Archive for the ‘Reviews & Commentaries’ Category

Jump On Japoney Appoe

Wednesday, August 10th, 2022

I bought a DVD of the first season of Wonder Showzen a few months back, and I’m finally getting around to watching season two on archive.org. The show uses the schtick of a kitschy kid’s show—crude animation, puppets, smart mouthed children—to make mincemeat out of every touchy subject imaginable. The result is a show that is capable of offending everyone on earth. And sometimes that even includes me!

A few clips of it have apparently gone viral in recent times (Bush was still in office when it was originally on the air) because people just can’t tell if the show’s brutal satire is for real or not. I think there is something very powerful about something like that, something that continues to make people uncomfortable. It forces people to confront the true nature of the problems they would rather not think about, the things that even the most gung ho social commentators on all sides of the political spectrum would rather sweep under the rug. In a world where polite ignorance is more socially acceptable than actually dealing with deeply rooted problems, Wonder Showzen tackles those problems and their absurdities all at once with a shuffle and a wink at the camera. That’s what I like about it.

It’s also just really amusing seeing rando New Yorkers get egregiously pissed off at a blue hand puppet asking them stupid questions.

Fun Times With Some Rowdy Guys

Tuesday, July 5th, 2022

My first log as a legal adult. Who would’ve thought! Yeah, I’m pretty hardcore. It’s definitely an interesting time to be going through so many rites of passage, from graduating to reaching adulthood last Sunday. It’s also pretty interesting how all these rites of passage seem to coincide with similarly wonderful concerts. I got an incredible DEVO show as a graduation party, which I’m still not quite over. This time around, it was the Melvins who brought me into adulthood on Friday, two days before my gestation completion anniversary. I wanted special for my birthday, dammit, and I ended up getting much, much more than I could have ever asked for. At the very least, I can check off my list seeing the mighty King Buzzo’s hair in person.

The concert also coincided with my first time to what was once a steel capital of the world, good ol’ Bethlehem, PA. Sounds quaint, doesn’t it? The town surrounding the venue and extending across the river itself is nice and quaint. The venue is located right by the old Bethlehem Steel plant, which was operational until, somehow, the mid-nineties. It now looms over a bustling little cultural spot, towering as a series of antiquated pagodas of rust and dead industry. (The morning after the Melvins my family checked out the self guided walking tour along the plant’s old material transport trestle, which allows for some incredible up-close action. It’s truly an incredible and fascinating sight to experience.) The venue itself also houses a movie theater and boasts an orange spiral staircase adorned with intricate blown glass art where we waited to get our tickets checked. Within the ballroom, concertgoers could’ve gotten a table at the also orange balcony looking out on the crowd and stage. The steel plant loomed behind the stage through the large glass windows and would later be illuminated in neon light when the sun set. All in all, it was very atmospheric.

I was initially positioned directly stage right, up against the security gate as I’ve gotten used to at shows that feature them, for openers Harsh Mellow (excellent name). I was impressed at their energetic, intense brand of noise rock, and I’m really excited to see what they do in the future. I had drifted back slightly and more towards the front of the stage to talk with some of my dad’s friends by the time the second band, Helms Alee, took the stage and proceeded to turn everyone’s minds to sluuudge. I actually wouldn’t be surprised if their set went on for longer than the Melvins’. I had a good view of their drummer, who was a total powerhouse in her own right and also very sweet at the merch booth before and after the show. Fun times.

And then, promptly as the headliners took the stage, I was shoved—or maybe something in my consciousness pulled me a little bit—right up against the gate, just slightly off-center from Buzz Osbourne’s microphone stand. What followed was something akin to my mind being blown—or maybe it’s more like my mind being unfolded and refolded, like origami. The more I think about it, the more I’m sure the triple threat of “Oven”, “Lovely Butterflies”, and “It’s Shoved” that opened the show flipped some sort of weird, hidden, primal switch in my brain. I feel like a reformed young woman now after having seen the Melvins. As a result of the weekend’s sonic therapy, I feel respectable and healthy urges to put myself out there more, engage myself more creatively, and try different styling techniques that would increase the volume of my hair. Well, maybe the latter is just the aftershock of getting to see Buzz’s incredible hairdo in person. I am being completely serious when I say that no photograph or video can truly replicate how absolutely incredible it is to see with one’s own eyes.

But I digress.

To put it simply, the band was relentless. Songs launched into each other with the beat of Dale Crover’s pounding, primal drums with barely any time to spare, blending the night’s sequence of events together like a syrupy sweet molotov cocktail. Yet sonic blasts of pent up punk rock fury still played ping pong with sublime, smirking moments of teasing quiet throughout the night—thanks, complex and diverse song structures. “Bob” bless their current bass player, Steve McDonald, who wore what I initially thought was an ironically awful white disco suit before realizing it was some sort of fancy kung-fu jacket accented with gold, elevated from it’s previous Halloween costume status. He was clearly having the time of his life up there, hopping around, crouching, and striking many an audacious pose throughout the night. And then there was Buzz, the one perhaps most appropriately dressed up for Halloween in July in his iconic skeleton robes. I can safely say I’ve never been more intimidated by a man than I was there in my spot in front of the vicious King Buzzo himself, and that’s a good thing. I was even too intimidated to take photos when he got probably as close to my part of the audience as he could’ve gotten as he hammered on his transparent-body guitar. I was that in awe. He and Steve thrashed surprisingly precisely around the place, making good use of the stage’s expansive floor area due to Dale’s drum kit being placed so far back. Dale emerged from behind his instrument of choice at one point to use one of his sticks as a sword in a brief fencing match against the neck of Steve’s bass, which was extremely entertaining. The same goes for Buzz’s liberal use of hand gestures during breaks in songs where he didn’t play guitar, which I will always find very, very amusing no matter who is doing it (and no matter whether or not their hands should actually be strumming those strings at that place in the song). Yes. I dare say the whole band took it to twelve.

