Alt-Rock

All posts tagged Alt-Rock

Black Francis of Pixies live in 2015.

Black Francis of Pixies live in 2015. Photo courtesy of facebook.com.

By Brandon Judeh (Music Reporter)

The auditorium was nearly pitch black as soon as college alt-rock heroes Pixies took the stage on Sunday evening.

Joey Santiago’s guitar let out an eerie whale as the music slowly crept in, the atmosphere almost like something out of a David Lynch film.

Fittingly, Black Francis begun to sing “In Heaven, everything is fine” from the song “In Heaven (Lady in the Radiator Song)” written by Peter Ivers for Lynch’s 1977 horror-head trip movie, Eraserhead

After the opener, things went hard and fast as the quartet smashed through 34 songs with quickness and reckless abandon.

“Andro Queen” and the classics “Wave of Mutilation (UK surf edition)” and “Ana” followed in frantic style.

David Lovering’s booming drums led the way on 2014’s Indy Cindy and 1989’s Crackity Jones, proving just how underrated his drumming skills is.

Pixies performing live in 2015.

Pixies performing live in 2015. Photo courtesy of rollingstone.com.

Though many long time Pixies fans were undoubtedly missing co-founder and bass player Kim Deal, touring bassist Paz Lenchantin did a fantastic job of taking her place.

The versatile musician, who has played in countless bands such as, A Perfect Circle and Zwan, has developed a great stage presence over the years.

Her laid back, summer-time fun personality counteracts Francis’s intense insanity perfectly and her sweet melodic vocals almost made hardcore fans forget about Deal.

Classics such as, “Gouge Away,” “Debaser” and “Bone Machine” sounded as fresh as ever and Lenchantin’s vocals on the later two were spot on.

The band noticeably left out a couple of songs that Deal had lead vocals on, most notably “Gigantic” off of 1988’s Surfer Rosa.

As the band chugged along during the humid Cleveland night, there was no crowd interaction at all, after one song ended the next quickly begun.

The crowd, with its mix of Gen-X’ers and young adults, had no quips, as they seemed transfixed on the rejuvenated rockers, particularly on the somewhat mysterious Francis.

“Hey, been trying to meet you/Hey, must be a devil between us or whores in my head,” Francis fittingly belted out during “Hey” with sweat pouring off his face.

When the quartet returned for an encore, they fired through a great performance of “Here Comes Your Man” and “La La Love You” much to the crowds delight, but soon vanished off into the night.

As almost mysterious as the show was, there was one thing certain.

This is a band, which not only influenced almost every grunge band, but also continues to influence a new generation today.

 

Cage the Elephant. Photo courtesy of the band's official Facebook page.

Cage the Elephant. Photo courtesy of the band’s official Facebook page.

By Brandon Judeh (Music Reporter)

When Bowling Green, Kentucky natives Cage the Elephant exploded onto the music scene and their debut record hit American shelves in early 2009, most could detect something particulrly special surrounding this band.

Though the album was released a full year prior in the UK, it begun to slowly build momentum in the US thanks in large part to the surprise success of “Ain’t No Rest for the Wicked” and “Back Against the Wall.”

Now, the rockers have three albums and countless hits under their belt and are embarking on a tour opening up for their friends, and Akron natives, the Black Keys.

Guitarist Brad Shultz recently spoke to The Raw Alternative and said the band has grown close with Patrick Carney and Dan Auerbach since doing several shows with the band a few years ago.

“We have great memories with those guys as well as the other bands we have toured with and grown close with. We have developed great relationships with various musicians and it’s been a crazy ride and I’m blessed to be a part of it,” Shultz said.

Cage the elephant

One could see why it’s been a wild ride for Cage the Elephant, as members Matt Shultz (Vocals), Daniel Tichenor (Bass) and Jared Champion (Drums) have played alongside bands such as Queens of the Stone Age, Foo Fighters and Stone Temple Pilots.

This would be a fantasy for most.

Dave Grohl even filled in on drums for the band for a couple of weeks in 2011 and is a self-proclaimed fan of Cage.

Currently the band is playing a lot of new material on the tour and mixing in old numbers throughout their set.

This is something Shultz said is a pretty neat experience.

“It’s good to get out there and play the new songs and even rework some of the older songs,” added Shultz. “It’s interesting to see how much we have progressed from the older stuff, to the stuff on Thank You, Happy Birthday! and now with the songs on Melophobia.

