[This interview also appears in issue zero of our sister publication, RJKT. Pick up a hard copy at any of downtown Mankato’s finer alcohol, coffee, and tattoo distributors.]
Minneapolis trio Fury Things have spent the past few years whipping up a storm of DIY activity, bashing out colossal riffs (and bigger hooks) at a pace that teeters between blue collar and breakneck. Their prolificacy has paid dividends. In 2015, City Pages named them Best Rock Band, and they’re riding into 2016 with the rare momentum of a young band that’s constantly rewarding their fans. With their latest release, VHS, Fury Things doubled down on melodies without losing an ounce of fuzz-fueled fire, and the result is their most fully-realized statement to date.
In the run-up to the band’s appearance in Mankato at PHE 9, we reached out to guitarist/vocalist Kyle Werstein to talk about the new record, nostalgia, CASH MONEY, and other things that kick ass.
2015 seemed like quite the year for you guys. An EP, a high-profile First Avenue set in support of Bob Mould, and a full-length that dropped in December. Is 2016 just going to be about hitting the road and flexing some muscles on the strength of last year’s momentum? Or do you have any fresh tricks up your sleeve?
I think we’ll be doing a bit of both. Success for us as a band involves maintaining momentum. So, yeah, I want us to get out there and play more shows outside the Twin Cities. We’re definitely looking to do some touring around the album and play out more regionally. At the same time, we’ve got some other songs recorded, I’m working on new material and we’re going to be releasing another video before spring. It’s tough to juggle everything, but we’re just trying to stay as productive as we can.
Most music scribblers, when pressed to find descriptors for the Fury Things sound, reach back in time for obvious touchstones, such as Dinosaur Jr. and Husker Du. In titling your new record VHS, is there any fear that you’ll be perceived as a throwback act? Or is that the intention? Or doesn’t it matter?
The whole VHS concept was kind of a joke that stuck. It’s kinda hilarious to us to see a record with the art of a blank cassette tape. I never particularly intended for us to sound like any band or consciously seem like we’re of a certain era. We got together and the songs sound the way they sound. I’m always trying to write songs I’m proud of and that I hope others enjoy. The same extends to the artwork and design concept of the record. I want people to form their own opinions about our music. If one person thinks we’re trying to be a throwback, that’s cool. It’s totally not my intention, but I can’t control the experience of others. I would hope that for every one person like that, there’s another that simply enjoys the tunes.
VHS, at least in terms of title and cover art, taps into an 80s/90s vibe that’s hypercool right now, as evidenced in retrowave (Makeup and Vanity Set, Perturbator), synthpop (M83, Carly Rae Jepsen), and even animated comedies. Are we a doomed generation of suckers that are just as susceptible to the pangs of nostalgia that befell our lame-ass parents and grandparents? Or did that era of pop culture truly, honestly kick that much ass?
Who knows? I don’t think you can make a blanket statement about the rise of the 80s/90s vibe. Personally, I just like what I like. I’ve always been fascinated with infomercials and consumer culture and media in general. I love Tim and Eric and the Found Footage Festival and I think there’s something warm and tactile and otherworldly about blank cassette tapes. As a graphic designer, the aesthetic has always been influential to me. And vaporwave, as a genre, piqued my interest, too. But what I get out of it may be different than what you or Carly Rae Jepsen gets out of it. Obviously for some, the use of the aesthetic stems from borrowing nostalgia because they want to be a certain way. I guess I’m reluctant to say we’re all doomed suckers, but I feel like the tiny details are what separates those who really found something in all that pop culture that resonated with them, from someone just doing it to be ‘cool’. Like, I love Com Truise from a musical and visual perspective because his vision of this neon 80s/90s synth wave world feels so real. There’s a difference between someone like him and someone casually applying filters to their videos in an app. The same goes for Tim and Eric or anyone trying to speak that visual language.