I got more used to my surroundings as the night went on. I was marked safe from the inevitable pit the entire time, though I briefly considered joining it before remembering how lucky I was to have acquired the best view of Buzz in the house. Besides which, it was really funny glancing over periodically at the antsy, stingy looking security guy at the front of the stage, who was jerking back and forth as he watched the pit with much concern. It was pretty great to glance back at, too—imagine “Honey Bucket” tearing up such a clean, modern, composed establishment! At the beginning of the show there was some sort of country band playing on one of the complex’s outdoor stages, visible through the glass wall from my initial standing position. I wonder how those guys would’ve reacted to what went on inside. In terms of my reaction, I was mesmerized, pulverized, and totally hooked even after the band left the stage. They could’ve gone on another hour and I still would’ve been wanting more.

But hey, the band is pretty well known for their tour grind, so it’ll presumably be easy to see them again down the road. I slept contently that night knowing that.

Two days later I turned eighteen. If it were 1970 I’d be old enough to kill, but not for votin’. I’ll probably be woman enough to not be able to kill or vote at all soon if this country keeps going the way it is. 246 years this week, huh? I see so many people nowadays wondering how many years it’s got left with the way things are.

Based on their hypotheses, it’s probably less than the Melvins still have in them.

(I posted some more photos here, by the way.)

In Some Sci-Fi Vein

Monday, June 13th, 2022

METAL. In terms of the material, I was always a big fan of it. Shiny, industrial, dignified—METAL. It’s pretty great. In terms of the music genre, I’m not really a metal person, despite my frequent punk persuasions. Between the two genres, metal is more known for long hair and being a bro and stuff, which isn’t my scene at all. But, alas, everyone has to go through certain rites of passage in their lives, including that of one’s first metal show. I got to go through that on Saturday.

I was kind of dragged (no offense) to see Voivod in Baltimore by my father, who is a big fan. He is so much of a big fan, in fact, that we ended up getting to meet the band before the show, and I am happy to know that they are all really nice people! I spent most of that time talking to their drummer, Away, who, as someone not very familiar with the band and its members, I did not expect to be a spry little dude with a heavy French accent named Michel. He also does all of the band’s dark, dystopian artwork (which is pretty awesome, by the way). He’s great. They all are!

I actually rarely listen to Voivod, but I’ve always respected them. Their lyrics are heavily influenced by science fiction and are a lot more intelligent and conscious than your average “I wanna rock n’ roll all night” metal group (no offense times-2). They also don’t succumb to the screamy or guttural vocals that I never cared for yet always associated with the genre (no offense times-3), and they did a great version of “Astronomy Domine” at the end of the show, proving their range of influences. And most metal shows do not involve a spontaneous snippet of “Stayin’ Alive,” which is probably the only time I’d be able to take that song.

They clearly put a lot of octane into their performance, taking on sped up punk with the same intensity as their more experimental, droning numbers. Most may not call them “punk” out of metalhead instinct, but they maintain that sensibility. They’re still out there, soldering on, and the crowd was visibly very grateful. I actually spent a good amount of the show monitoring the pit, which inevitably formed. With my beloved camera in my hand, my beloved purse stuffed with all my crap, and my beloved cellphone in my back pocket, I wasn’t going to risk joining it, but it was fun to observe. Luckily I was only ran into once during the one moment during the show where I looked down at my camera away from the action. Otherwise I was able to jerk and flinch my way out of contact’s way whenever someone would get too close, though others inadvertently shielded me from the pit at various times throughout the night. The no crowd surfing rule was broken six times.

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And, all in all, despite being displaced from my comfort zone for a night, it was a fun one. I’m glad I went!

One of the most recent comments on Voivod’s last.fm page reads as follows:

voivod restored my faith in humanity, watered all my crops, paid off all my cars and mortgages, cured all my ailments, fed my family and pets, kept the heater running during winter nights, attended my wedding AND my funeral all in the same day this is amazing. love them

which I think is a much better way of summing up the group than I ever could.

Those Canadians!

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Go Ape

Sunday, May 29th, 2022

I got around to watching Planet of the Apes for the first time last night, and I don’t think a film has soared like a blasphemous paper airplane so high above my already lofty expectations before. I adored it. Rod Serling must have been having the time of his life writing the script—”human see, human do”? Come on. It’s too good. I have literally never been so giddy watching a movie as I was when the high judges at Taylor’s unjust trial recreated the famous “see no evil, hear no evil, speak no evil” formation as Zira and Cornelius tried to present their theory of human-to-ape evolution. It was just too perfect.

Despite the film having been released in 1968 (and featuring a “don’t trust anyone over thirty” reference as a sign of the times—though that’s probably just what all this ‘boomer’ talk mutated from) it felt all too relevant. If anything, it was refreshing. Too often into today’s world, the human is viewed as a creature of pure goodness and virtue by both sides of the societal equation. Either acts of cruelty are always good and just, or they are inhuman and unnatural. But neither of these perspectives recognize that humans are equally capable of good and bad. The same goes for the film’s apes: you have your Zaiuses, and you have your Ziras. The ape society shown in the film insists that it could have never evolved from a previous species; socially accepted religion states they were created in their higher power’s image. The earthly powers that be within that society know the truth—that they evolved from dirty, uncivilized humans—but calls heresy on anyone who tries to legitimize the facts. Doesn’t this fear of truth in favor of species superiority sound familiar? The apes repeat the flawed duality of the humans that came before them, and Taylor retains it as he tries to claim superiority over the apes instead of equality. It goes to show that a lust for power over others is an innate and primal instinct, and it can only be tampered by favoring reason and fact, which, while not impossible, is being slowly eradicated on a wide scale—and even the proprietors of the truth aren’t always perfect.

