Criminal Records 15th Anniversary Party

Variety Playhouse

Atlanta, GA

October 26, 2006

It is hard to believe that for 15 years now Criminals Records has been supplying music, comics, magazines, movies and all sorts of collectibles to those in the know and those wanting to know. And how did the guy and gals that sling records plan to repay all those that supported and helped keep them going for a decade-and-a-half strong? They decided to throw a celebration party featuring great local musicians, two powerhouse comedians and, oh yeah, a puppet show.

The setting of the celebration was The Variety Playhouse, a venue also in its 15th year of existence. The core group of employees from Criminal Records, who also moonlight as local artists and musicians, sported their most formal attire, albeit t-shirts and formal coats.

The theater slowly began to fill up. As Atlanta’s own Snowden took the stage, people filed in more quickly. The Variety Playhouse is a bit of step up for the quartet that is used to packing sweaty clubs up and down and around the nation, but their frantic brand of danceable audible overload quickly enveloped the floor and balcony alike. The band, which is on its ongoing tour in support of its recent release, Anti Anti, on Jade Tree Records, has garnered a strong following across the country, especially along the Eastern seaboard. This is due to a live show that showcases songwriter Jordan Jeffares’ knack for composing songs that combine elements of shoegazing rock, dream pop, post-punk and generally straight-ahead dance rock. While all these adjectives slightly describe the sound of Snowden, it is the band members’ love of what they do that shows through on stage. The group is able to take a slow-burning song and spin it into a frenzy on stage with boundless energy and swaying musical mechanics. By the end of the set, it seemed that Snowden had earned the respect, if not a few new fans, from the mostly comedy-ready crowd.

For the brief intermission between Snowden and Elf Power, the crowd was subjected to the marionette-led story of MC Homocide. The puppets played out the story of the first gay platinum-selling rap artist and the ramifications that come from his “hard” hip-hop act. The troupe played out a hilarious story that told of the tragic tale of homosexual hip-hop gone gonzo.

After the stringed actors and hand-manipulated thespians took their leave, Athens super-group Elf Power brought cellos, accordions, violins, guitars, keyboards and manic music to the crazy, celebratory cabaret. The group tore through an hour-plus set of songs ranging from old classics to cuts from the band’s recently released record, Back to the Web. The interplay between all six members is a genuine representation of what is great about the incestuous musical relationship among Athens musicians, especially the memorable Elephant 6 family. Running through tracks such as “An Old Familiar Scene” and “Come Lie Down With Me,” the crowd ate up Elf Power’s blend of psychedelia, folk and experimental rock.

With the close of the music portion of the blow out, national comedy circuit veterans Patton Oswald and Zach Galifianakis gave the crowd what it had been waiting for: quirky, brainy insightful comedy, oh, and Galifianakis even tingled the ivories a bit himself. Here’s to another 15 years.

-Review & photo by Jason James

The Heart Attacks / MC Chris

The Loft

Atlanta, GA

November 4, 2006

As the audience eagerly awaited MC Chris’ return to the Atlanta stage to perform both new and old material, the only thing it didn’t know it was in for was a standup performance on the side. Before he made his way to the stage, MC Chris had requested a local punk band open the show. The Heart Attacks accepted the challenge, although their look didn’t necessarily classify them as punk. With a glammed-out, 1980s-style image and a somewhat punk rock sound, The Heart Attacks squeezed out some jams that were almost as tight as their jeans, falling just a little short. But as with any main course, there’s always an appetizer to wet the appetite.

After his friend Andy Merrill (voice of Brak on Adult Swim) introduced him, MC Chris opened up with the Gary Glitter-sample “For the Win.” Backed up by his friend DJ John, the two ran off an hour-and-a-half set of fresh and funny material. DJ John may be the luckiest man alive if MC Chris makes it any bigger than he already is. He looked like he had the easiest and best DJ job in the world, choosing MC’s background music off of his Apple laptop without actually doing any DJing.

After carefully choosing some familiar favorites such as “White Kids Love Hip-Hop,” MC Chris decided to include some new songs off of his Dungeon Master of Ceremonies CD. During the song breaks, Chris would incite participation, calling the audience zombies, to which the crowd responded by making zombie grunts.

At some points, the show seemed to lose the crowd’s interest as Chris would tell stories from attempting, yet failing, to masturbate to Fergie from The Black Eyed Peas to playing computer games and smoking dope. But he found a way to bring the crowd together again by performing an a capella version of his Aqua Teen Hunger Force alias MC Pee Pants’ song, “I Want Candy.”

