|
| 
|
| Enough
About the King
Room 710, 12/18/03
The sound was blurry. I couldn’t tell what the guitarists
were playing, due to their over-distorted tones. Strange lighting
effects made it look like the dreadlock SG-playing guitarist
had some sort of Slipknot-esque paint on his face. This perception
may have been reinforced by his baggy pants and hip-hop dancing.
His guitar tone was so mushy I couldn’t distinguish
it from the general static effect of the whole band, yet from
watching his fingers it appeared that he had a bit of experience
and technique, and well coordinated sonically with the other
guitarist. The other guy was playing an ESP through a Mesa
Boogie, and his tone not as mushy but equally indistinguishable
due to a sharper, more effected type of static distortion.
He played most of the leads, running up and down the fretboard
at random while pushing effect pedals with his feet. It wasn’t
any more distinct than his rhythm playing, but the static
got louder.
The bass player was more distinguishable, and seemed to be
the forerunner of the group -- he moved around a lot, banging
and slamming, and every note was audible. Pretty simple bass
lines, but effective in the overall pounding, chaotic sound
of the band. The drummer was talented, and kept very good
time.
The singer. When he screamed there didn’t appear to
be any words, although he may have been reciting some sort
of verbiage in his head that corresponded to the rhythm of
the band, but it didn’t sound like anything but a guy
yelling random insults.
This band gets an A+ for stage presence and effort. They’re
obviously not trying to make “music”, so I won’t
judge them on any of the criteria relevant to music. They
were great at making a big mushy wall of sound -- basically
dance music with a lot of noise mixed in. I was surprised
to find out that they were from Austin, because local acts
tend to be less well practiced. They were obviously trying
to fit into a “new metal” or “hip-hop with
rock instruments” category, and sounded as good as any
of the big guys who do this style. So if that’s your
boat, Enough About the King will float it. If you’re
looking to get pumped full of groovy anger, go see them. If
you’re going out to see some good music, go somewhere
else.
-
Mike Scalzi
|
Rusted
Shut
Room 710, 12/12/03
First,
let me just start off by saying that I have to give anyone
who actually attempts to play music much respect for having
the balls to put it out there. I find that the older I get,
the more I can appreciate different types of music on different
levels like that.
Now
let me tell you what I thought of Friday night at 710. You
know that sound that it makes when someone gives you a raspberry?
Or how about the sound when you’re watching a cartoon
and something bad happens to the main character? You know
where I’m going with this.
I
couldn’t believe the noise coming out of the club last
night. If I could use one word to describe the whole night,
it would be ‘horrific.’ People were being driven
out into the street in droves on account of the ‘music’
that was being played.
Awhile
ago I saw Melt Banana down in Houston playing with the Melvins.
I had just seen them previously in Atlanta, and was totally
blown away. I had never really gotten into this kind of ‘noise
rock’ so I was pleasantly surprised. I was halfway expecting
that kind of a sound on Friday, but I honestly don’t
know what was going on.
Thank
God for Gorch Fock who always saves the day. Although without
the trombone playing antics of the lead singer, it did leave
me feeling a little empty.
Overall,
this show left me wishing that my ears had been rusted shut.
-
Corri Mava |
 |
|
|
Lonnie
and the Complainers
Room 710, 12/19/03
In
the case of Lonnie and the Complainers, I was surprised that
they were not a local band because they sounded so loose and
unrehearsed. After the show I talked to Lonnie and found out
they were actually from L.A., so I told them that I’m
from San Francisco and they asked me why I was down here.
I told them I was here to “make the scene” and
write a review of his band for a local magazine. Back home
they call me the “Electric Romeo”(but down here
I’m just another cowboy with a sad song). Anyway, he
told me he was glad I liked the show and I said, “Where’d
you get the idea I liked it?”
Then
the old lady said to him, “Aw, he just blew in from
the coast and thinks he’s a cocaine Romeo, so I’m
gonna send him blowin’ right back up!” (Who’s
afraid of Virginia Wolf?) But then they gave us each a free
t-shirt so I have to give them a good review, cause I take
bribes, or at least barters, and after all, they were really
nice guys.
By
saying they weren’t very ‘good’ I didn’t
mean that I didn’t like it. It just wasn’t tight
and they sounded like they didn’t give a shit, but they
didn’t give a shit pretty successfully. I remember the
lyrics of one song went: “Bad movie date / I got home
by eight / Now it’s time to masturbate.” This
is brilliantly juvenile and self-deprecatory because you can
hear exactly what they are saying, i.e., the vocals are clear
and audible. This is rare these days, and the guys actually
kinda sing, rather than just screaming. Lonnie plays an acoustic
guitar and there’s another electric guitar player. They
aren’t a very loud band, hence the accessible vocals.
There’s not really much else to say about them. They’re
from Hollywood, they sound sorta like Jonathon Richmond or
maybe the Violent Femmes with more balls and man-jokes. Entertaining,
if not musically intriguing -- but after all, that’s
the whole point, isn’t it?
-
Mike Scalzi
|
|
|
|