Life is so fun!

With all of this superb social commentary, I find it really amusing that the film’s popularity inspired a slew of sequels that, from what I understand, centered on primal action scenes over a message. They ended up even making Planet of the Apes toys so that America’s youth could not only watch man find himself reflected in what he once saw as the complete opposite of his society, but also reenact it on their own on a miniature scale. And how do you get kids to buy toys in the 1970s? You put that crap on TV.

The youth of that era needed to know that the off model, extremely dinky figures and play sets being churned out were the coolest, most action-packed experiences ever conceived in between their Saturday morning shows, and how else to do it but to condense the film your toy line is based off of into about a minute of compact insanity?

Whoever was responsible for this commercial was clearly having the time of their life. It totally reduces the film down to it’s most base parts but does so so creatively, so elegantly, that I say it deserves some sort of spot up there with the original. Budget and length constraints only imply the opening spaceship crash via the astronaut doll literally washing up on a sandy shore. He provides extremely dramatic, kung fu gripping narration as he explores his surroundings and is captured by apes who seek to “OPERATE” on him to keep him from being a “FREETHINKER.” He swiftly escapes with the help of some actual human children, who were also probably also having the times of their lives moving him around the plastic set.

But the absolute best part comes at the very end. Mimicking Taylor and Nova’s ride into the Forbidden Zone at the end of the full length film, the newly-free, nameless astronaut doll sits on the back of a mechanically powered toy horse as it actually trots across the shore. The human kids are gone, as they have gotten bored and moved on to the next hot licensed toy line. The astronaut peeks out from behind a seaside rock formation to explore “WHAT STRANGE PLANET” he’s crashed on. The screen immediately cuts to the most adorable rendition of anything ever: a cutesy shadow of the Statue of Liberty stretches out across the beach as the terrified astronaut gasps “OH…NO…” upon realizing that this mysterious planet was his own (despite surely having not been made in the US of A). He stops short of goddamning anything to hell, which would not be permitted on child oriented TV. It is absolutely glorious.

And I will always be a cheerleader for reason and logic, but sometimes you just need a dose of gorgeous, perfectly executed insanity. You just gotta bask in the glory and remember where you came from.

Thank you, Rod Serling, for being such a genius; and thank you, MEGO Toys, for being such shills!

On The Inside

Saturday, May 21st, 2022

“…are we not MEEEEEEEN?!”

“WE ARE DEEEVOOO!”

DAMN right.”

On Wednesday night, the seaport district of New York City was overtaken by hordes of beautiful mutants. It would have been my third to last day of high school had I not taken two days off to throw down with some enlightened brethren to see DEVO, that de-evolution band who have been soldering on for forty-nine years now. The show they put on did nothing to dent the reputation they’ve built up for themselves.

We arrived in NYC a few hours before the show started and ushered our way down to the waterfront as quickly as we could to mingle with spuds. Energy domes of many colors and persuasions—classic red, blue, black, mirror ball—sat on many heads. (I wore mine on the way to New York, getting many compliments and side eyes in the process, but ended up leaving it in the hotel room due to its bulkiness.) I spoke to many friends I hadn’t seen in months and others that I had long anticipated meeting in person.

The show marked the first time I had ever taken an escalator to a concert. The herd was guided up a good three or four of them to the roof of the complex where the stage was located. The entire scene was very swanky, something DEVO deserve after years of toil and the steaming hot weather of the festival they played in California last weekend, which was a talking point among its attendees. The buildings of New York City towered in the distance. The noise they made probably echoed out over the water and over the city like the ring of a gun.

Thanks to my bodyguard duo of friends Chaim and Rachel, I was easily able to assume my usual DEVO position: right up against the guard rail. Much like my last fling in Chicago, I found myself directly in front of Jerry’s synth bass setup.

Rod Rooter’s sardonic address, familiar to us from Chicago, opened the show once more. And to quote the New York Dolls, something must’ve happened over Manhattan, because the sheer energy that DEVO brought was monstrous. Every member was absolutely in their fullest de-evolved element. I would have never expected to see Jerry smile so much during a DEVO show. He was clearly having the time of his life up there, especially during my favorite live offering of theirs, “Secret Agent Man,” when he let his tongue wag around like he was in autopilot ecstasy.

The guitars were sharp as usual—Bob 1’s sonic attacks at the audience came out very nicely, especially as he snapped his strings during his frazzled “Mr. DNA” solo. The stoic Josh 2 wielded a brand new custom axe that blended in well with his radiation suit while Josh 1 slammed the skins with alien precision from stage right.

And of course, Mark Mothersbaugh, certified birthday boy, gave a fittingly good show, even if the large speaker box in the way of my view reduced him to a disembodied head and sometimes obscured him entirely many a time throughout the night. The rest of the time, he came out far enough for my part of the audience to bask in his de-evolved glory.

