New Orleans good time vibe-ist Trevor Jones and The Voice of the Wetlands All-Stars. In a super-cool move, Trevor brought Dylan on stage to share the musical experience and jam. “This is something we do in New Orleans a lot, we bring the shorter people up,” explained Trevor before they slid into “Bayou Breeze.”

BREAKING: Eric Carr to be Seated with KISS at HOF Induction

Editorial No Responses »

Apr 012014

Gene Simmons and Paul Stanley will be bringing the body of late KISS drummer Eric Carr to Brooklyn for the band’s April 10 induction into the Rock and Roll Hall of Fame, Simmons confirmed to RollingOnion via email.

“Just because the Hall of Fame has refused to honor any of the players who soldiered on with us after we fired Ace [Frehley] and Peter [Criss] doesn’t mean that we have to sweep an entire era of the band under the rug,” Simmons says. “So if that means hauling out the carcass of one of the sweetest guys who ever lived and propping him up next to Bruce Kulick for a couple of hours, then so be it.”

“It’s real funny,” Stanley noted via text message. “People sometimes assume that somebody has to be alive to be part of the KISS family. But we love Eric’s cadaver like a brother, and we can’t wait to see it again. We’re looking forward to having a warm one-way conversation about the experiences we’ve shared and all things KISS, just like we used to in the old days.”

Privately, Hall of Fame officials are confused by the apparent inconsistency in the band’s stance: Simmons and Stanley made no effort to track down ex-guitarist Vinnie Vincent, still technically alive, and never lobbied for his induction into the Hall. Yet in an act some see as defiant, they are reserving a spot for Carr’s corpse at their table while founding members Criss and Frehley share a folding card table situated near one of the serving carts.

“Let’s just say that, with all due respect to Peter, we expect Eric’s contribution to the evening to be more vital and animated,” Stanley responded. In an official statement posted on the website of East Coast DJ and second-tier-cable celebrity Eddie Trunk, Frehley said, “Gene and Paul’s decision is an insult to the memory of Eric Carr. It’s bad enough how they’ve treated me and Peter, but now they’re using a dead man as a prop – literally. I don’t exploit the memories of the deceased, which is why I was so careful to barely mention Eric in my book.”

RollingOnion reached out to Criss for comment, but could not get him to read his email, pick up his phone, answer the doorbell, or comply with the March 31 deadline to sign up for Obamacare.

UPDATE: Since this story was posted, an alleged representative of Carr’s estate has filed suit in a Manhattan lower court, claiming sole ownership of the late drummer’s body. The suit claims that Simmons and Stanley ignored repeated warnings that Carr’s remains could not be unearthed and moved without the complainant’s consent. The law firm of Dewey, Cheatem and Hilsen also alleges ownership of the rights to several songs Carr was thinking of writing in the late 1980s, as well as Marvin Gaye’s “Ain’t That Peculiar,” just in case.

- Hot off the wire from our Senior KISS correspondent, Steve Schneider

We Love You Eric!!! – RIP

St. Vincent Live from The Tabernacle in Atlanta

Concert Reviews, Concert Video No Responses »

Mar 112014

St. Vincent performig at The Tabernacle in Atlanta - photo by @jordanivy

photo by @jordanivy on Instagram

I got an enewsletter from St. Vincent (customer retention!) with tour info. Of course Orlando dates were nowhere to be seen, but I did see a weekend date at The Tabernacle in Atlanta. On the mind-numbing drive up 75 (maybe not as bad as I-10 through the panhandle) I realize that this may be the first time I’ve gone out of my way for a female artist. By “out of my way” I mean making a trip out of it. There is a short list of bands I will travel anywhere I can afford (two towns over) to see. Radiohead, the Pumpkins or anything Billy, The Black Crowes, Queens of the Stone Age, Modest Mouse, Placebo, My Morning Jacket, and maybe a few others make that list. I think I can add Annie Clark to that list.

She is just a powerhouse – and easy on the eyes, ya know what I mean? Huh-huh? She is a brilliant songwriter and singer producing some of the most intense and intelligent indie pop out there. She hit what I thought was a sort of apogee with her last album, Strange Mercy, but Annie’s collaboration with David Byrne, Love This Giant, is mindblowing. That experience with Byrne – writing, recording, and performing – seems to have energized her and pushed her to new levels. Her eponymous 5th album is her best yet.

