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Blog On: Invasion of the Yuppie Punx featuring Pete “The Electric Grandmother” Faust

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Two of my favorite people in life had the chance to hit up this years Riot Fest Chicago in, you guessed it, Chicago.  Pete and Mary Alice were gracious enough to share their experience with me and all you crazy readers out there.

Riot Fest, for those of you who may not know, is basically a 5 day punk rock Lollapalooza.  Instead of me listing all of the bands here, I felt it best for a busy guy like myself to post the concert poster of it:

Pete, aka The Electric Grandmother, has been a good friend of mine since the days when I was young.  We have always shared a true love for punk rock and even if he keeps telling me over and over that punk is dead, I know he is not speaking of the punk that binds our friendship so strongly.

Please enjoy Pete and Mary Alice’s hilarious and heartfelt story/review about the time they left Ohio to see some classic punk rockers play out in Chi-Town.

Thanks guys for the share!  I turn it over to Pete now:

It’s Friday morning, and we’re about to get breakfast at Wendy’s in the Columbus airport.  Two young ladies are waiting in line with us, one with green hair and one with pink hair, both decked from top to bottom with authentic punk rock garb.  “You guys going to Riot Fest?” I asked them.  “Yeah, which night are you going?” the green-haired girl responded.  “Um,” I swallowed.  “All three nights.”  After breakfast, as I walked with our laptop slung over my shoulder, hand in hand with my beautiful well-dressed wife, I realized that we had officially become yuppie-punks.

Who’d of thought?  Not me, but then again I never picture myself in the future, I just do a lot of planning ahead. It wasn’t careful planning, but an uncharacteristic spur of the moment idea by my wife and I to go see our beloved Screeching Weasel in Chicago at the 2009 Riot Fest.  Those who know my wife Mary Alice know that she only travels in style, and since I’m lucky enough to be attached to her, I travel in style by proxy.  Here’s me getting punk rock in our hotel room:

And here’s my wife showing everyone how a hotel robe should be worn:

After an exciting trip to the newly renamed Willis Tower, we ventured downtown to the Congress Theater for the first of three Riot Fest nights.  The doors opened at the venue at 5:30 PM, and we left our hotel room at 7:45, as we were only interested in seeing the Dead Milkmen, the fourth of five bands scheduled to perform that night (told ya we were yuppies).  Being that we hail from Columbus, the land of late-starting shows, we figured we’d be there in plenty of time – not so.  When we arrived at the Congress, the Milks were already 10 minutes into their set.  We were a bit disappointed, but not crushed since we’re hardly Dead Milkmen aficionados.  We found out later that we had missed them performing “Punk Rock Girl,” but did manage to catch “Bitchin’ Camaro,” as well as a few other well known singles that poseurs like us enjoy.  The staff at the venue seemed really cool, and the crowd in attendance made us not feel too old to be there.  There were lots of people there in their 30s and 40s, interspersed with the kids that were born after the Dead Milkmen were formed.  We left before the Murder City Devils came on, because we’re old and don’t like to watch bands that we know nothing about.  All in all, we were at the venue for maybe 45 minutes.  Such poseurs.  We went back to our fancy hotel and drank until bedtime.

The girls who we met at the airport said they were going only to see Cock Sparrer, a 70s/80s-era Cockney-Oi!-Working Class-Skin-Et Cetera band who reform occasionally to do Oi! things on stage.  We managed to catch Cock Sparrer on Saturday, as we had made sure to leave early to catch NOFX, a longtime favorite of ours that has enjoyed a listening renaissance with us in the past year.  We made sure to go to the venue’s upper balcony while Cock Sparrer performed, as we wanted no part of the inevitable skinhead roughhousing that was to occur below.  We ended up enjoying the band on many levels, and they seemed like cool people. They were nice bald guys in their 50s, who were just there to perform British working-class anthems for a bunch of rich American kids, and there’s nothing wrong with that.  Even if that Oi! stuff isn’t my thing, I still enjoy watching a crowd sway and wail and “Whoaaaaa” to Sham 69-style boot boy music.  My wife kept laughing at the similar thematic elements in the bands songs, i.e., “This song’s about working!”  (Seriously, they have a song called “Working.”)

Cock Sparrer from the balcony

Sorry it’s so blurry, our camera sucks.  Look at that well-lit guy at the bottom, that’s weird.