And even when DEVO wasn’t singing, they had the crowd by the collar. Jerry gave a bitter, all-too relevant monologue to the “spuds, spudesses, and everyone in between on the spectrum” in the audience before “Jocko Homo,” lamenting the sad worldwide spread of de-evolution—when it comes to good ol’ DEVO, politic and stage presence are not mutually exclusive. Later, the certified birthday Booji Boy of the night came out at the encore to throw energy dome shaped cookies—wrapped in COVID-safe prophylactic baggies—at the crowd. He monologued about DEVO’s dead cool friends rising from their graves and crawling to the venue while Jerry looked on with the most glorious, bug-eyed face I’ve ever seen. And then it was over.

But not yet for me.

Shortly after arrival I learned that I alongside a few other young alien types were not only invited to meet the band in the dressing room but also to the after party (thanks, Michael!). The “dressing room” was a vast little room that everyone was crowded into one third of, by the door. It was in this space where I found myself face to face with Mark Mothersbaugh himself. Scared and intimidated by his form, I had to put my oft-neglected self defense skills to use before he could pounce first.

Not too rusty. After this photo he wanted to make sure it turned out well for the memories. That rascal.

I also got to remeet Bob Mothersbaugh, who remembered me from DEVOtional 2019, and talk to Josh Hager, who proved to be just as kind in person as he’s been to me via Fakebook. Jerry was in a rush—with “a lot of crap to deal with”—and I barely caught him.

After the room had cleared out, the after party was next in our targets. Set in a even smaller but equally swanky restaurant on the first floor, the room was packed with people, many of whom I didn’t recognize. I had never encountered such a busy, socialite, adult event, but I was able to mingle my way around successfully, talking to old friends and even a few new faces.

I bumped into Mark again, mentioning my plans to attend Jerry and his alma mater, Kent State University. He gave me a sticker of DEVO’s newest logo, a golden compass with energy dome accents that the band members wore on their chests during the show, as a sort of congrats cookie. I did the same when I caught back up with Jerry later in the night. By that time he had relaxed from whatever had been going on in the dressing room. He seemed very happy to hear about my plans!

As the night went on, much of the party became a delirious and beautiful blur to me, the result of a positive disorientation. More and more delicious looking food was placed on a sleek, long white table throughout the night, and numerous times servers with swanky snack foods asked me and whoever I was speaking to if we wanted to try. The cake for the birthday Booji Boy, adorned in energy domes that were apparently marshmallow, came out some time during the night as Jerry serenaded Mark very enthusiastically. I ate a slice, even though I wasn’t hungry. There was talking, talking, and more talking. And it was amazing.

And then I rode home the next day and attended my final day of high school the day after that, an undercover agent as my peers remained totally unaware of the events I had witnessed just hours earlier.

Best graduation party ever.

Late Valentines

Thursday, April 7th, 2022

Just as I’ve gotten used to live concerts being resurrected in the past year or so, I’ve gotten used to them being called off, with the still relevant Miss Rona being the most common culprit. It’s become a surprise for a show I have tickets for to get cancelled for a reason that isn’t her persistent, lingering death dance. From Ticketmaster royally screwing over DEVO’s Radio City Music Hall date last year (which I’ll be making up for in May) to a band Melt-Banana was to play with postponing the whole tour due to visa problems, I guess I’ve just gotten used to shows getting cancelled in general. Most absurdly of all was definitely the reason why I had to wait until Tuesday to see indie rock outfit Snail Mail; the group’s tour was supposed to begin months ago, and we had tickets (at the behest of my dad). It was called off not because of a COVID case or travel visa problem but because lead singer Lindsey Jordan got polyps on her throat that kept her from singing, because life is just like that.

Luckily, her voice has healed and the band is back on the road. Tuesday’s show at Union Transfer was the first date of the tour, and the attendees of its upcoming dates surely have something to look forward to.

It was actually my first time in the City of Brotherly Love, good old Philadelphia, which greeted us with a law firm’s billboard that had the word “jawn” on it to declare that, yes, this is Philadelphia. To keep from straying too far from the venue, we sat down at the neighboring La Chinesca restaurant, which serves an eclectic fusion of Chinese and Mexican food. The eats were delicious and extremely fun. Who else would’ve thought to dip fried wonton chips in cilantro dip? Even better was that, inside and out, the place looks like you’ve stepped into a Californian mid-mod time warp to a future where radioactive space mushroom structures support stucco buildings and people eat in bubble structures bulging up from fake grass. I would’ve stayed much longer if I didn’t have a show to see.

Walking into Union Transfer afterwards, it felt strange being in such a large venue after many shows in cramped little clubs. But I got comfortable quickly. What we saw of opening band Joy Again were okay, with the highlight being a boxed cake being crowdsurfed over to a friend of the band who was having a birthday. But Snail Mail’s set was the real sweet treat everyone was waiting for, with the stage decked out in ivy-wrapped cupid statues. You wouldn’t have realized Lindsey Jordan’s previous sickness had she not mentioned it between songs (“I feel like I’m a eunuch, I’m like, EEEEEEEE”). Her voice—and a very unique one at that—sounded in top shape throughout the night. The rest of the band followed suit instrumentally, with each song coming out tight and precise with an appropriate amount of love for the good old nineties (they covered “Tonight, Tonight” during the second half of their set, and apparently their stage set up is In Utero inspired). From far back in the crowd, the light show was simply fantastic, with color palette changes between each song and occasional psychedelic effects that really made me smile. The band definitely had an atmosphere in mind, and they communicated it perfectly. I may not listen to them too often, but it was great to see.

The show’s encore began with Lindsey alone with her guitar, singing a solemn and beautiful song bathed in light. Suddenly, I heard a commotion behind me. I turned around to see, in complete contrast, a flailing woman being pulled off of someone else by at least two other people. We learned later that somebody got punched. I’m not quite sure what could have stirred that considering the mood of the performance, but I guess Philadelphia is Philadelphia for a reason. Luckily, I was safely socially distanced. It was worrying in the moment, yet hilarious afterwards. A catfight at a show where most of the songs being played were about longing for love. Life is like that.