But then there’s also an equally big part of me that wants everyone to create things. Like, who am I to judge? I feel like we’re all doing our thing and it’s important to have taste, but not be overly judgmental of others at the same time. So. ¯\_(ツ)_/¯
This is your fifth release, but first LP. How important is the EP format in this interconnected Age of Too Much Goddamn Information?
The EP is important, for sure, but more important than that is just releasing stuff consistently. Our LP came together naturally. It actually started as our third EP, but material just kept coming together. We release just about everything we write and that consistency is important for progressing as a band. I think our releases will continue to be a mix of longer and shorter collections, but it really doesn’t matter what it is as long as we keep at it.
The final song on Saskatchewan is called “Money’s Dumb.” How dumb is it, and why will it expedite the eventual unraveling of humanity?
The full-line is “money’s dumb when you have none,” and I think that’s true as a creative and a twentysomething and as a passive observer to this strange-ass existence in 2016. I think one of the toughest things you face as an independent musician is the feeling that so much is just out of reach for financial reasons. But we’re a DIY band and we make the most out of every opportunity. We hand-make a lot of our merch and we travel light and make the most of the time we can take off work. But still, people scoff at you when you say you want to be a musician. It’s tough out there.
I imagine money’s pretty sweet when you have enough of it. Or if you live in a country where people see the value in musicians and artists. I have friends in other countries who can’t understand why we don’t tour more because they have things like publicly funded higher education and single-payer healthcare. The song is pretty tongue-in-cheek, but it stemmed from some bitterness toward the system.
Final shout to the Mankato masses: Five Minnesota bands that are killing it right now and why:
It’s really, REALLY tough to narrow down a list to five, since there are a lot of cool bands doing cool stuff. But here are a few acts we’ve been thinking about lately:
Strange Relations: I saw these wonderful humans open for The Thermals at the Entry and had zero idea they were a local act. Instant band crush for me. I was mesmerized by the depressingly beautiful melodies they were kicking out and incredibly impressed by drummer/singer Casey’s ability to hold such complex rhythms while totally belting these awesome vocals.
Kitten Forever: They consistently kill it and deserve every bit of praise they receive. For me, their ability to energize a room is extremely inspirational. Also, they throw down harder than almost any other band I can think of. Super important messaging and songs. Also, it’s just fun. They played our record release show and it was kind of a dream come true. Recently they opened for Babes in Toyland in the Mainroom at First Avenue after like a decade as a band and I’m sitting here thinking, “Why the hell did it take this long to get them on that stage?”
Ego Death: These are some of the hardest working musicians in the Twin Cities right now. They totally beat us in the sheer number of shows they play per month. The songs are beautiful. Jeremy’s a great guitarist. They tour a bunch and you can feel their heart in the music. That’s super important to me. Also, they’re some of the nicest people you could ever meet.
Waveless: The first time I saw Waveless, I could have thought I was floating. Plus, I saw Lou Barlow mention their record and it made me incredibly happy. The way the harmonies sit atop this crazy pile of noise…the way it translates live. Their new album, Spirit Island, is definitely worth a listen.
The Blind Shake: Everyone should know about The Blind Shake by now. If I had to pick a singular band in the Twin Cities that I idolized from sheerly their performance, it would be The Blind Shake. It’s incredibly humbling that we get to play with them in April, because every time I get to watch them, I think, “Damn, how can I do that?”
This spot has been quiet since bitching about the ineptitude of Mankato motorists and the police officers that are usually eager to generate revenue from their transgressions. For that, I offer exactly zero apologies.
In the interest of brevity (for your sake) and sanity (my own), we’re going to get back up to speed with a numbered breakdown of rant-worthy material. Here’s what’s been brewing behind the scenes:
Regarding the Past
- The Mankato Free Press issued their Best of 2015 Reader’s Poll last April, which was promptly skewered for being wrongheaded and shitty. (If the NBA and NHL can’t get fan voting right, the odds of a small city comprised of uncultured, quasi-suburban white people getting their votes correct are pretty abysmal.) At the end of that post, I promised to offer up a real-ass, unsnarky redjacket version of Mankato’s Best of 2015 at the close of, well, 2015.