“What’s funny is, we will play like 17 songs and still get off stage in an hour because all of our songs are so short (Laughs).”

All joking aside, the band is now considered as one of Rock’s hardest working and most exciting bands, as they seem to tour non-stop.

“Playing shows is what we love to do, it’s a big part of our band and we put forth a strong effort to tour as much as possible to give fans more opportunities to see us,” Shultz said.

He also added that the crazier the crowd is, the crazier the show is. This is because the band feeds off of the crowd’s energy.

“That all kind of started when we use to play shows back in our home town at a place called Tidballs, it was this bar and fans would get so crazy in there and we would feed off of that.”

Playing big shows has also become a part of the band as they have now played Lollapalooza four times.

Shultz indicated that two of those shows are his all-time favorites and both sets were eerily similar.

“What a great feeling it is to play Lollapalooza, my two favorite shows we have ever played have been this year’s Lollapalooza and also 2011’s. Both times, ironically when we played, it was raining so hard and at points it was a downpour, it was awesome,” Shultz added.

Things were a little different this year at Lollapalooza for Cage the Elephant as long time guitarist Lincoln Parish was not onstage with his former band mates.

Parish decided to leave the band in late 2013 to pursue other interests.

Unlike most departures, this one ended on good terms as Parish, who joined the band when he was just 15-years-old, decided he wanted to focus on producing records.

“He joined the band at such a young age so he never really got to experience life,” Shultz said. “I think that now he is ready for some normalcy in his life, like wake up in the morning, have a cup of coffee and read the newspaper. He also has taken an interest in producing some records so as long as Lincoln is happy then we are happy for him and wish him the best.”

Replacing Parish is Nick Bockrath, who has also played alongside fellow Bowling Green natives Morning Teleportation, and Shultz says the transition has been a smooth one.

“Nick is an amazing guitar player, he is classically trained in jazz and fits in well with our band. We also added Matthan Minister on keys,” said the rhythm guitarist.

Though Cage the Elephant continues to enjoy the success that Melophobia has brought them with singles “Come a little Closer” and “Take it or Leave it” it will soon be time to make new music.

So far in the bands young career, each album has sounded different from one another, when asked what the new material may sound like, in typical Shultz brother humor (Matt is his younger brother), he gave this response.

“The next album is going to sound like Psychedelic Cowboy music, kind of like if John Wayne ate some shrooms and made a record.”

Soundgarden circa 1994. Left to right: Matt Cameron, Chris Cornell, Kim Thyall and Ben Shepard. Photo courtesy of rollingstone.com.

Soundgarden circa 1994. Left to right: Matt Cameron, Chris Cornell, Kim Thyall and Ben Shepard. Photo courtesy of rollingstone.com.

By Rick Polo (Editor-in-Chief)

What happens when you take the dark sludgy riff of Black Sabbath, combine them with the mystique and high-pitched shrills of Led Zeppelin, add in a pinch of psychedelia before slamming it through a filter of punk? Soundgarden is what happens.

Formed in Seattle in 1984, Soundgarden were among the first of the “grunge” acts. Combining the sounds of early 70’s British heavy metal and early 80’s American punk and alternative, Soundgarden had carved a unique niche in the local underground, quickly attracting the attention of emerging Seattle record label, Sub Pop.

By the late 80’s, Soundgarden were the first of their peers to land a major record label deal, signing with A&M. Their second LP Louder Than Love sold over 250,000 copies and their follow up, 1992’s Badmotorfinger, would go gold.

By the time of Badmotorfinger‘s release, the grunge movement had already begun to sweep American like a plague. The Glam/pop metal of the 80’s had all but disappeared by the early 90’s, as a more cynical, intellectual and anti-establishment musical movement took hold. And ttrailing in the footsteps of breakthrough Seattle acts Nirvana and Pearl Jam, Soundgarden were poised to soon take the reigns.

By 1994, grunge was at the height of its popularity. So much so, that many of the genre’s pioneers had declared the scene “dead.” However, that wasn’t the case, especially for who was arguably the genre/scene’s founding entity.

Soundgarden took the alternative scene by storm in 1994, releasing their iconic masterpiece, Superunknown. The album was their most concise work to date, with songs that showcased both maturity and a fierceness of a band at the peak of their prime. The sound and production, thanks largely to producer Terry Date, was thick and full, yet the raw primal energy is still very obvious. It’s well-produced without being over-produced. Overall, Superunknown stands as a clear indicator that Soundgarden had grown comfortably into their own skin.