Following the Sparrer was the NOFX.  I had seen them perform only once before in 1996, and they were the exact same band – which is a good thing.  Fat Mike took the stage wearing Joker makeup, a la the late Heath Ledger in The Dark Knight.  Following some intro music and a few minutes of self-deprecating jokes, the band launched full speed into the classic “Linoleum,” and the crowd went batshit crazy (as did we).  The band then proceeded to hammer through their (45-60 minute?) set in maniacal fashion, only occasionally interrupted by the trademark crowd-baiting banter from Fat Mike, which included his teaching a 12-year old audience member the definition of “Felching.” It was very cool to see all the characters that we’ve come to know from viewing NOFX: Backstage Passport multiple times, not just the band, but the wacky road/tech guys that work with them.  Our favorite is Kent, who Mary Alice got a picture of while working the sound board (see below).  The entire set was superb, except for their closing lip-sync dance number to Avenue Q’s “Everyone’s a Little Bit Racist.”  I wouldn’t call it un-funny, just wasted time where they could have played more songs.  Perhaps the funniest moment of the weekend occurred after we left the venue.  A school bus was parked out front to haul some of the crowd to an after party.  People out front were laughing and taunting them while they hung out of the windows of the bus, and the bus crew were yelling back in turn.  As we were walking down the street to catch a train back to our hotel, the school bus passed by with all the punks hanging out of the windows, making horrendous noise and yelling at people on the street.  Right before the bus left our sight, we saw the emergency roof on the top of the bus being opened by someone, who then stuck there head out into the night air.  Never had I seen such a hilarious and encouraging sight.  Watching it made me feel like a teenager again, and gave me hope for the future.  Poor bus driver, though.

Fat Mike aka Cokie the Clown

Kent!

Sunday night found us at a cool little restaurant having dinner with an old friend before heading to the Congress to see the one and only Screeching Weasel.  Much like the Dead Milkmen on Friday, the Weas were not the headlining band, so we knew we had to get there with plenty of time to spare.  After leaving the restaurant, we were under the impression that we were very early to see the band; we were not.  As we walked up to the balcony to watch what we presumed to be one of the first bands of the night already in progress, my wife turned to me and asked, “Does that sound like Screeching Weasel to you?”  I said with utter blind confidence that it didn’t, then ran out to the seating area of the balcony, only to see grumpy frontman Ben Weasel singing about a girl named “Cindy,” who currently was having a problem with methadone.  I turned in horror to my wife and stared blankly.  “WELL C’MON!” she shrieked, and we bolted down the stairs toward the venue floor.

Mary Alice had the good sense the ask a merch guy how long they had been on, who shrugged and offered that they maybe had been on five minutes.  Now normally this kind of situation would make me crazy, and I would not be able to get over how we missed the beginning of their set.  But once we stepped on the floor and saw the band under the lights, it didn’t even matter anymore.  Sure I’d been drinking, but I was still instantly sobered (ouch, sorry) by the sheer magnitude of it all.  Here was a band that I had been following with only my ears for 14 years, and suddenly their songs were coming to life before my eyes.  I had never seen Ben Weasel or Dan Vapid (the only two classic/recognizable of five band members anymore) move around before, and I was just mesmerized.  I’m not usually that much of a fan-boy geek, but I couldn’t help it.  The songs being performed were my life, and represented so much of the life my wife and I have made together.  During one of the last songs, my wife and I turned to each other and kissed amongst the surrounding mass of humanity.  At that moment she and I were the only ones there, and band was performing just for two lovers.

Now that you’ve barfed, I’ll just say that it was a great time.  The staff and crowd were getting irritable and stressed after three chaotic nights, Mary Alice was underwhelmed by Screeching Weasel’s performance as it compared to NOFX’s the previous night, I really had to pee after their set, but none of it even mattered.

We were all that mattered.

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Teenage Bottlerocket – They Came From The Shadows – CD Review

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It’s not every day that you hear about a Wyoming band cranking out amazing, fast-and-fun punk-rock tunes but that is what Teenage Bottlerocket does best. The foursome, hailing from The Cowboy State, ditched the clichéd Wyoming lifestyle, threw on black leather motorcycle jackets, grabbed their guitars, and created some of the catchiest punk tunes I myself have heard in years.

The band recently released their fourth album, entitled They Came From The Shadows, which happens to also be the band’s first release with the independent punk rock label Fat Wreck Chords.