- I didn’t.
- There’s a reason for that. I was planning on using the Free Press’ article featuring the winners as a template, making some soft counterpoints and–hopefully–agreeing with some of the selections. Unfortunately for just about everyone involved, the Free Press brain trust published the winners in Mankato Magazine. Which means that their hyper-specific target audience–people without smartphones in waiting rooms–were the only ones privy to the victors.
- Since I don’t frequent the DMV or the YMCA men’s locker room, I never came across the final results, and the response piece died.
- I’m sure it would’ve been fun, especially considering that Free Press readers voted for Erbert and Gerbert’s over Tandem Bagels for “best sandwich shop.” But…
- …it’s pretty easy to tell people what’s up without preaching. Pro tip: cut out the hilltop entirely and do your thing in downtown, Old Town, and Lower North exclusively.
- Furthermore, this 10 Best Restaurants list from The Culture Trip is pretty dead-on, rendering any commentary on these pages kinda irrelevant. MOVING ON…
Regarding the Present
- The Mankato music scene isn’t strong enough to warrant regular updates here, which is why output has slowed.
- The reopening of the What’s Up Lounge, hailed by out-of-touch paid writers as a saving grace, hasn’t really made a noticeable impact, and it has failed to become a destination where people actually want to spend their time.
- Furthermore, their business strategy seems to be head-to-head competition with Buster’s for has-been/never-will radio rock market share; Buster’s has responded by booking AARON CARTER, proving that capitalism is a sham and that everyone always loses.
- Benderz is still awful.
- There haven’t been any cool cycling stories to tell because it’s February and February sucks. (Well, Stupor Bowl was okay, I guess.)
Regarding the Future
- The first print edition of RJKT will hit the streets within the week, featuring an interview with Fury Things amidst a 16-page preview of Midwest Art Catalyst’s Post-Holiday Extravaganza 9.
We’re gonna get physical.
AND we’re going to cross-post the articles here, so don’t stray. We’re only getting started.
See you next week, Mankato.
It’s Thursday already, so let’s get down to business. While most of this weekend’s festivities are going to be quite familiar to locals (more on that later), if you’re into the whole “live music” thing, Kato’s going to be on fire this Friday.
2nd Annual NYDM 5SRC Toys for Tots Drive (Busters, 9 p.m.; $8 cover, $3 with toy donation)
Scheduled well in advance at Busters after the What’s Up Lounge reopened with a “no hip-hop or extreme metal” policy (which has since been rescinded because money), this benefit is headlined by Mankato death metal heavyweights Face of Oblivion. This will be their second (?) show featuring new vocalist Jesse Watson, who replaced ex-Origin vocalist James Lee earlier this year.
It’s rare for a Midwestern town of Mankato’s size to boast a DM act of this caliber, so it’s cool to see the five-piece ramping up their activity.
Rounding out the bill are local-ish metalcore upstarts HeirAfire, Anoka ReverbNationals Beauty of Decay, and MPLS melodeath manipulators Echoes of the Fallen.
The Last Revel & Charlie Parr (Mankato Brewery, 7 p.m.; $7 advance, $10 door)
Sneakily, Mankato Brewery has become one of our city’s hottest spots for live music. (An ample stage, quality sound, and a steady flow of fresh beer seem to be working in their favor.) Bluegrass / folk shredders The Last Revel have been absolutely buzzing over the course of the last eighteen months, peerlessly triggering shoeless sashaying and mirthful pogo-ing amongst artsy Caucasians.
While The Last Revel have styled themselves as a semi-regular attraction, Charlie Parr’s trips down from Duluth are rare, so this is your best opportunity to catch the crusty folk legend without having to endure the Solstice marathon.
[It’s been awhile since I’ve set foot in the Brewery, but if the Mad Butcher IPA is still on tap, CAPITALIZE. While MB may have stumbled out of the gate, the release of this Haymaker killer, along with last summer’s delightful, surprising Kato Lager, means that our hometown beermongers are officially on a roll. Extra bonus: Lola‘s totally righteous food truck is lumbering in from New Ulm, so y’all are SET.]
