Who Needs Coffee When There's Incesticide?

This morning the usual two to three cups of coffee didn't quite do its job. Some days the rain and lack of sunlight really does a number on my attitude. The Northwest is a dark and somber environment during the winter months and no amount of caffeine offers a good fix. So I did what I've always done when I need a little inspiration - I listened to music. Loud music. And since I live in Seattle I thought it would be appropriate to listen to something that matched the mood and the elements outside.

Naturally, I chose Nirvana's "Incesticide." It isn't the band's most popular album by any stretch, but that's probably why I like it so much. Insecticide has a harder edge than "Nevermind" or "In Utero," yet it's more polished than "Bleach." Much of the reason I enjoy the album is because of Dave Grohl's drumming. The band did quite a few covers on this one but it's hard to tell. And much of it has a Melvins influence; since Kurt was a roadie for the Melvins, it makes sense. The track "Aero Zeppelin" definitely has Buzzo overtones, with plenty of change-ups and heavy guitar riffs.

The songs "Stain" and "Beeswax" are my favorites. Lots of heavy guitar work, driving drum beats and ample Kurt screaming/singing. I took it upon myself to turn my eighties-era tower speakers up loud, probably offending my neighbors in the process, and played air guitar for a few minutes before hopping on my bike to battle the rain and the daily onslaught of inattentive drivers whom, unfortunately, probably aren't listening to Insecticide (actually that may be a good thing - hopefully they're listening to Beethoven to set their mood).

Those old Onkyo speakers of mine still crank it out. I may have damaged my ears, but at least my teeth weren't getting further stained from drinking more coffee.

Old School

I recently discovered a blog created by a guy named Nate (www.truepunkmetal.blogspot.com). On his blog he posts some amazing downloads of extremely difficult, and almost impossible, to find '80s era punk and metal. He is a wealth of information and grew up in and around the same type of environment I did - an environment of metalheads, punkers and jocks.

Back then there was a small group of us from Loveland, Colo., who were not into

what everyone else was into at the time, musically or socially - especially the jocks (before Metallica was cool to them) and preppie types. We chose to be outcasts, listening to and looking like the people we related to - the other outcasts and pissed off teenagers in America. We grew our hair long, we wore leather and denim jackets with drawings of our favorite bands on them, bands like Slayer, Cryptic Slaughter, Dark Angel, Circle Jerks and D.R.I. We went to shows, many times for free, to see bands who played with conviction. Although sometimes the music wasn't the most technical or talented, it was pure - unlike much of the nonsense played on popular radio and television shows.

- Attitude Adjustment ... mid-'80s -

I see a new generation of kids who look like we did back then, sporting Slayer patches and looking "hesher," and I kind of feel for them. Not because I have that "back in mmyyyyy day" mentality, but because it was more fresh then. Seeing Slayer at sixteen years old, shortly after the band released "Reign In Blood," was like a badge of honor. It was both frightening and life changing. Watching bands like Slayer perform now is different; not any worse per se, just different. It doesn't feel as "fresh." And how can it be when Tom Araya has gone gray and Kerry King has long lost his hair and gained extra weight. But hey, as long as there are still kids out there on the fringes, listening to and creating the next generation of "underground" music, things still seem to be ok. Now where did I put those Depends?

Tears for Odd Haircuts

I have recently been [re]listening to Tears for Fears' "The Hurting" at my workplace. And I must say, for a band who really cheesed out in their later years, "The Hurting" is a good album. It is both poetic and sad. It has good synth and bass lines. It also boasts a few saxophone riffs.

For the record, I hate saxophones. I mean I really hate them. They remind of shitty jazz stations and Kenny G. If you want a horned instrument that provokes a little complexity and emotion, pick up a trombone. Seriously. That said, somehow TFF manages to make the sax sound, well, alright.

The album's first song, "The Hurting," is sheer '80s, with quirky changes and bright and almost-danceable beats. Sure, it's a bit sappy lyrically, but one can look past that, right?

"Mad World" is a great song. It's been covered by a myriad of musicians, but the original is still the best. Great lyrics and mood.

"Pale Shelter" may be my favorite song on the album. I like the way it feels. Sure, it has that "Weird Science" vibe but the harmonies are brilliant and the synths are cool.

"Ideas as Opiates" is probably the rawest on "The Hurting." Using a simple electronic beat and piano, the lyrics consist of:

Say what you want

Say what you will

'Cos I find you think what makes it easier

And lies spread on lies

We don't care

Belief is our relief

We don't care

'Nuff said.

"Memories Fade" is the longest song of the LP. And it feels like it, albeit there are some cool Cure-type synths in there. My other complaint - the saxophone. Please kill the saxophone, please.

"Suffer the Children" is the song many new "Indie" bands are trying to replicate and only wish they could.

On "Watch Me Bleed," the bass line was borrowed from the Cure, again. Definitely not my favorite.