The band intrigued me with their prior release, Warning Device, when I checked it out last year. With Ramones-like similarities, their pop-punk elegance proved attention-grabbing throughout the disc and I found myself won over by one of the more intelligent bands on the punk scene.

How intelligent? Well it just so happens to be that two members  of the band are engineers. Another fun little fact: two members are identical twins.

“Skate Or Die” starts off the album with an ode to younger years of tearing it up complete with classic skate references to the Bones Brigade, street skater legend Rodney  Mullen, and even some ’80’s lingo like the term “poseur.”  I love the fact that this song is all about the old-school days of skateboarding before it went mainstream.

The girl dodging “Don’t Want To Go” tells of missing the show to avoid the girl at the show. This classic high school tale of shunning from the ex is a cool, likable track. 

“Bigger Than Kiss” cracks me up as the band verbally assaults the aging Detroit Rock City make-up wearing men, declaring “Ace Frehley can play guitar but he ain’t no f@cking Kerry King” and shouting, “Calling Dr. Love hey get a load of this, Ray beat the piss out of Peter Criss!” The hilarious song continues to brag that Teenage Bottlerocket will one day be bigger than Kiss and by the end of the song the band seems to think they have proved their boast true.

The disheartening “Not OK” is one of my favorite tracks on the album.  I can’t help but to relate this song to many times in my past. “Call In Sick” should be the working class’ national anthem.  I could only think of ’80’s punk bands like Black Flag while listening to the song, not because of its music but rather its uncomplicated lyrics that tell a truthful story about the feeling many deal with on a day-to-day basis. “Fatso Goes Nutzoid” contains many elements of ’80’s speed punk, especially with the rifling off of the lyrics.

“Without You” is another track I find myself digging over the others and I love the dual vocals along with the fast-paced drumming. The song bums me out, but in a good way, as it describes missing a special someone who no longer is in the picture. It’s songs like this—you know, the ones you relate to— that make me appreciate music all the more.

The songs on They Came From The Shadows are simple but fun and directly to the point. The album seems to end just as quickly as it begins, begging for another listen. I think that is what I love so much about this band: the simplicity. Not one song here exceeds three-and-a-half minutes, but it doesn’t matter to me at all.

It’s nice to see Teenage Bottlerocket skip out on the extra bells and whistles to sound different. They keep it straightforward on this album (and their previous one, for that matter) and make it sound almost too easy. Fans of the Ramones, Screeching Weasel, the Vandals, and even pre-famed Green Day really need to check out this band if they have not already done so.

Look for Teenage Bottlerocket on tour in support of They Came From The Shadows this fall. From what I have heard, this band is amazing live and I know when they roll though my town next month I will be there to witness it for myself.  Click HERE for a complete list of tour dates.  This is a punk show not to be missed!!!

DOWNLOAD THIS! – Teenage Bottlerocket – “Skate Or Die”
DOWNLOAD THIS! – Teenage Bottlerocket – “Don’t Want To Go”

Here is the hilarious video for “Skate Or Die”.  I can not stop thinking of Gleaming The Cube…

Here’s a video of “In The Basement” off of their previous release Warning Device:

Download This!, Folk, Indie, Music, Music Video, New Release, Review, Rock

Frank Turner – Poetry Of The Deed – CD Review

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Folk/punk/rock has never sounded so good thanks to former UK post-hardcore singer Frank Turner who took elements of the genres and self-formed it into something simply wonderful on his latest release.  Not to be considered a solo attempt this round, it is clear throughout the album that he has an amazing backing band that helped him and perhaps even added a little of their own style to it.

Having been in multiple bands over the years and working non-stop while doing so, Frank Turner continues his desire to be an amazing musician.  After what seemingly felt like an eternity since I first heard word of the release, the hardworking Frank Turner has finally dropped Poetry Of The Deed in the US thanks to Epitaph Records.  How hardworking you ask?  This will be his third release in three years.

“Live Fast Die Old” starts of the album full forced with more so of an indie rock that immediately captured my attention.  As if his singing was not an attraction enough, the supporting music from the full band including keyboard and back up harmonies just seemingly invited me into his world and I must say I felt welcomed.  It’s the type of song you tap you foot to and bop your head as well.

“Try This At Home” had a slight upbeat feel that exploded with great, well thought out lyrics about the real DIY musicians in the world who care and work for what they believe in and called out the superficial money hungry performers.  One line in particular that stood out over the rest to me declared that there is “no such thing as rock stars, they’re just people who play music, and some of them are just like us, and some of them are dicks.”  Well said Mr. Turner.