Nato Coles and the Blue Diamond Band (NaKato, 10 p.m.; no cover)
This is almost a last-minute booking at the NaKato, with the event page surfacing on FaceDUMBRACISTYELLINGbook just yesterday. At first glance, it looked like this might’ve been another tough Lower North gig for Nato & Co. (their last NaKato appearance was during Boogie on Belgrade and attendance was lackluster), but hey: That Brewery show starts at 7. Nato throws down at 10. If you’re on the right side of the bridge, a doubleheader is mandatory, because this is the best rock n’ roll band that travels to our southern wasteland on the reg. Those that caught their set opening for Cheap Trick at RibFest this summer already know what’s up.
Let’s do this shit…
Yeah, this entire post looks really familiar, doesn’t it?
It’s not a copy-and-paste job. Our scene is just getting that stagnant.
After a little over a year of writing (sporadically) about Mankato nightlife, this blog has been losing steam. Frankly, it’s not that exciting to write about local and regional music when there hasn’t been anything new or fresh that has blown our doors off in ages.
Mankato’s music scene has been in a transitional period for the past year-plus, but the reaction of bookers and promoters hasn’t been one of injecting newfound adventure and excitement. Instead, they’ve displayed trepidation and restraint. While there have been a couple of highlights in 2015, the last time this town was blessed with truly buzzworthy Minnesota music was the Fury Things / Hardcore Crayons show last winter.
Many were clinging to the hope that the What’s Up would jumpstart the scenery once it reopened under new management, but quality bookings have been sparse. The Kult of the Wizard / Highgraves show was a gem, sure, but we’ve either been subjected to scenester stuff that doesn’t appeal to the 21+ crowd or outdated mallrock for the painfully uncool. Their big “get” to close 2015 is “National Recording Artist” Saliva, whose sole hit, 2001’s “Click Click Boom,” likely only triggers excitement among people that watched Sons of Anarchy for the chase sequences. At this stage, it feels less like a hotspot and more like a reanimated corpse.
Meanwhile, most bars seem to be treating live music as an afterthought. Chopps has been doing well with hip hop, and Moonshiner seems to finally be stretching its wings a bit, but as a city, we’re stuck in a rut. The formulas that are working right now are only going to work for a finite period of time, and if bars and venues don’t take risks, the cautious, cyclical booking they’ve been riding for the past 12 months may wear dangerously thin on an increasingly-jaded populace.
Let’s get out there and light some fires, Mankato.
The only thing worse than opening a blog post with an apology for a lack of updates is continuing that post with a litany of reasons as to WHY said blog has been ignored by its curator.
I’ll meet you halfway by skipping the apologies and getting straight to the excuses.
Before I start whining, it’s best to retrace our steps: The entire premise of RJKT was/is peer into our city’s nightlife and culture. It’s never pretended to be all-encompassing, but its limited scope was usually dependent on my ability and/or enthusiasm for getting out and doing things.
During the month of October, I went full-on hermitcore. I didn’t go out, I didn’t talk to people, and I sure as shit didn’t write. (Well, that’s not entirely true, but more on that later.) Lots of cool things were happening around town, but due to my the seasonal demands of my dayjob–which involves coaxing literally hundreds of temporary laborers into schlepping Star Wars memorabilia at maximum speed, for 60+ hours each week–I locked myself indoors.
Usually, my seclusionary tactics were the result of sheer exhaustion. But often, I felt defeated. My rhythms and routines had been ground underfoot and scattered into warehouse dust. My little pocket of the world had been thrown into chaos and doubt. Would I ever get out to a show again? Would my friends forget about me? Would I ever redevelop a taste for fruits and vegetables after spending an entire month surviving on donuts, Red Bull, and Pizza Ranch?
I was so, so close to losing hope. BUT I NEVER GAVE UP…
…on consuming degenerate art.