MC Chris closed the night with requests from the crowd. He performed the well-known “Fett’s Vette,” in which he puts himself into the boots of the Star Wars character Boba Fett. While it is funny to think of Boba Fett driving a Corvette in general, the crowd seemed relieved that the show was coming to an end, perhaps because of the confusion as to whether it had just witnessed a hip-hop show or a standup improvisation.

-Kenneth Gambill

Midwives / The Feeding Fingers / Mad Happy

ISP Studios

Atlanta, GA

November 4, 2006

Nestled into a tiny venue birthed just a few short months ago, The Feeding Fingers headlined a show in the chill of a November Saturday night, stirring up a haunting atmosphere that escalated with each passing hour.

Opening up the night was surprise guest artist Midwives, who electrified the evening with a witty array of sharply composed piano pieces. The lead piano player and drummer just happened to be in the area, blasting off a small five-song set of jazzed-up, intellectual instrumentals.

The mastermind behind the music of The Feeding Fingers, Justin Curfman quickly moved the audience, delivering the title track “Mouth Filled with Sand” with a wretchedly unique vocal technique carefully derived. Todd Caras blended in a mixture of pulsating bass lines, accompanying the refreshing percussion of Danny Hunt to help the trio produce a complete and sharply hypnotic effect.

The audience of twenty-somethings, friends and locals in the Little Five Points area, were treated to a dazzling set: a group of densely packed, instrumentally laden tunes, fully toned with varying echoes and delays, making the music that much more enriching and gratifying.

Curfman’s genius is not well known, yet his courage and gift for reaching deep inside the darkest wells of our hearts and minds will not be buried or easily forgotten. He is a true artist, as his award-winning work in stop=motion films attests, and it is apparent that this brand of music is laden with emotional resonance. When one is feeling the darkest depression, anger or remorse, just experiencing this kind of music — dark and grotesque, mysterious and haunted as it may be — can help assuage the pain.

A richly layered eight-song set created a huge buzz, and the small, yet charged group of listeners kept its ears open as Mad Happy strode in around 1 a.m. Their eclectic rhythms and soulful, intellectually-brewed lyrics kept the young morning churning. Mad Happy got in late, but their catchy tunes capped off a memorable and successful night for the baby venue, ISP Studios, to build upon.

-Shawn M. Haney

Apsis / Mind Trip

The High Note Lounge

Birmingham, AL

October 28, 2006

Birmingham’s Revolution Radio, a website and radio show dedicated to local music, hosted a pre-Halloween extravaganza at The High Note Lounge on October 28. The concert featured an all-Birmingham bill of bands: Namastafam, Apsis and Mind Trip, plus a costume contest. Unfortunately, Namastafam had to cancel, but Apsis and Mind Trip were more than willing to pick up the slack.

Apsis opened the show with a crowd-pleasing rendition of John Carpenter’s Halloween theme and kept the crowd’s energy level high throughout the set. The prog-metal rockers presented a set of schizophrenic songs that shifted wildly between beautifully melodic moments and abrasive metal bursts and kept the audience switching from head bobbing to head banging.

The success of the blend falls largely on lead-singer Chip, who, despite an occasionally nasal falsetto, comfortably transitioned between Maynard Keenan-esque euphonics and Chino Moreno-like growls. Steve Kirkpatrick’s jackhammer drumming on the more metal bits also proved to be a highlight, inspiring many screaming audience members to wave their 32 oz. Mason jar beers in time.

Nu-metal group Mind Trip took the stage after the costume contest, and true to the band’s name, the boys put on a hell of a stage show. Three songs into the set, the band members started silently arguing and finger-pointing, which culminated in their then bassist Alan Tangen throwing down his bass and storming off of the stage.

The lead singer, Paul Mitchell, then picked up the mic and said, “That sucks. I’m sorry guys. I guess that was my fault. Well, check out our MySpace page and ... hey, does anyone here know how to play a bass?”

All the bass players in the audience started yelling and waving their hands in the air and Mitchell pointed to an “acquaintance” in the audience. “Hey, Nick. Yeah, man, come up here. We’ve wanted to play with you for a minute,” Paul said.

The newfound bassist climbed on stage, and the band launched into a song called “Fake.” Miraculously, Nick Mitchell (no relation) played the song flawlessly while Paul mimed awe. Then as the next song started, a masked guitarist jumped on stage and started playing with them. The guitarist pulled off his mask, revealing Tangen.