Change. You can't change. Change." Enough said.

"The Prisoner" is creepy. I like creepy.

The final song, "Start of the Breakdown," contains the following lyrics:

Is this the start of the breakdown ?

Scratch the earth

Dig the burial ground

Sense of time won't be easily found

And ten out of ten

For the ones who defend

Pretend too

Breakdown is a final demand

These could easily be lyrics found on a heavy metal album. Maybe I'll start a metal band and cover TFF songs.

The Tunnel

Tunnels are dark and sometimes kind of frightening. The uncertainty of what lurks out there in the vast and unseen space of its deep recesses often plays tricks on your mind as vertigo sets in, forcing you to shuffle your feet slowly underneath you to feel your way through the darkness, hoping to catch a glimmer of light to lead you out of the blackness and out to safety.

It’s only appropriate that Jeff Wagner and Patrick Crawford named their band The Tunnel. Both dark and full of sinister hooks, the San Francisco duo’s music draws you into an abyss, out of simple curiosity, and sucks you into the vaudeville of sonic dementia.

Wagner’s raw guitar playing and spooky lyrics transport you to the days of old when gypsies roamed in packs and magic potions were sold on dust covered street corners. Part Howlin’ Wolf, part Neil Young on the soundtrack to the film Dead Man, his style of guitar playing is arpeggiated, emotional and sinister.

Drummer Patrick Crawford’s hands reach to the sky and come crashing down on taut heads like an anvil dropping off a ten-story roof. He plays heavy and his drumsticks continually reach that John Bonham-style 12 o’clock position between collisions with the tom, snare and cymbals. Patrick is brothers with French Miami’s drummer Chris Crawford and has participated in stages of Rally of the Dead. He isn’t afraid to ride a bike.

Rumor has it that The Tunnel has recently added another member, Josh Layton, to make the band a trio. I’m looking forward to seeing how it comes together in a live setting. I have a feeling they chose well and he’ll do the band justice and round out the sound, not that there was anything lacking in the first place.

Do yourself a favor and get your hands on The Tunnel’s “Carver Brothers Lullaby.” It’s a solid album and showcases their musical and songwriting talent. Play it loud and often … and don’t be afraid when the lights go out. 

The Soft Hands - Playing SSWC's in Durango, Colorado

Music website Radio Free Silverlake called The Soft Hands “Jangly and nervous and exciting.” I may have to agree after seeing them play live last year and after listening to them further since then. Their music is definitely fast, not in a simplistic punk rock way but in a layered and syncopated way, and Matt’s high-pitched vocal outbursts make them sound a bit nervous and even tense. Drumbeats without a lot of fills, a quickly strummed guitar and driving bass lines give the band a unique yet familiar sound completely free of inertia.

Tight, fast and catchy, the threesome from Long Beach, California played Durango last year at the awards ceremony following the third installment of Rally of the Dead. They definitely created new fans and kept the otherwise exhausted audience shaking their booties late into the evening. My personal favorite is “Imagine Me,” an expeditiously paced gem featuring catchy verses and a beauty of a chorus sang by bassist, Elizabeth. “Know Your Own” is another catchy one that is both moody and soothing at the same time. The future looks bright for The Soft Hands.

You can purchase a copy of their first full length, “Hours Pass By,” at cdbaby.com. Just remember, it’s no wave, not new wave. 

French Miami Scheduled at SSWC '09 in Durango, Colorado

French Miami is a three-piece band from San Francisco. Their music is a delightful mix of synthy pop rock grooves and math rock ala Minus the Bear or Battles – with just enough of a groove to dance to without feeling stupid (or incredibly white).

Roland Curtis’s guitar riffs are unique, much of it coming from the tapping style he uses on his high-slung Telecaster. You can especially appreciate his style on the track “Science Fiction.” Roland also doubles up on instruments by playing keyboards. Baritone guitar player, keyboardist and vocalist Jay Heiselman’s voice blends the band’s songwriting prowess with comfortable harmony and sounds like a friendlier version of Glenn Danzig. Drummer Chris Crawford holds a beat. Down. Using an incredibly simple kit, he’s the backbone of French Miami’s sound and is a Jedi of the start/stop drum roll. The first time I spoke with Chris we got on the subject of Jawbreaker – his heavy hands reminded me of Adam Pfahler’s. Turned out it wasn’t a coincidence, as Jawbreaker was a big influence on his playing style.

“Veterans” of the Durango music circuit (alright, they’ve played only one show there, in 2007, during the Rally of the Dead awards party), the rollicking threesome is going to grace the stage for yet another singlespeed event in what will guaranteed be another raucous and highly energized live performance. In their hometown they have created a regular following and will continue gaining respect as they tour outside of the Bay’s confines. 

Check out their music at www.myspace.com/mrfrenchmiami