Without the therapeutic benefits of human interaction, I was forced to supplement my usual diet of heavy metal and beer with healthy doses of sci-fi in the following formats:
⦁ Last-gen video games
⦁ Hardcover pulp
⦁ Graphic novels
…and honestly, these nerd ‘roids were probably the only things from keeping me from being crushed under the wagon’s wheels.
So, in the interest of getting back on track, consider this the thank-you section of the liner notes for RJKT’s unreleased harsh noise triple-album, October Crust. After we slog through this together, we can return to our regularly scheduled programming: Publicly shaming under-educated bike lane opponents and grown-ass adults that still listen to nu-metal while previewing Kato events that don’t totally suck.
But first, THE SURVIVAL JAMS:
While albums from Clutch, Kylesa, and VHÖL received a ton of pre-release anticipation, the only intelli-heavy record from October to truly cash in on its massive hype was Deafheaven‘s New Bermuda. Next to Royksopp & Robyn’s “Do It Again,” “Luna” was the only thing that effectively charged my batteries when the coffee quit working.
Incidentally, it was an entire pot of dark roast (imbibed at noon) that powered my review of the record, which the Angry Metal Guy himself graciously allowed to desecrate his pages.
While lingering in the AMG offices, my friend and colleague Grymm’s delightfully OTT take on the new Killing Joke album, Pylon, caught my eye. While only a few cuts got me deep–“Big Buzz” being the sharpest–it reignited a love affair with their 2006 opus, Hosannas from the Basements of Hell. New records from living legends don’t have to be revolutionary, they just have to stoke the flames.
Meanwhile, left field winds brought us fresh radness from Beaten to Death, who established themselves as the most effervescent band in grindcore with 2013’s Dodsfest! (which I also ranted and raved about at AMG). Their latest, Unplugged (which isn’t), whips their whims into tighter, more concise assaults, and the result is absolutely batshit.
But against all odds, the month’s king comes from the realm of death metal, as Dark Descent‘s crown jewel, Horrendous, crafted a masterpiece. Old-school DM has been the most played out sub-subgenre for ages now, especially if you still think “occult rock” has legs. But Anareta‘s blend of Asphyxiating vocal delivery, Atheist / Cynic prototech homages, and absolutely bonkers timechanges have prog-pushed the record into AOTY contention. (And actually, everyone’s favorite record-label-ad-revenue-driven heavy metal catalog, Decibel, recently crowned it as such.)
And now, some auxiliary acknowledgements, for without these non-aural cathartic devices, I’d have barely survived.
The copy of Deus Ex: Human Revolution I swiped from We Got Game for $2.99 (TOP-NOTCH sci-fi stealth / RPG yarn that actually rewards you for not being a murderous shitbag, even when thrust into the cold machinations of a libertarian dystopia), bicycles, Transmetropolitan Volumes 5 and 6 (because the New Scum shouldn’t forget where they came from), bicycles, John Scalzi’s The End of All Things (proving that there’s serious legs left in the Old Man’s War saga), Fargo Brewing Company’s Wood Chipper IPA (get it?), bicycles.
NO THANK YOU / SLIT YOUR WRISTS AND LAUNCH YOURSELVES INTO THE SUN:
My janky bottom bracket, Scott Walker (the shitty one), big-ass trucks with North Dakota plates that don’t use their turn signals, Five Finger Death Punch, people that order Coors Light at Boulder Tap House, Wallace and Gromit, the loathsome old crank in the dark blue Nissan Xterra that tried to start a fight with me last winter (with his seat belt still fastened), solitude.
Whew. That felt good. You ready to do this again, Mankato?
Yeah, things have been quiet around these parts. But it’s about to get LOUD.
This Friday, the What’s Up Lounge hosts a show that I’ve been anticipating since Let It Breathe started kicking up smoke, an event that we should hope is the first brick in a bridge between the Mankato and Minneapolis stoner / doom scenes:
Before we dissect the lineup and give it the hard sell, let’s make a brief digression.
One of the things I’ve noticed since breaking free from the comforts of Internet music fandom is that, in the real world, loudrock still has a trash-ass reputation. In the last month, the River Valley endured Five Finger Death Punch and Papa Roach–pastiched, corporate rock whores that generate cash by covering classic rock songs that are still embedded in Clear Channel playlists–holding a much-ballyhooed bro-down in our hockey arena; meanwhile, the What’s Up opened their doors to a bunch of grown-ass men that are combining Tool tropes with chugcore nearly 15 years too late.
Nu-metal still lives in the Midwest. The JNCO nuclear apocalypse happened, but there are still Corey Taylor-worshiping cockroaches scurrying everywhere.
Proof? I was having a beer on Monday night in an empty bar, minding my own business, while two thirtysomething white males (in matching camo caps) assaulted the TouchTunes with Metallica‘s asstastic cover of “Overkill,” a whole lot of Korn, and something from Machine Head‘s ultra-maligned rapcore cashgrab Supercharger.
Whether it’s fair or not–and it’s not–these are the ambassadors of heaviness to the greater public. Despite the great lengths my friends and former colleagues have gone to promote forward-thinking, intelligent heavy metal via NPR, Pitchfork, PopMatters, and other outlets that have broader, crossover appeal, aggressive music is still standardized by dimwits that stopped challenging themselves in high school.
Don’t let that perception deter you from REVELING IN YOUR DOOM this Friday.
For the uninitiated, the best way to describe doom metal is this: Imagine that the lineage of heavy metal is a straight line from Black Sabbath, and the branches that sprouted from Judas Priest, Iron Maiden, Slayer, Bathory, and Death never took root. All doom and stoner metal bands basically use Master of Reality as a touchstone, retracing the lines and filling in their own colors along the way.
Friday’s Mankato doomcrew consists of WarRooster and Let it Breathe, both of whom have been covered here ad nauseam. (Hey, gimme a break; I like riffs.) The two bands highlight the disparities within the subgenre; WarRooster’s take is peppy and uptempo, loaded with time changes and rollicking riffery, whereas Let It Breathe stretches things out, slow-boiling their strings in smoke while hammering away underneath.
The Twin Cities are exporting a pair of bands on the upswing. St. Paul’s Highgraves are practically infants, with only a single demo on Bandcamp (not ReverbNation; take note, strugglers). But they’ve already played with MN elite like Vulgaari and Wolf Blood, and landed an October gig opening for savage duo Black Cobra and critical doomlings Yob. Their demo is rough around the edges (it’s a freaking demo, people), but the heft is there, and intentionally or not, it’s scuzzy as hell.
But the real treat is Minneapolis’ Kult of the Wizard, who, after churning out a pair of instrumental recordings, made a splash on the national scene last year with The White Wizard. Receiving favorable (if lazy) comparisons to acts like Witch Mountain and The Devil’s Blood from the likes of Cvlt Nation and Decibel–as well as being featured in my former outlet, Last Rites–the band has been getting hyped from ‘heads in the know.
Mankato’s been blessed with the opportunity to watch them grow.
Be there or be doomed. (Actually, you’re doomed either way, BUT WHATEVER.)
We bonded last year over a shared trip to Gilead Fest, and looking back on the months since, that event has proved to be something of a tipping point for both of us. In the podcast, we talk about the grind of running a music publication, the inevitable burnout that led us both to step away from immersion in the Internet-based metal scene, and how RJKT came to exist.
Also, Baxter Holland shines a light on Elias Hulk‘s 1970 proto-metal gem, Unchained.
Listen to the podcast here.
Now that dewpoints have dropped, things are starting to heat up. It’s shaping up to be a great weekend for music in Kato (and north from here, for that matter), so let’s crack the lid and dive in:
Drag the River with Pocket Genius [NaKato, 8 p.m., no cover]
While many were mourning the supposed death of Mankato’s music scene during the What’s Up’s hibernation, the NaKato quietly became the spot to see relevant, original music, and it isn’t even a music venue. (And let’s be real: If the What’s Up continues to book plastic/poseur nu-retreads in the vein of 3 Pill Morning, a return to prominence probably isn’t in the cards.) This Thursday, NaKato keeps the streak alive, booking Colorado punks-gone-alt-country-troubadours Drag the River for an off-date before they play First Avenue with Social Distortion on Friday.