While Paul’s poor acting might have given away the ruse to introduce Nick as their new band member, the crowd enjoyed every moment of it. The band enthusiastically continued the show. Nick mugged and leaped around, clearly excited to be part of the band. And although all of the stage antics focused the attention on Nick, Paul and Tangen, nothing could overshadow the phenomenal lead guitarist, Eli Ray, whose subtle, 1980s metal-influenced guitar heroics would have otherwise stolen the show.

-Review by David Feltman; photo by Liz Hallmark

Failsafe Remedy / Handgun Sonata

A Dough Re Mi

Mt. Pleasant, SC

November 10, 2006

Metal and hard rock have a large and devoted following at A Dough Re Mi, and this night was no exception. A multitude of teens and twenty-somethings dominated the tables at the front of the stage, clad in black. During this double feature of metal and punk, the crowd only grew as the night wore on.

Failsafe Remedy was the first act. The band’s work shows influences of Iron Maiden and thrash styles, but these guys take their own unique path. Elegant solo-guitar intros lead into intense collaborations between drum and electric guitar.

The front tables were quickly abandoned; the fans couldn’t help but succumb to the contagious energy of the music. The fans head banged and bounced off one another with fervor.

The guitarists threw their shaggy heads to and fro to the music while the mohawked drummer maintained a fierce look, sticking out his tongue.

Failsafe Remedy’s songs had expressive lyrics and alluring rhythms; when the set was over, it was all the more impressive to learn that the members of this band are still in their teens.

Handgun Sonata, a local favorite for several years, was the main act of the night. It wasn’t long into Handgun Sonata’s set when the mosh pit doubled in size. The audience members jumped up and down and raised their fists in the air at definitive moments. Charlie Smith, the lead singer, was captivating to watch. He crouched over the dancing fans, grimacing and delivering furious words in a fully animated way. He leapt around the stage and danced with guitarists while screaming into his mic. He crushed ice with his teeth and spit ice chunks and water all over the audience. But don’t think Handgun Sonata is all stage antics — the music has a lot of momentum and in-your-face aggression. The lyrics have all the rage, profanity and energy a fan could want, and mid-song, there were spoken portions that expressed rage, frustration and feelings of futility.

The last song was dedicated to Stuart, the stage manager, who was enjoying his last night at the soundboard. Stuart took the stage and thanked the bands and the audience. He urged the audience to always support live and original music in the area. After an evening like this, it seemed like damned good advice.

-Review by Kathleen Wehle; photo by Dereck Shawn Curry

The Biscuit Burners

The Pour House

Charleston, SC

November 11, 2006

“It looks like there’s a party going on in here,” remarked bassist Mary Lucey, as she looked out into the vast crowd. In a city that has finally started to cool off, a heavy dose of Appalachian-style music was the perfect autumn treat at Charleston’s Pour House. The crowd steadily built for two hours before Asheville’s Biscuit Burners took the stage. It only got bigger as the show progressed.

The Biscuit Burners started the show with “If I Give My Heart to You,” followed with “Get Back to the Sunshine” and “Come On Darlin’,” an iPod-download classic of 2004. On faster tunes with no lyrics, the prowess of the band’s mandolin player was especially apparent. Shannon Whitworth, lead vocalist, endorsed the merits and gifts of bluegrass artists of days gone by like those of John Hartford.

Whitworth has a distant look as she sings. It is as if she is focusing on each tune, rendering it with apt tone, not on being an entertainer who dazzles the crowd. Whitworth alternated between acoustic guitar and banjo throughout the show, demonstrating tremendous talent with both these distinct instruments.

Lucey, on upright bass, accompanied Whitworth in the latter parts of their songs. Their duets were lovely on account of their smoothness and simplicity. Lucey is a native South Carolinian and, consequently, she talked with the crowd on behalf of the band between songs. She mentioned that the band noshed on oysters before the show with some old friends. She noted that this performance wasn’t their first show in this city and that they enjoy coming back because they receive such a warm reception in Charleston. The Biscuit Burners have also performed at several outdoor festivals in other parts in the last few years, and recently played at Carnegie Hall.

During the set, band members shared glances that implied how much they enjoyed making music together. Resounding applause and yips followed each song. The audience members made the most of their limited space — their bodies swayed back and forth and ladies’ long gypsy skirts whirled and swooshed.

The Biscuit Burners’ instruments include an upright bass, mandolin, banjo, acoustic guitar and a resonator played with a slide. They possess an appeal that is classic Americana and yet deeply original. Like old friends, Charleston hopes to have them back again sometime real soon.

-Review by Kathleen Wehle; photo by Dereck Shawn Curry

Halo Stereo / Overwhelmed / Rantings of Eva / The Swear

10 High

Atlanta, GA

November 10, 2006

Just a few days after Election Day of the “living,” BreakThru Radio’s DJ L (Lauren Aparicio) and Leah Baker, of local blog Confessions of a Music Addict, partnered with Pabst Blue Ribbon to host “Election Day of the Dead,” luring local zombies to the 10 High.

As black balloons swept across the feet of the crowd, Halo Stereo took the stage. Hailing from Murfreesboro, Tennessee, the rock/psychedelic quartet started the night off with some oomph. Led by powerful drum work, the band played an energetic set that had Weezer-like guitar riffs and semi-screamo vocals, demonstrating its young but commanding sound.

After some PBR t-shirts and a pretty rad belt buckle were passed out by the hostesses, Overwhelmed marched up in their matching black suits and contrasting bold color ties and shirts and plugged in. However, failing to fit in, the drummer went shirtless as he confidently wailed on his snare and toms. Backed by pulsing bass licks, Overwhelmed greatly resembled the Illinois powerhouse band Hum, although lacking the same vocal dexterity. The band members seemed as though they had just stepped out of the pages of GQ and picked up guitars as they ripped it up in front of the eager audience.

As the crowd grew thicker and eyes became wider, Rantings of Eva was introduced as Confession of a Music Addict‘s “favorite band in Atlanta” and humbly stepped on stage. The sounds of their new single, “Brightside,” echoed through the cave-like venue as enthusiastic fans sang along. Heads bobbed and knees bounced to the beat as Ryan Flanagan’s buttery voice rang out in a flawless performance.

With dozens of PBRs raised in the air at the end of their set, Rantings of Eva showed promise to be the next break-out band in Atlanta and unofficially stole the show.

The Swear, with appropriately painted faces, closed out the night with extreme energy. The highly-promoted band led by frontwoman Elizabeth Elkins rocked so hard that they shook the beers of the drinkers upstairs at The Dark Horse Tavern. With award-winning songwriting, The Swear has proven to be one of the top hard-rock bands in Atlanta.

By the end of the night, although the balloons did not remain, the devoted fans did. The “Election Day of the Dead” was over. No votes were cast. No politicians were pissed. But damn did people get their faces rocked off.

-Review & photo by Katie Bricker

Codaphonic

The Basement

Nashville, TN

November 14, 2006

At their best, Nashvillian pop-rockers Codaphonic combine sunny pop grooves with biting lyrical wit, as on “Ritalin,” the standout track of their debut EP, Good Morning Radio. As the opening number of their late-night set, “Ritalin” awakened even the most fatigued of listeners for the band’s short part of The Basement’s New Faces showcase. “Ritalin,” with its juxtaposition of wry social commentary and cheery, sing-along music, is startling, as well as poignant; the message is angry and sarcastic, but the tone is carefree and bright. Cody Newman (vocals, guitar) penned the song about kids who are needlessly hopped up on the ADHD prescription drug: “Let’s put them all on Ritalin / The children need discipline now.” Yet, the bouncy, catchy melody ironically seems to imply the true sadness of the situation: most of these kids don’t need the drugs, but they’re so spiked up that they live in blissful, medicated ignorance. Enter the back-up vocals of “oooh-ahhh, oooh-ahhhh” and Newman’s change of lyrics in a later chorus (“Put us all on Ritalin”), and you’ve got the anthem for a generation whose happiness has been largely — and literally — forced down its throat.

For all of Codaphonic’s energy and enthusiasm, it was just a bit disappointing to not hear the playful horn section that opens the recorded version of “Ritalin.” But as a counter to that missing piece, the band offered up a brand new keys player, Geoff Smith, who joined the band just two weeks prior to the show. Smith added his own flair of showmanship to the ensemble, his afro flailing as his fingers slammed into the keyboard with gusto and precision. Newman, the principle songwriter of Codaphonic, stomped his feet and wailed into the microphone, but always managed to maintain control and focus on the song at hand. Taylor Jones (bass) and Justin Harris (drums) were less theatrical but no less interesting to watch. Their groove with the music was palpable, and both played their instruments in service to the overall band. But beyond playing well and keeping in time, Codaphonic succeeded in what is perhaps the most important element to putting on a good live show — the fun factor. Even during a short set on a weekday evening, the men of Codaphonic seemed to be having the time of their lives. Energy like that cannot be faked, cannot be bought, cannot even be induced with psychotropic drugs. Feeling fatigued and drowsy? Forget the Ritalin. Say Good Morning Radio.

-Review by Kat Amano; photo by Mikie Martel