Some Kind Of Fifteen Minutes

Sunday, April 3rd, 2022

I just finished watching The Andy Warhol Diaries, a recent documentary series regarding the life and times of of that oh-so prescient artist. It’s a fascinating glimpse into his relationships with both the people that surrounded him and the world at large, and I’ve learned a lot from it. The series’ exploration of his life is based on his fascination with the line between the real and the fake, and it pulls back the curtain on a lot of Warhol’s persona. Yet learning of that persona’s origins has only made me more fascinated in the man, the myth, the legend he built for himself.

Warhol was obviously ahead of his time in how he allowed the media to define his identity. Today, you can hop on any popular “influencer”’s Instagram feed and see what is basically an exaggerated, warped cartoon of reality, albeit in “real life.” It’s the entire foundation of celebrity—we see a generated persona we jive with in the public sphere, we hit the follow button, and we become so invested that we’re willing to take sides when those personas clash or even crack. There was surely some clashing and cracking happening one week ago, and it surely caused the internet to descend into pure chaos.

I didn’t see the Academy Awards through last Sunday because I got bored, but I woke up the next morning to a Facebook feed flooded with memes about the slap. They were initially lighthearted and reveling in the absurdity of it all, but as time went on, I began to notice a shift incredibly reflective of today’s digitally powered social realm: people started to take it seriously. Too seriously. Sides were taken and stood for. I saw vows be made to never discuss hot topic debates on social media ever again after the resulting comment chains got out of hand. One of my most favorite Facebook pages, Blistering takes from every coordinate of the ascended political hyperspace, which is dedicated to the most insane ranting of the internet’s most deranged individuals, made this very ominous post:

The Slap discourse has changed me. Deleting page soon. Go save your faves.

Not even the satire pages could take it. (As of now, the page is still active.)

The airwaves are less clogged now that the hype has died down and we’ve remembered that things like the early days of World War III and the Supreme Court exist. The Grammys are on, and I wonder if some event there will cause a similar tidal wave of absurd discourse over the ‘net. That might happen; it might not. But people will still be talking about it nonetheless.

Warhol would’ve had a field day.

Just Want A Way Not To Be What Gets Sold To Me

Tuesday, March 15th, 2022

Two weekends ago I got the chance to see a show by three of today’s most eye-catching and intriguing bands at Baltimore’s Metro Gallery. In complete contrast, this past weekend, I got the chance to see a group entirely associated with the nineties at the same exact venue.

The former experience was eye opening and, holy crap, oozing fun from all its pores. It ultimately made me feel some solace for our world to see that there’s still people out there bringing fresh creative perspectives to the table. The latter was similarly affirming. Post-hardcore group Jawbox reunited in 2019 after twentysome years of dormancy, but the pandemic put their live schedule on hold. Now, they’re back, and they proved last weekend that they’re just as strong as ever.

Tickets to Jawbox. Sold out show. Let’s go.

I’m lucky I got to go at all, really. I had waken up that morning to discover that my house had been terrorized by about four inches of snow in the middle of March. Somehow, despite the weather’s continued divebombing of my town as the day went on, the roads were cleared up enough by the afternoon to facilitate the drive down to the Metro.

The night opened with an acoustic set by Ken Chambers of indie rock group Moving Targets, who were supposed to perform but had to compromise after a COVID case among their ranks. His set was solid and a welcome escape from the frigid cold outside, and overall it laid a nice primer for the heavier music that followed.

What followed next left me slightly speechless out of pure excitement that I was seeing the mighty Jawbox once and for all. In retrospect, I guess there isn’t too much for me to say about the torrent the Jawbs unleashed on their audience—their blistering performance spoke for itself. Every member of the band was in their full element. To my far right, vocalist and guitarist J. Robbins could have stepped out of a bootlegged video of one of their 90s peak performances with the raw intensity of his presence. Kim Coletta supplied the low end with a monstrous bass tone that rumbled the building as she romped across center stage. Behind her, drummer Zach Barocas’ metronomic skills were tight and powerful, providing the perfect backbone to their herky-jerky post-hardcore compositions. And the group’s most recent addition, rhythm guitarist Brooks Harlan, fit right in amongst the high energies of the rest of the gang.

Their collective sonic attack was very satisfying, to say the least. And had the show attracted a younger crowd—the room was mostly populated of people who I assumed listened to the band in their nineties youths—I’d bet the entire house would’ve been as rowdy as it got the previous week! It was clear they were good to be back.

I’m grateful I got that chance to see such powerful music in such an intimate setting. It goes to show how a group who last gave it their all twentysome years ago can still pack the same punch today. The sounds that they unleashed onto the world back then remain shocking, exciting, and fulfilling. Their relevancy never faded. It’s a shame the world still hasn’t caught up with them and so many others.

It’s a disappointing and grueling reality that groups as sharp as Jawbox’s gnashers constantly get overlooked in favor of much duller selections. But spreading the word and continuing to solder on as they do only helps their cause. Luckily, it looks like they’re keeping up just fine in that regard.

And, besides, it’s a nice escape from everyday banality to let yourself go crazy to “FF-66” from the front and center spot.

Me and Kim
Me and Brooks

They Say The Apple Doesn’t Fall Far From The Tree, But How Far Does It Roll?

Thursday, March 10th, 2022

I headed down to Baltimore last weekend for yet another concert. The town treated me as well as it always does, even though I had never been in the part of town where the venue, the Metro Gallery, was located, lurking in the shadows of nearby University of Baltimore buildings. Right by the venue is a billboard currently displaying a Lizzo advertisement. Walking past it on the way to the club, I turned around to catch the heavy street graffiti on the back of the clandestine graphic. Once inside, the Gallery revealed itself to be a very efficient space with an intimate atmosphere and a modern sensibility. It’s clean, but not too clean, which kept it from becoming stuck up. It holds art shows as well as concerts, but the creativity of the bands I got to see blurred the line between the two.

The venue
The merch booth

First on stage was New York based collective CG8. I had never heard any of their cacophony before, but I was already familiar with their image: three leggy chicks in daring, D.I.Y. outfits tearing things up, rolling around in wires, and being as carefree as possible. I obviously expected some degree of a good time from them, but what I got ended up soaring beyond any of my expectations, not unlike Barbarella’s space ship. The speakers emitted sounds that were inexplicably alien, tensed-up, and fervorous. I had previously seen their drummer, Chase, at Man On Man’s Riot Fest performance, where her assault on her drum kit was a highlight of the festival weekend. She didn’t let up in Baltimore, either; she pounded away with heart shaking power and precision that has to be felt to be believed, making every song irresistibly infectious in the process. Bassist Lida’s lyrics, which I later read on the inner sleeve of the vinyl record they had for sale at the merch booth, are intelligent and poignant without sacrificing a strong and whacked-out sense of humor. They know that a smile is still essential for survival in today’s world. Their playfulness couldn’t have been better exemplified by their handmade getups: strategically cut neon leotards, boots made for walkin’, and straight-outta-Microsoft-Paint-pattern tights. It was as if the Powerpuff Girls got lost in the Forbidden Zone and emerged fifteen years later to teach the world what they had learned. They simply would not be the band they are without the emphasis on style—when they’re not touring, they keep a weirdo-techno-whack-out-chic fashion line that got featured in Vogue. But in all their visual tomfoolery they never once sacrificed their brains or their guts.

CG8
CG8

The set ended with the girls giving up their guitars and playing around with synthesizers, one of which looked like an orange cartoon cat. (I saw the same exact one while walking past the toy section at Target the next day.) Guitar player Veronika sang a little diddy about wanting to be things such as Paris Hilton and a calculator. And then, it was over. It was genuinely sad to see them have to step off stage; I could’ve taken an entire night of them I was so fascinated.

Luckily, the next set from Texas based hard rockers Pussy Gillette brought a similar spirit of raw and brazen intensity. From her appearance alone, frontwoman Masani Negloria, whose first name is a reference to the gap between her two front teeth, is potentially the most badass person in existence. She radiated supreme cool with an italicized capital C-O-O-L in her leather ensemble and awesome throwback afro. In a perfect world there would be a cult film where she and the CGs have an epic B-movie cacophony catfight battle of the bands, but alas, this is no perfect world. When she took the stage, she only doubly proved her C-O-O-L: her voice is a strikingly unique snarl that perfectly suited her in-between song banter, and she plucked the strings of her bass so fast her hand was constantly a blur. Each song in itself was an infectious blast of garage rock realness, with lyrics touching on everything from the cruelty of police brutality to a smorgasbord of bananas, hammers, and lettuce wraps. The Gillette set was a sonic burst of pure energy perfectly capable of obliterating the front door of your parents who are worrying where they went wrong when you started listening to bands that alienate the neighbors so with their awful racket. Yet I would bet that the band members wouldn’t be against sitting down with those frightened adults for a quick lunch and try to have a constructive conversation, bridging the cultural divide. It’s all about unity for them—unity under good music and good, not-so-clean fun. And extremely fresh H2O to swig between songs. Don’t we all deserve something fresh?

Pussy Gillette
Pussy Gillette

I had pretty much decided after Pussy Gillette wrapped up that there was no way that the rest of the night was going to match the two sets I had just witnessed. The rest of the crowd, however, had only just begun. Having stood right next to the dance pit the show of theirs I saw in D.C. last year, I knew that headliner Surfbort’s fans are quite the intense bunch. That spirit had seemingly only intensified in the three or so months since then. The moment Dani Miller stepped on stage, I physically felt a distinct shove as people started to crowd around, signaling that things were about to get wild. They did. I found myself getting jostled around by the overexcited crowd, caught in the outskirts of their mosh pit ritual to their rainbow-mulleted goddess. At one point I ended up against the stage right in front of the leftmost guitar player’s pedals—a very good spot—entirely due to getting practically shoved into it. I stayed there for a bit warring with my digital camera’s dying battery—pics or it didn’t happen—until I started getting jostled around over and over again. At that point I just stopped trying to keep up with the dancers and slipped away to a safer region of the crowd off to the side.

Surfbort

By that time in the night, I was less concerned with partying it up than I was with digesting the two acts that had just blown my mind. Despite seemingly existing on two opposite sides of a spectrum—the extravagant and the stripped down—both groups had important things to say, and they said them by inviting all spectators into the weird little curated tune worlds of their creation. Furthermore, these multimedia approaches aren’t restricted to their live shows. When you take a look at anything CG8, you’re falling head first into a psychedelic, digitally warped dimension to swim around in amongst the glitchy artifacts and cute girls. And when you watch a Pussy Gillette music video—they’re all filmed on old school VHS tape—you feel as if you’re watching a clip that has circulated for decades in the coolest sects of the revolution rock underground to much militant punk approval. And seeing these groups do their thing makes you feel as if the “classics,” all those bands that everyone loves decades later despite no one caring in their heyday, are here for you in full force.

And, suddenly, it’s as if there are groups that go against the grain of flash-in-the-pan trendiness to form their own multidimensional brands driven by progress, not stagnation or regression. It’s as if there are still true artists out there, brandishing their sonic weaponry as a guiding beacon for the outcasts, the delegated dregs, the perpetual aliens who are urging for something truly new. And as someone who happens to be one of those perpetual aliens, fed up with monotony and the systematic dumbing down of the mainstream, last Saturday’s event was one of the most satisfying things I’ve witnessed live in a while.

Me and Lida of CG8
Me and Masani of Pussy Gillette
Me and Chase of CG8

The Straight Facts On DEVOtional 2021

Saturday, November 13th, 2021

“A bunch of nerds in a room.”

If you can stretch that definition like a rubber band, you can squeeze DEVOtional within the resulting lasso. It makes the gathering sound not very exhilarating. DEVOtional 2021 was not that. I had been awaiting the weekend for over two years, since COVID-19 turned 2020’s event virtual. I was excited to once again witness a disparate gaggle of hipsters, super freaks, and disco dancers celebrating the existence of DEVO, the De-Evolution Band, over two days of de-evolved joyful noise. After months of slump, we were vaccinated and recharged, and the rubber band was about to snap from the pressure. It had been too long.

It took five and a half hours of highwaying it to Ohio Friday morning to make it to the hotel, where the fall foliage and afternoon sun greeted us warmly against the frigid wind. The refuge of our hotel room was crucial for primping and resting up between days.

As the sun began to sink and the chills intensified, we drove to the Beachland Ballroom some twenty minutes away on the outskirts of Cleveland. The small side tavern was intimate, granting me the chance to connect with friends who I had, for the most part, either not seen in over two years or only knew from the internet. Everyone was jittery to get back into the groove of socialization, taking photos fervently in attempts to preserve each moment.

As the night rolled on, the stage, which was almost the same level as the floor, became a showcase of some of the most interesting arrangements of DEVO songs to grace anyone’s ears. One man band Eric Nassau brought loop pedal preciseness to his passionate acoustic guitar, pulling eyes as his tongue clicks, “la-la”s, and whistles were looped and sampled on the fly with the press of his feet. Listening to an audio recording, one may assume he had at least two other guitar players and a beat boxer accompanying him. He was a man-machine with a heart full of soul.

Poopy Necroponde and the Louisiana Fudge Patch Kids followed, subjecting the crowd to a hypnotizing mutant drone-groove that hit like spiked psychedelics. I was entranced by the motley gang on performers: two drummers, women in dashing white hoods and sunglasses looking like vagrants of a post-apocalyptic desert wasteland, a masked drag queen, a tiger print tracksuit bro, a helmeted scrub mutant in heels, and, most normally, Poopy looking like your average indie rocker in a backwards cap and jeans. They were the ones who were kicked out of the circus for suggesting they incorporate more brown notes. As they brought their seemingly endless blast of sonic terrorism to a close, I looked around me to realize they had cut the population of the room down by about half. I stayed. In fact, I wished their set had gone on longer. I was left fascinated and without words. All I knew was that nothing was going to beat Poopy’s platter that night. The crowded bodies slowly refilled the room, a warm refuge from the November weather—until a subtle chill took residence in the air and never dissipated, presumably because someone turned on the AC. After a peek into the Beachland’s basement shop, I departed as the hyperactive Fantastic Plastics live streamed their neon-embodying performance. I needed to rest up for the real big day to follow.

The night’s sleep then gave way to Saturday. Food, shopping at the plaza outside the hotel, food, primping, then back to the Ballroom. The main floor was open, and despite its recent renovations, the place still looked and felt the same as I remembered it. Rows of folding chairs filled the center of the room; merch tables lined the walls; DEVO posters hung high juxtaposed with polka paintings and musty curtains. Assorted freaks and geeks milled around examining the purchasable wares and chatting amongst each other. It was good to be back.

The Jimmy Psycho Experiment kicked off the event about a half hour after I arrived with techie-lounge instrumental arrangements of classic DEVO tracks. The lack of words didn’t keep the crowd from singing along to the ones they remembered—I remember the chorus to “Freedom of Choice” getting a particularly intense treatment. Everyone seemed happier than ever to be uniting once more in that little room.

The event’s special guests also helped provide support. I said hello one time to David Kendrick, who drummed for DEVO in the late 1980s, and I did not get to speak at all to comedian Fred Armisen, who took up drum duty for the band once in 2018, but many others enjoyed getting to speak with them. More power to them.

The most well known guest of the weekend, bassist and ‘chief strategist’ Jerry Casale, was accompanied by his trusty wranglers: manager and friend Jeff Winner manned the merch table for the recent reissue of Jerry’s 2006 album while Jerry’s wife, the kindhearted Krista Napp, was also reuniting with friends and places she hadn’t seen in person in years. Knowing both from the internet, I was glad to finally say hello in person. Jeff, a hep cat who had never attended DEVOtional previously, was great to hang around and joke with throughout the night. Krista proved herself to be the older and cooler version of myself that I always assumed she was, never faltering in her friendliness. We stood together with shared friend Kati to watch Jackson Leavitt’s hyperactive Fight Milk set, chatting between songs [get “Wiggly World” back in your setlist, DEVO!]. As the video projection screen screamed with color and Jackson bopped around the stage, we were given a fascinating glimpse into the mind of a new breed of DEVO fan—the Generation Z strain. There were more younger folk in the room than I remembered in previous years, from very small children to teenagers. Having practically grown up at the DEVOtional—I first attended before I had even entered high school—it was interesting seeing the littluns and the bigguns both have their fun. Then again, I was the one receiving mutual respect from Krista, Jeff, and others I looked up to despite age disparities. It was as if we were all old friends. There were no generation gaps, but we were all DEVO.

And who is more DEVO than Jerry Casale? I met him face to face once at my first DEVOtional over three years prior, and he might as well have been meeting an entirely different person. On Saturday, I was granted the chance to meet him as the person I have become since then. The times I got to speak with him across Saturday and Sunday were the most soaring highs of the weekend. We talked in truth, and he responded to me with genuine appreciation and interest. I got to see firsthand the humility he maintains while retaining passion and pride for the work he’s done. Considering my previous positive experience, I wasn’t not expecting it, but it was gratifying to be on the receiving end after such a long wait. I don’t listen to interviews with Jerry as much as I used to—his frequent devolutionist doom-and-gloom zeal, while truthful, is best ingested in moderation, especially when college applications and other investments for the future are being made. But in a few of the more recent ones I’ve heard, he’s cited the enthusiasm of the youth, that new generation, as a vital source of encouragement. It was fitting, then, that he showed someone like me respect. He seemed delighted when I told him I had my target set on his and Krista’s alma mater, Kent State—my own duty now for the future. I felt as if, finally, someone outside of my isolated small town bubble thought I was worth talking to. He had no obligation to be in that room, but he showed up anyway. He treated the people he met with respect and dignity. It was a true honor to feel so valued.

Jerry disappeared after a riveting performance of “Girl U Want” with local teen punk group Detention; their female lead singer Elliott sang the lyrics in first person right beside Jerry, who sang in third person. The group surged with youthful energy, knocking the performance of theirs I’d seen at 2019’s 5KDEVO out of the water. They were noticeably more comfortable with their position as local rock stars than they had been two years ago. They were also even better at physicalizing the raw emotions that come with teen angst, yet that clearly didn’t stop the oldsters from having a ball right along with them. The aforementioned Fred Armisen even joined in their final song, a ditty entitled “Fist Fight In The Parking Lot.” TEEN ANGST!

The explosion of energy that Detention brought was hard to follow up. Al Mothersbaugh’s Massive Hotdog Recall—Mark and Bobby’s cousin—did a damn good job of doing so, injecting classic DEVO tunes with horns, green visors, and one face plant. My initial disappointment of not being able to give Jerry a formal goodbye was washed away in a flash as I couldn’t help but let myself loose.

DEVOmatix, an Atlanta based tribute group who have been an end-of-the-night staple for the past few years, were next, serving a mixture of fun DEVO covers and entirely original songs, a daring move for a DEVO tribute band to make. Nonetheless, not shabby.

The rest of the night after Al’s band was more low-key on my end, though that could not be said for the more rowdy attendees. The final group, The Super Thing, was a lighthearted super group of members of bands who had played earlier. This was apparently a signal for everyone who had been drinking throughout the night to let loose like there was no 5K in the morning—not that most of them were running it, anyway. A football playing spaceman in a long matted black wig had been running around since early on in the day, and he was still filled with energy despite being stripped of his wig and subject to runners in his uniform. A green-bobbed Holly Hobbie was also bopping around, sometimes shielding her face from boy cooties with a reflective visor; she wore red hair and a J-Pop Strawberry Shortcake getup the previous night. A relatively normally dressed man who had been getting visibly more and more jittery as the night wore on made it known that he wasn’t just a new waver: “PLAY ‘IRON MAN!’ PLAY ‘IRON MAN!’” No Black Sabbath songs were performed. The playful drunken mayhem was extremely amusing to watch from my folding chair. By the end of the night, a strange monument to the insanity I had just witnessed was installed in the corner of the room—a puffy rainbow coat decorated with the spaceman’s armor and hat wrapped on some sort of mannequin. It was a beautiful sight.

Eventually the super group performed their last song and the lights switched on. Party people said their goodbyes and organizers began to clean up. We parted ways with friends old and newer for the night. Jeff the rookie admitted he was glad he had stuck out for the long haul; he ended up really enjoying himself. I couldn’t see why anyone wouldn’t have.

The next morning, I got up, donned my running gear, waved goodbye to the hotel, and headed down to Akron, the site of the weekend’s grand finale: the 5KDEVO. Most of the others who attended the previous night didn’t follow suit. I could see why. I still had energy within me to run three miles; I had been training for over a year at that point, and I wasn’t going to let the opportunity to show my stuff go to waste. I didn’t. I earned the third place trophy in my age group and set a personal record.

The race’s aftermath was forced to bend to that force that humans have been bending to more and more in recent years: the weather. The efforts made to defy the cold, including taking refuge in a cheesesteak parlor, were understandable, but the event in turn lacked the fanfare of the sunny late July installment of the race I had ran two years prior. A strings and flute performance of DEVO songs by a chamber quartet was worth running the race to watch, yet the low-key nature of the post-race in general, in no intended offense to the race’s organizers, felt a little anticlimactic. Maybe everyone just wanted to get it over with as the cold took hold of them. Maybe some of them wanted the overwhelming weekend to end quickly and painlessly. Yet even being left in the cold as the scene winded down couldn’t damper the warmth I was still feeling from earlier.

We moseyed to the parking garage where our car was waiting to take us back to the real world. One thing was certain: I had a new standard of living.

[Photo by Tim Nolan. Thanks again, Jerry!]

Thanks Nick, Michael, Tim, Jeff, and everyone else who helped make DEVOtional 2021 happen!