Get your shit together and catch a national act at your corner bar.
Oh, hey. Pocket Genius, too. (Seriously. Get your shit together and do this.)
Cheap Trick with The Suburbs and Nato Coles & the Blue Diamond Band [Vetter Stone Amphitheater, 6 p.m., $5 or $10 depending on whether you have a job]
We outlined the RibFest lineup a few weeks ago, but Cheap Trick hadn’t been formally announced as the headliner, so Minneapolis mini-legends The Suburbs were forced to lay the rails for the hype train. And that’s probably for the better; interested parties were able to to do their homework without being distracted by the looming apocalypse of “I Want You to Want Me,” which is arguably the most obnoxious classic rock zombie this side of “Rock and Roll All Nite.”
But there’s a lot more to Rick Nielsen’s crew than that lowbrow, cash-generating hit, as a cursory listen to …at Budokan‘s “deep” cuts will reveal.
While the opportunity to see a couple of legends–on decidedly different scales–is appealing, the non-throwback draw of the evening is MPLS’ Nato Coles & the Blue Diamond Band, who have developed a deserved following in the Kato area for their blue-collar, Lynott-and-Springsteen-infused punk.
Get there early. Like, quit-your-job early. $5 cans of Schell’s await.
Live with Fastball [Vetter Stone Ampitheater, who:cares, $ribs]
Earlier this week, Smash Mouth announced that they would be pulling out of their RibFest appearance due to illness. (Hey, maybe Guy Fieri’s bestie contracted a YEAST INFECTION after he was PELTED WITH BREAD.) While this will likely disappoint my friend in the VW convertible that was blasting “All-Star” at the intersection of Victory and Glenwood last weekend, I can’t imagine a situation where Live is a downgrade. Their 1994 sophomore album, Throwing Copper, shot the band into MTV rotation on the strength of Ed Kowalczyk’s vocals…
Live’s original lead singer Ed Kowalczyk left the band in November 2009.
Oh. Now it makes sense.
Live without Kowalczyk seems like it’d be similar to Bush touring without Gavin Rossdale. Who would want to witness a band that was shallow and opportunistically-marketed the first time around rendered even sadder and more impotent?
I guess fans of one-record-wonders from the mid-90s have finally found their version of the Sebastian-Bach-less Skid Row.
(And I still don’t know what Fastball sounds like.)
High on Fire with Pallbearer [Mill City Nights, 7 p.m., $20]
Remember when I told you (a few grafs ago) to quit your job to go see Nato Coles? ULTERIOR MOTIVE: You’re better off jobless for the trek up 169 on Monday to see the mightiest power trio in metal at Mill City.
High on Fire just released their seventh album, Luminiferous, which sounds like a High on Fire record. Meaning, it’s AWESOME.
Have they been basically writing two songs (the fast one and the slow one) since Blessed Black Wings? Yep. Does it matter? Nope. They’re basically locked in Slayer / Motorhead mode, yet still at their peak, playing to-eleven rock driven by Des Kensel’s increasingly iconic hitting and Matt Pike’s increasingly increasing waistline. They’re the baddest dudes on the planet, and have been for some time now.
They’re getting direct support from Pallbearer, the most critically-acclaimed doom act since…
…actually, a doom band garnering critical acclaim is relatively new phenomenon. They made waves with a stunning debut that proved to be a robust variation on Warning‘s Watching From a Distance, and they pushed that sound through a Disintegration filter on last year’s Foundations of Burden.
This spot doesn’t often advocate 169-ing, but if you feel like extending your hangover into next week, take the trip up the highway this Monday.
See you out there, Mankato.