The album kicks off with the droning sludging riff of “Let Me Drown,” a common sentiment of the grunge mentality. However, the second track almost trades the trademark angst for a Zeppelin-esque crooner with a funky, yes funky, bass line on “My Wave.” The single “Fell on Black Days,” follows, with implementations of odd time signatures and Eastern rhythms, the song may be the most diverse grunge radio hit of all time, as it still can be heard all over active rock radio. From there, the heavy and undeniably catchy riffs of “Mailman” and “Superunknown” before leading into the mystically manic depressive “Head Down.”

The next track would prove to be their biggest, perhaps definitive song. “Black Hole Sun,” with its use of the common loud-quiet-loud grunge formula with a psychedelic twist, has become a staple for rock radio and the band’s live set list. The accompanying music video, complete with face-distorting and the death of the planet, became an instant hit, and is widely considered one of the most artistic videos ever produced. Following it is the almost equally-iconic “Spoonman.” Written about a local performer named Artis the Spoonman, he is featured on both the track and music video.

Two of Superunknown‘s darkest tracks, “Limo Wreck” and the single “The Day I Tried to Live,” begin side two with a slower and darker lyrical take. The punkish “Kickstand” breaks the tension before “Fresh Tendrils” and the doom-y “4th of July” encompass the listener. Another Eastrn-style track “Half” leads the album into it’s bleak closer, “Like Suicide.”

Superunknown has been regarding a critical and commercial success, being widely well-received upon its release, selling over nine million albums worldwide. Lyrically, Soundgarden has always flirted with the dark side, and this record is no exception to that. However, despite it’s use of odd time signatures, dark lyrical themes and tendency for not-so-easy listening, the album skyrocketed into the mainstream. By the late 90’s/early 00’s, rock radio was full of acts highly influenced by Soundgarden and Superunknown in particular. From Days of the New’s use of alternate tuning to acts like Staind, Seether, Puddle of Mudd and so on and so forth, the influence of Soundgarden is too obvious at times.

Soundgarden released the slightly less-successful Down On the Upside in 1996 before calling it a day in 1997. Drummer Matt Cameron went on to play with Pearl Jam, where he is a current full-time member, and Chris Cornell went on to release three solo albums and front the supergroup Audioslave from 2002-2007 with ex-members of Rage Against the Machine. High demand for a reunion was asserted by fans and promoters alike and by 2010, Soundgarden announced a reunion tour and performance at the year’s Lollapalooza Festival. They stated that rather than reuniting for money, they waited until the time was right. In 2012 they released King Animal, to positive reviews and reception.

This year, Soundgarden will embark on a 24-date U.S. tour to celebrate the 20th anniversary of Superunknown alongside Nine Inch Nails (also celebrating a milestone album) and Death Grips.

All in all, the influence of Superunknown is one of the most long-standing of it’s generation. Contemporary post-grunge and metal acts site the album as a key influence, and it’s singles are still heard all over mainstream radio to this day. As a rejuvenated Soundgarden soldiers on into a new decade and new era, Superunknown remains an archetype for what the band can achieve in the future.

 

Melvins. Left to right, singer/guitarist Buzz "King Buzzo" Osbourne, bassist Dale Crover and drummer Mike Dillard.

Melvins. Left to right, singer/guitarist Buzz “King Buzzo” Osbourne, bassist Dale Crover and drummer Mike Dillard.

By Rick Pollo (Editor-in-Chief)

In the early 1980s, not many could have predicted that Seattle would be Generation X’s Liverpool in terms of a rock and roll renaissance. Sure, groups like the late-60s garage rockers The Sonics and 70s arena champions Heart call the city home, but a collective scene was yet to put Seattle on the rock and roll map.

By 1984, hardcore punk outfit Black Flag released there slowed down, Black Sabbath-inspired album, My War. The same year, bands like Swans and Flipper began to emerge, also introducing a slower and chunkier approach to aggressive angst-ridden punk rock. This sound was clearly ahead of its time, but left a considerable impression on the likes of Seattle outfits Green River, Soundgarden and the Melvins.

Originally formed as a hardcore punk band, the Melvins quickly emerged as one of Seattle’s most influential and ambitious acts by the mid 80s. Their unique blend of punk rock ethos, sludging heavy riffs and experimental tendencies helped spark a musical movement that would come to be known as “grunge.” Lead singer and guitarist Buzz Osbourne once stated that the band’s sound was “Black Sabbath-meets-Captain Beefheart.” Undoubtedly a perfect summation of Seattle’s perhaps most unsung and influential grunge act.

By the late 80s, the Melvins’ influence among the Seattle scene was blatantly obvious. Groups like Tad, Mudhoney, Alice in Chains, Mother Love Bone and Nirvana all were experimenting with drop tuning and searching for the heaviest and muddiest guitar tones they could find. For a moment, Seattle provided a renaissance in rock and roll, and the paradigm shifted. Over produced balladry was out, and noisy, angry punk and alternative was in. With the success of Nirvana’s Nevermind and several of the Seattle bands finding major label deals and mainstream success, the Melvins were at an epicenter of a movement. However, there break wasn’t easy.

As Seattle bands were getting signed left and right, the Melvins further pursued their musical ambition, shifting deeper into left field and away from what grunge had came to be known as, in the mainstream at least. They went heavier and sludgier, proving to have more in common with doom metal than Lollapalooza. Still, predecessors like Kurt Cobain continued to site their influence and eventually, the mainstream took notice. By 1993, at the height of the grunge scene, the Melvins signed their first major label record deal with Atlantic Records, and recorded their masterpiece, Houdini.

Houdini was unique in several ways. Much to the band’s dismay, it will probably always serve as the go-to starting point for the band. Sure, earlier albums like Bullhead and Lysol are classics in their own right. But Houdini is the first creative peak in an ever-climbing career of innovation.

Originally set to be produced by Kurt Cobain, Houdini is one of the most primal and raw, sophisticated and heavy and underrated alternative releases of the 90’s. Kicking off with droning doom riff of “Hooch,” it is immediately evident that the Melvins were not going for the sounds of Nevermind or Ten, but something more along the lines of the first records from Blue Cheer and Black Sabbath. Signature sludge tracks like “Night Goat,” “Lizzy” and “Honey Bucket” serve as templates for nearly every doom, sludge and stoner rock act that followed, making even Kyuss sound like The Spin Doctors.

Houdini also has it’s share of quark. An unlikely cover of Kiss’ “Goin’ Blind” sounds nothing like the original, yet ultimately caught the eye of Gene Simmons, who often performed the track with the band during the time of its release. Tracks like “Sky Pup,” “Hag Me” and “Copache” are well representations of the band’s experimental side, an aspect of their sound they would also later explore and expand upon.

Commercially, the Melvins were never quite able to top the success of Houdini. Artistically, it was only a launching pad.

As fellow Seattle acts spend the later half of the 90’s and early 00’s dominating rock radio, the Melvins dug deeper into the underground, earning a very loyal following. Despite their lack of commercial exposure, critically acclaimed records like Stoner Witch and Honky resonating hard with their dedicated fan base.

By the late-90’s they were dropped from Atlantic Records but eventually signed to Mike Patton’s Ipecac Recordings. From there, a golden age of experimentation ensued. In 2003, they collaborated with ambient artist Lustmord for the Pigs of the Roman Empire LP and in 2004-05, they collaborated with Dead Kenndys frontman Jello Biafra and Tool guitarist Adam Jones for the LPs Never Breathe What You Can’t See and Seig Howdy! After a successful period of collaboration, they returned to their roots for the sludgy and trippy Senile Animal in 2007.

This year, the Melvins celebrate two milestones: The 20th anniversary of their landmark Houdini and 30th anniversary together. They chose to celebrate in true Melvins fashion by releasing two artistic achievements within the same year. Earlier this year, they dropped a collection of covers titled Everybody Loves Sausages featuring reworkings of tracks by artists as diverse as Queen, Venom, Throbbing Gristle, The Kinks, David Bowie and Lead Belly. Their latest jaw-dropper, Tres Cabrones, was released in October.

As the Melvins enter their fourth decade, they show no signs of slowing their innovative sound. That innovation has proven very influential, with sound that is impossible to properly categorize. Not only has Kurt Cobain and members of Tool announced their love for the trio, but contemporary players like Mastodon, Crowbar, EYEHATEGOD and The Dillienger Escape Plan have all sworn by the Melvins.

As trends came and went, artists risen and fallen, they continue forward, in a linear but upward direction, blowing minds and provoking thoughts at every peak.