What makes me go ka-ka-cuckoo for her is that beyond her aforementioned strengths she is a true axeman (woman). She is deceptive in her shredding prowess. Annie reminds me of Prince in a weird way. Don’t gasp! Stick with me. She can easily stand toe-to-toe with other rock artists in the songwriting category, but she takes it a step further than pop sensibility because at any moment she can just take over a performance on the merit of her soaring, screaming ax. Not many people that aren’t in a jam or metal band do that. Take the Smashing Pumpkins for instance. Maybe you are a casual fan or remember a few songs you liked and decide to see a concert. What you are really going to get is the Billy Corgan Guitar Clinic. Annie can do that.

On Saturday night at The Tabernacle she played with all the charisma and precision she is known for. It was parts pop diva-ship, performance art, and rock show. The moments when she stomped a pedal and stepped in front of the mic or climbed her lighted staircase, Miss Clark would unload scorching six string fury on our faces and the crowd howled in recognition of the awesomeness. She owns it. The rest of the band was stellar and mostly electronic working synths and samples, and “manipulating 0s and 1s.” They were precise, adding the technical touches and textures that make her albums so rich. Her drummer was obviously fantastic as he locked down to a click-track and played with drum machine accuracy, but I felt like he needed to open up. I wanted the drums to be more assertive and propulsive. I wanted them to make the funky sections a little dirtier and the rocking sections a little more explosive, but you can’t complain about perfect time.

Bright Light Social Hour Return to The Social

Concert Reviews No Responses »

Mar 042014

The Bright Light Social Hour were back Monday night and in rare form as usual. I guess it’s not “rare” then, but anyway. I thought, “I love these guys live, but I’ve seen them three times on one album! What could I get out of it?” Well, as I hoped, TBLSH focused on brand new music this go around. There was a big audience for a Monday night and I can’t help but think my previous reporting on the band is solely responsible for the groundswell of support they are enjoying. I want mention in the fucking liner notes of the next album! Well, it might have something to do with the power of their live shows, strong social media presence, and thousands of other bloggers and fans, but whatevs.

The new stuff seemed to get more psychedelic at times and more straightforward rock at others as compared to the anthemic funk rock of their debut. The new guy on keys, Edward Braillif , also adds a sort of techno/electronica feel in places, which can work really well at driving the songs up to swirling crescendos. Eddie B also fills in with rhythm guitar on occasion. I caught part of their set on the lawn at Rollins last year and realized AJ Vincent (old keyboard guy) was gone. Apparently, they parted ways with Vincent due to “creative differences.” That guy was no slouch either, but had a more retro vibe – which I don’t think hurt them at all.

Well, the new music was pretty good. I caught one of the songs:

More Bright Light Social Hour:

The Bright Light Social Hour Unleash on The Social in Orlando – 5.11.12

Interview: The Bright Light Social Hour Are Coming to Town

Bright Light Social Hour at The Social 12.29.12

Homme Don’t Play That

Concert Previews, Concert Video, Editorial No Responses »

Feb 062014

Just about every lead singer can talk the talk, but how many can walk? Josh Homme, frontman, founder, and lead shredder in Queens of the Stone Age, is a rare breed these days. A lead singer that can throw a tantrum and threaten to kick someones ass, but actually be able to knock their fuckin’ teeth out. We all know about Axl Rose’s temper. Let’s say, for some reason, Axl singled me out in the crowd and jumped in after me. Axl is about 5’8″ and in his hay day was about 145lbs soaking wet. I would literally grab him by the face and throw him back on stage. That’s not going to happen with Joshua. Some people assert that QOTSA lacks that sense of danger they had with Nick Oliveri. Nick might have been a maniac, but Josh is pretty damn dangerous. Take the incident at The Mahaffey Theater Tuesday night.

Read my review of the QOTSA show from the Mahaffey Theater in St. Petersburg, FL at Suburban Apologist

Photo by Bridget Burke

The band took a break from working our faces like a speed bag to slow down the pace momentarily with a song from Like Clockwork … “The Vampyre of Time and Memory.” Here is where an intoxicated fan took advantage of the intimate nature of the theater to make his way on stage and show his love for Josh. Homme don’t play that. This sturdily built bearded dude wrapped up Josh from behind in a bear hug. Josh jumped up to subdue the guy. This fella, drunk and determined, got a little squirrely and slipped away. You could see a change come over Homme and calmly say to himself, “not in my store you don’t.” It almost seemed like he was putting an Aikido move on the dude. Josh placed one hand on beardy’s shoulder and another on this guy’s wrist. He seemed to get leverage with the wrist hold then pulled the guy’s shirt over his head hockey fight style and pitched him headlong into the orchestra pit. My video picks up just as the guy disappears into the pit:

Mr Homme has a history of not taking shit from pussies. When you’re 6’4″ and probably close to 240lbs your swagger comes with a little more authority. Here is a compilation of Josh calling people the fuck out:

The funniest part of this compilation is that half of these instances are a big, badass, American rock ‘n roll hero telling Euro-trash that he is going to fuck them up. Haha! U-S-A! U-S-A!

Orlando fans may recognize this section of the compilation. This might have been my first or second QOTSA show. It was the $2 MTV concert. Here is my first taste of Homme’s no bullshit policy. He basically straight-arms a pretty large dude right off the stage:

Here is a little jam to get Orlando ready for Friday night’s Queens of the Stone Age concert at Hard Rock Live

Build and Release: Nine Inch Nails Bring Tension 2013 to Amway Center

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Nov 022013

The last time I caught Nine Inch Nails was with Queens of the Stone Age here in Orlando and in Tampa. At that point I didn’t see how they could possibly top themselves visually. We would have to make another thrust forward technologically as a species to even conceive something more grandiose. Well, we are not colonizing the moon, but Trent has reconvened and reconfigured NIN for 2013 in a seriously mean way. The visceral attack of the music was as poignant and raw as ever and the light show was astounding. Although it is not what was originally planned, this live line-up for Nails might be the best it’s ever been. Nine Inch Nails always existed at the crossroads of technology and music by seamlessly melding the fury of rock, industrial, and punk with digital and embracing all technologies that underscore the music, enhance the live show, and unite the fan community. The Tension 2013 Tour may be the apogee of Reznor’s vision for NIN.

Interview: David Sanchez of Thrash Metal Band, HAVOK

Interviews No Responses »

Oct 242013

HAVOK came to Orlando with legendary Sepultura founder, Max Cavalera, and his band, Soulfly. I caught up with David for a quick interview out on the loading area behind The Social to talk about the current state of metal, world politics, heavy metal inspirato, and horror movies among other things.

HAVOK is a seriously bad ass thrash band that seems to have absorbed all that is great about classic metal, mixed it up, and spit it out with attitude, originality, and authenticity. This couldn’t have come at a better time for me. The geo-political and economic state of the world is screaming for good metal and punk, but I just haven’t found many bands that resonate. Indie music and hip hop are growing tiresome, but nothing heavy outside of alternative bands like Queens and the Pumpkins do anything for me. Mastodon is OK, but just a little too prog-y. New or Nu metal is too math-y and just lacks the chunky bite of colossal riffage that drew me to heavy metal to begin with. I just end up falling back on the greats: Slayer, Sepultura, pre-91 Metallica, Anthrax, and the like. HAVOK is the real deal:

Soulfy and HAVOK live from The Social in Orlando

Concert Reviews, Concert Video No Responses »

Oct 242013

I’ve lamented on the state of metal in previous posts. I don’t know if I’m just too old to care or metal just isn’t what it used to be and the puss-ification of America only underscores the lack of real heavy metal alternatives. My interview with David Sanchez of HAVOK confirmed some of of my suspicions. Tuesday night’s show was like a breath of fresh air – actually a choking gasp of smoke-filled, metalhead perspiration fart – that brought the crunching, classic sounds of Max Cavalera’s Soulfly and the revelation of a new (to me) thrash metal band that gets it right. The walls of The Social shuddered as the blistering volume of real metal and the swirling mosh pits did their best to reduce the place to rubble.

It sometimes seems that Soulfly is a loud, lazy shadow of what Sepultura was. The songs are short and focus on the devastating riffage and Max’s voice more than pulling off Sepultura classics and Soulfly tracks with precision. Six minute songs feel reduced to 3-minute medley versions of tracks. For instance, I’m sure “Arise” is a 5-minute song that clocks in a 2 and a half minutes at Soulfly shows. BUT it doesn’t matter once the bowel-shaking breakdown comes in the middle of the song. So it comes off as a punk twist to classic metal that Soulfly employs. I’m not sure if that even makes sense. Max’s gritty guitar skronk and thunderous, demonic vocal growls more than make up for anything missed. Add in the fact that his 20-year-old son, Zyon, is an absolute fucking beast on the drums and it is worth the price of admission.

HAVOK is new to me and boy I’m glad I found them. There are strands of Slayer, Kreator, Overkill, Megadeth and other classic genius in their DNA, but they are able to churn up their influences and blast out angry, original, and totally for-real thrash metal. Hallelujah! Praise Satan. They are rock solid all the way around and deliver their set with machine gun precision.

*Mental note – Taking pictures at a thrash show is fucking pretty hard. I had to cradle my Canon 60D in my arm like a running back half of the time to ensure it wouldn’t be headbutted out of my hands and stomped to shit.

Our Wild Love rocks steady with Uneven Beats

Album Reviews, Local No Responses »

Aug 232013

When I reviewed “Low” some months ago I described it as falling somewhere between Muse and Depeche Mode. Uneven Beats continues in this new direction with veins of new wave, indie, and Top 40 twisting through the flexed, sinewy muscle of Brit-inspired alternative rock. Amid the bass, smothered in fuzz and distortion, thudding drums, twinkling keyboards, and layered waves of synthesizer, Crider defiantly belts, “They tied up my hands / They think that can hold me down.” Our Wild Love charges out of the gate and grabs you by the throat. It’s a new sound and they aren’t going to give you time to think about it.

Our Wild Love is Luis Mieja on guitar, Paul McCorkel on bass, and Duke Crider on vocals – all former members of Plain Jane Automobile. It’s basically PJA sans a drummer (Paul lays down some organic drumming here and there). As Crider puts it, “Our Wild Love is our new band. PJA is on permanent hiatus. James, our drummer, decided to leave PJA, so we sat down to discuss continuing as PJA or something else entirely. So two drum machines, some keyboards, and countless hours of learning and experimenting later, OWL was born.”

The music on Uneven Beats is stepped up from their successful previous band. It’s bolder, more daring – yet refined and mature. They’ve turned the corner as a group. McCorkel’s bass hacks and chisels at the meter with such intensity that it steps up from behind the scenes and puts its signature on every song. Meija’s usual guitar heroics are subdued, weaving subtle tones intelligently between samples and synth lines. Crider’s lyrics are more potent and stirring too. “I’ll bite, and kick and scratch the door / Then turn to stone and sink below the sea / I’ll camp out on the ocean floor / Just to get a glimpse from underneath” and “Gorgeous and lovely / Still battered and ugly /Explosions in my chest / Slow me down enough to / Catch my breath” convey both angst and passion, walking the fine line between poetry and nonsense that make rock lyrics so great (and tricky). Those tracks – “Money” and “Sleepwalking” respectively – are brilliant. “Money” might be the most pop-y and upbeat. It shimmies and swaggers its way into your heart through your ears. I found myself whaling (screeching?), “Steady feeeeeet / Make uneven beeeeeeats / You’ll go running to the money / to the money.” The somber entrance of “Sleepwalking” feels like it could be The National. This song is big and has heart. It reminds me of Coldplay only in that they were able to create grand and sweeping pop with the simplest of moving parts.

Pull all of this together with subtle songwriting nuance, dress it up with top-notch production and Uneven Beats leaves the Orlando scene, injecting itself directly into the mainstream musical conversation. Little touches adorn this EP from head-to-toe giving it an incredible sheen. From the modulated voices at the beginning of “Low” and the seamless change of gears at the end of “Disappear” that moves it into a sloshing, sludgy electro rock jam to the slick, sentimental outro of “Sleepwalking,” Beats proves itself to be an excellent listen over and over again.

Listen AND buy Uneven Beats Now!

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