“Dan’s Song” is the type of song I could only wish was written about me.  The reminiscent jam goes from past history to future with sick harmonica playing. “Poetry Of The Deed” to me sounded like a heavy Avett Brothers song with Frank Turner repeatedly bolting out “life is too short, to live without poetry, if you’ve got soul darling, now come on and show it me” at the end of the track.

“The Road” was a sing along favorite of mine on the album.  Heavy on the folk and added country twang made for a catchy and happy listen.  I especially enjoyed the end of the song that almost sounded like and excited Frank Turner was not done recording the track when everyone else was.

“Our Lady Of The Campfire” had some fun percussion backed with strings reminding me of the folk that helped Frank Turner make this album what it is. The song is well thought out lyrically and musically and there was just so much going on but it fit so well.

Some of the songs seemed to slow up towards the conclusion of the CD as compared to the first half but they were still great listens.  The soothing keyboard playing and acoustic strumming were enjoyable especially during “Sunday Nights” and the album ending “Journey Of The Magi”.

I’m serious when I tell you I got a good feeling throughout when hearing this release, the kind of feeling that keeps me going back for more.  I remember the first time I heard bands like the Avett Brothers, Gaslight Anthem, Ben Folds, Joe Strummer, and Wilco (just to name a couple) who I knew instantly I would love and cherish for the rest of my music listening years on this planet because of what they created and how they executed it.  I can now add Frank Turner to that list because his music just had such an amazing effect on me.

I admit, I had never heard of Frank Turner until just before this album was released.  When I started hearing about the hype about him from various musicians and music fans, my curiosity led me to a YouTube video (see below) of him playing an after-party in someone’s house.  Just by seeing that one acoustic jam he played surrounded by singing and screaming fans I understood why so many have been talking him up.  He is that talented and with help from an amazing backing band Poetry Of The Deed was worth all the hype.

I expect big things from Frank Turner in the following months even years to come.  Slated to be touring with the Gaslight Anthem this fall as well as just finished a tour with The Offspring I think it is pretty clear he is starting to make a bigger name for himself here in the US and very quickly at that.

This is one act fans of music need to at least extend an ear out to even if punk or folk is not your thing.  It is that damn good.

DOWNLOAD THIS! – Frank Turner – “The Road”

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Pour Habit – Suiticide – CD Review

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There is no black or white, just Pour Habit.
There is no black or white, just Pour Habit.

What’s black and white and punk all over?

The answer is California’s Pour Habit.

Straight out of Compton (no really they are) comes the five piece punk rock band Pour Habit.  Their debut release Suiticide recently dropped on Fat Wreck Chords and I have to contest, it is amazing.  If you are looking for an album that can incite a circle pit from start to finish this is the CD for you.  Full of energy and raw power I have to admit that this was a surprise of a listen for me and I can not believe I did not give it a chance earlier.

Proving that hard work pays off, the band almost could not afford to record demos to offer to Fat Wreck Chords’ owner Fat Mike.  Formed in 2005 the band started for the sake of fun and not trying to make money.  The band got together to make music for themselves and any good punk rock loving patron out there.  Once they obtained a local following thanks to opening for some bigger named punk bands the band threw what money they had toward a studio to record Suiticide and before they knew it they were selling mad amounts of the CD as well as finding themselves opening for NOFX, a band they blame for detouring their path in life.

In fact drummer Colin Walsh had this to say about the effect of the iconic member of the punk rock band NOFX and his independent label:

“Fat Mike ruined me and my brother’s lives.  If it wasn’t for Fat Wreck Chords, I’d probably be working a steady job, but because of those bastards this is my life and there’s no way I could ever quit or stop. None of us could and that’s the thing—the five of us are so plugged into each other that we’re really best friends and that’s why we’re so dedicated to making this work.”

After opening for NOFX numerous times Fat Mike soon signed the band to Fat Wreck Chords after the band opened for NOFX numerous times.  The CD was re-released but hardly modified as Fat Mike was so impressed with the overall sound.  With a melodic mix of energy, metal riffs, and 90’s SoCal punk style, it’s no wonder Fat Mike signed these guys.

In fact the moment I heard the opening track “Institution” I was blown away with it and can see why everyone has been taking such a likening to them.  Fast, punk, and energetic, this song has it all to capture any punk rock loving fan’s attention.  Following was “Light The Torch”, a song that sounded like a younger Offspring from their years with Nitro Records if not better.

“Against Me” has nothing to do with the other one time Fat Wreck Chord label mate and is way more heavier sounding than Tom Gabel and crew create.  The song is thrashy at times and really has a strong Death By Stereo sound.  Sick guitar solos, intense vocals, and enough energy to make one jump around swinging fists about.

“Resignation” was a killer track and very technical at that.  I loved the guitar playing and just the signing, rather screaming demands throughout the track.  “Bad Luck Drunk” emulated everything I love about 90’s thrash punk rock and hinted heavy on Guttermouth with a song about the love of cracking open cold ones.

Starting off a little rasta and detonating into a full fetched riot was “Zion”, a track that stood out over the others with a sick catchy sound, fun guitar playing, and left me wanting more once the track came to an end.

Honestly after the album ended I had to play it again because I was just digging their style so much.  In fact I have listened to Suiticide at least ten times and plan on listening to it a few more times before moving on to something else.  I have not been addicted to an entire album like this for quite some time.

I can keep talking about this CD or you can go drop $8.00 on it and see for yourself on what good punk rock sounds like.  Suiticide is full of what punk rock used to be about, not caring, having a good time, and not giving a crap about what others think.  I can not wait until these guys tour over in my neck of the woods.  I can guarantee you I will be in attendance.

DOWNLOAD THIS! – Pour Habit – “Institution”

Music Video / Interview w/ Pour Habit (lots o cussing…):

00's, Music, Music Video, Pop, Review

Lights – Lights – CD/EP Review

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The heavy on the synthesizer pop act Lights, also known as Valerie Poxleitner, has been getting a lot of hype for not even having a full length release out yet. It could be solely from her beauty seeing as she is capable of turning one or two hundred heads, but in all honesty this girl is more than just a looker. She is a musician and has the voice to prove it.

The Canadian born singer actually wrote her first song when she was only eleven years old. At twenty-two Valerie Poxleitner was discovered when she casted to be a model for corporate giant bastards Wal-Mart. The modeling supervisor asked if she was a musician while looking at a picture of the hopeful model holding a guitar. Without hesitation she began to sing for them and the rest is pretty much history.

Her songs were first featured in Old Navy commercials and before long, Lights was playing the Facebook party at the 2009 SXSW, appearing on Canada’s MuchMusic, and even playing live for MTV. After grabbing a Juno award for being the best artist of 2009 she jumped on board for a summer tour with the Van’s Warped Tour. All of this happened within a four year period and Lights is still going. With plans on releasing a full length album this September and also acting as a supporting artist for a Fall Keane tour, Lights certainly as a lot on her plate.

So what is the hype about Lights you ask? Trust me I was asking myself the same question. While at the Warped Tour this summer I missed out on seeing this Lights act everyone was talking about. I read the schedule wrong and completely missed her set. Finally I have obtained a copy of her EP and I must say it was an interesting listen.

Opener “Ice” reminded me of all the cheap pop acts out there I just never cared for. You know, the one time Mousekateers that grew up to be pop stars that have everyone else do the work for them while they look pretty. I had to keep reminding myself that this was an honest musician. This song aside from the poppiness was catchy and I loved the Vanilla Ice throw in.

“Drive My Soul” was down shifted a few gears from the opening track as was “February Air”. At times I though of Gwen Stefani when she ditched No Doubt to go solo. The one song I actually enjoyed was “I Owe You One”, a thank you song for someone special. I think if Ben Gibbard did some back-up vocals on this track it would have been awesome. I guess it’s me, but I feel the song was very reminiscent of The Postal Service.

Think of a modern day Cyndi Lauper, Tiffany, or Debbie Gibson with keyboards galore and that pretty much sums up Lights. Honestly while listening to the EP I kept hoping for Lights to break into “Goonies Are Good Enough” cover. All I could image was 80’s style throughout the six songs. It was just too much for me.

Björk may be Lights’ most major influence but there is not any egg laying on the red carpet crazy experimental anything going on in this EP. It is straight forward syth-pop music for all the pop fans out there and not for me.

Lights certainly has an amazing voice, and the looks as well. I think it is just the music that backs her vocals that turned me off from most of the tracks. I think with a full band backing her she would sound amazing in my ears and others for that matter. With her full length debut The Listening dropping in a little over a month I can honestly say I am curious to see what is to come.

“Drive My Soul” video: