THREE DAY THRESHOLD, CASSAVETTES,
QUIXOTE, DEATH & THE DANCE MACHINE, KEV & COL CHATHAM SESSIONS,
SAM REID & THE RIOT ACT
RODFEST 8
The Paradise, Allston, MA
1/30/2010
Well, I’ve descended on Paradise and I never expected the afterlife
to be quite like this. I notice Joel in line, waiting to get in with
his seeing eye cat, Jade. Joel is blind and it seems the organization
that gives out seeing eye dogs were out of them and gave a cat instead
to the unwitting Joel. Poor laddoesn’t know he has a cat, not a dog,
and I don’t have the heart to tell him. I also find out he thinks
Rodfest is a Rod Stewart tribute night and again he’s mistaken—in
fact, it’s a yearly celebration for a loved fellow, Rod Moynahan,
who passed away and it’s a night in celebration of him. The crowd
seems to be a bunch of tight knit friends who come together in a very
warm and inviting way.
I missed the first band but the next couple are duos playing more traditional
country and folk tunes which sets up the rest of the night nicely. …Greetings,
Zortar here, I would rather have my nostrils attached to separate trains
and have them pulled slowly apart then to… Get out of this review
you rancid, rat-infested robot! So, as I was saying, the first band
I see with a drummer and full band is Death & the Dance Machine
and though they do clever pop quite well, they’re not really… I
like this band very much… get out, get out of my mind. Next up, they
have some guys in shorts, tank tops and dark glasses doing aerobic dance
exercises while someone plays a synthesizer. I have no idea what or
why this is happening but the crowd loves it and I highly praise the
performance for making no sense at all.
Quixote is the next band and maybe my favorite of the night and the
hardest one for me to describe. It says lo-fi noir cabaret in the booklet
for the show, Chinese pop on their website (it’s a joke), and I hear
Latin rhythms sometimes. Very tight band, excellent bassist and good
tunes are what I’ll go with.
Cassavettes is up next and though their website describes them as “folk
rock /Americana” I’m kind of surprised by the high-energy loud show
this bands puts out. More like power pop rock recalling bands like the
Plimsouls and Replacements to me. Very good band, great vocals and it
might be the vodka talking, but I think they’re my favorite of the
night.
Last up is Three Day Threshold who has been around awhile and most local
rock folks should be familiar with. To me this band does country music
but not the country pop crap of the day or the studious bands that have
to reproduce every nuance ’til it becomes as exciting as a history
lesson. These boys take the spirit of the classic country greats like
Hank Williams, Sr., Johnny Cash, Merle Haggard and bring it up to date.
They might be my favorite of the night.
It’s the last song of the night and other musicians come up to add
their input and folks are pulled from the crowd to dance. Lots of people
end up on stage and it ends with everyone naked and gyrating in sexual
congress and the fire department arrives to hose everyone down. My hair
is on fire and my brain is getting singed, …This is Zortar speaking no such actions as
related by this foolish, fallicious… get out of this review you archaic
android… Ah, yes, Mrs. Slimedog here as you know Rod Stewart was part
of the Eurythmics along with Annie Lennox… This is the bluebird that
hops outside of Slimedog’s… Oh, no Jade the cat is eating the bluebird!
“Bad doggie, bad doggie,” Joel is scolding him, tapping him with
his stick.
That’s it. All you hooligans and hoodlums outta here. Clear the room,
all the tables are turned upside down, facts are facts! It was a good
night. Good night! (Slimedog and associates)
THE JOE PERRY PROJECT
Air Canada Centre, Toronto, Ontario
2/4/10
Ten minutes prior to the Joe Perry Project's emergence on stage, the
19,000-seat arena is three-quarters full. Impressive for an opening
act although unsurprisingly so, as this is the closest we will come
to seeing anything worthy from the Aerosmith camp for quite some time.
As curtain approaches and the lights go dim, we are treated to the theme
from the 1950’s television show Paladin (have guns will travel)
as the band takes to the stage. The quintet explodes right into "Let
The Music Do The Talkin'" from both Aerosmith's Done With Mirrors
and the Joe Perry Project's debut album. Keeping with the classics,
they launch into "Toys in the Attic." From here on in Joe
Perry, who is on tour in support of Motley Crue's Dead of Winter Canadian
tour, introduces each song with a back-story. Perry, who is not known
for his on stage banter, makes great effort to enhance each song with
historical data but this in my opinion brings the vibe to a screeching
halt. Many tracks off of the band's latest album, Have Guitar Will
Travel, are performed, including "We've Got a Long Way to Go,
“Slingshot” and “Scare the Cat." The band as a collective
receives high praise for their jam session during "Heaven and Hell,"
which includes an infectious bass solo by Boston native David Hull.
Their new album indulgence is wrapped up with a blistering rendition
of Fleetwood Mac's "Somebody's Gonna Get (Their Head Kicked in
Tonight.)” Not surprisingly, the set is finished up with Aerosmith's
most recognizable favorite, "Walk This Way," in which German-born
vocalist Hagen Grohe sounds oh-so-close to Steven Tyler. Perry may never
be the perfect front man, and his days of delivering instant classics
may very well be behind him. One thing is for sure, he has always stayed
true to his roots and he delivers his music in an unapologetic fashion.
If only Aerosmith could say the same thing. (Rob Watts)
THE DIRTY TRUCKERS, MUCK
& THE MIRES, WATTS, MALIBU LOU & THE ITALIANS
Church, Boston MA 2/6/10
Lots of out of town well-wishers (plus all the usual suspects) here
tonight for Malibu Lou’s 40th birthday bonanza. An extensive
smoking break census reveals the non-New Englanders to be a highly cultured
crowd—unanimously voting Lyres and the Real Kids as favorite area
bands. Early prediction is they’ll all fall victims to the magic of
Muck!
The Cretins called in sick (the illness, not the magazine), opening
the first slot for… Malibu Lou & the Italians. Funnily enough,
I don’t remember any of these jokers from Holly Vincent’s version.
Not even one original member—how’s that gonna play
on the nostalgia circuit? Lou’s up front on vocals, backed by two
parts Watts (guitar and bass) and one part Muck (drums). Lou’s expansion
from solo acoustic performance to a full-blown band is kinda like what
Jay Allen has done in recent years, but whereas Jay uses his Arch-Criminals
to beef up the sound of his existing catalog of original material, Lou
& the Italians are handling different material from the old Malibu
Lou set. Still keeping in the same vein, though, with ’70s and ’80s
covers—the type of thing where you really sense the band’s appreciation
of the songs they’re doing. Malibu Lou is a fun and personable guy
in real life—you put him on stage and those qualities come through,
be it in solo form or fronting a band. That’s the important element,
because that’s what makes him good.
Next up are Watts themselves (all of ’em, I mean—Dan Kopko, John
Blout, Craig LaPointe, and John Lynch). This is a band that draws from
what most (too many) people think of as classic rock ’n’ roll, which
is to say ’60s British acts. They swirl the whole thing up with early
’70s glam rock flavor, then somehow create the impression of new wave.
That might sound like it’s all over the place, but inexplicably it
comes off as a logical progression. Blah blah blah… doesn’t mean
a thing. To me, these guys sound like your classic late ’70s Boston
band, ala the Neighborhoods. No goofing around either—competent and
totally professional musicianship every time I’ve seen them, and that
includes tonight.
A little too observant if you ask me, Church booker Tim Downey suggests
that I have nothing left to write about Muck & the Mires. Of course
if he was truly observant, he could have added Downbeat 5, Andrea
Gillis, and the Coffin Lids to the list. But why let that stop
me? If you think of it as reporting rather than reviewing, then
we’re golden. Tonight’s report goes like this: Muck and the gang
play their set. They play like possessed madmen. If listening to this
band is your only reason for living, then you’ve definitely
got a reason for living. As predicted way back in the first paragraph,
the out-of-town foreigners beaten into submission and driven
into a frenzy, calling Muck back for an encore and only grudgingly letting
them go when they’re finished.
Lastly we’ve got Dirty Truckers on our hands. I’ve seen them numerous
times before but rarely (if ever) written about them, largely feeling
under-qualified for the job. Not intimidated by them, but worried about
not doing them justice. Damn the torpedoes! Best I can say is they’re
very heavily Tom Petty-ish with maybe a smidgen of Dylan thrown in,
plus occasional echoes of country music. As feared, that doesn’t do
them justice. They also sound convincingly intelligent—there are very
few people in the history of rock ’n’ roll who play the intelligence
card without sounding simple-minded or moronic. Dirty Truckers are amongst
those very few. They also rawk, daddy-o. Some nights they sound like
just a great rock band, and other nights they sound like one of the
best rock bands. It’s heady stuff. (Frank Strom)
LIZZIE BORDEN & THE AXES, THE
FOOLS, RODS & CONES, O POSITIVE, BIG CITY ROCKERS, DIGNEY FIGNUS,
RIGHT TURN
V-66 25th Reunion
The House of Blues, Boston, MA
2/11/10
It's almost midnight when I turn to
my date and say, "Isn’t this night like a scene in a Salvadore
Dali movie?" And its true: a bunch of bands from another era are
celebrating the 25th reunion of long-gone music video station V-66.
I blink my eyes and it’s a cornucopia of night and day: punk rock,
new wave, dance rock, guitar rock, roots rock, grrrrl rock. When I walk
in Right Turn is playing and their Americana sound is good easy listening
and they are followed by a short set of songs by Digney Fignus. Although
Digney no longer dyes his hair blonde, his still-performing band is
powerful and tight and very listenable. Big City Rockers, with Tom Hauck
and Fred Pineau, then take the stage and do note-for-note Atlantics
songs. Although Fred now has grey hair and his band no longer wears
light colored shirts with dark thin ties onstage, hearing "Lonely
Hearts" again reminds me how great their tunes still are. O Positive
sounds as good as they ever did and its cool seeing a young Dave Herlihy
give a V-66 interview on the huge stage screens pre-set. I admit I am
a little sad when Dave tells me, "no, O Positive isn’t together
anymore" with a sly grin. Rods & Cones music is real dance/rock,
done great yet very dated, but this graying audience eats it up and
after a brief onstage speech by the legendary Arnie Ginsberg, the Fools
step up and blow the roof right off of this beautiful, newly-renovated
nightclub. The Fools may be the legendary wizards of whimsy but there
is nothing funny about great songs and an explosive performance and
the Fools deliver bigtime. "It's A Night For Beautiful Girls"
and "Life Sucks Then You Die” are both dynamic and it’s easy
to get caught up in the moment seeing the huge crowd, fists clenched
and punching the air in unison over their heads while shouting "life
sucks" with the band. The fact they play "Whipping Post"
as an un-anticipated inside joke encore to the aging crowd is very,
very funny. And the song rocks! Mike Girard runs around the stage like
a lunatic carrying what appeared to be a guitar made of a toilet seat—priceless!
Lizzie Borden & the Axes close the night with a typically powerful
performance with their most memorable hits. Sadly, neither Lizzie, Heather, Rita,
or Cyndie have their big-haircuts anymore. Lizzie says we'd need a case
of aerosol hair spray to do it now.
Special thanks to Tim McKenna from Live Nation and D-tension from the
HOB. (AJ Wachtel)
LOST CAUSE DESPERADOS, THE
PUBCRAWLERS
Geno's Rock Club, Portland, Maine
1/16/10
Geno's is happenin'. The mood is downright festive for a bill that features
an unusual occurrence: only two bands. But if you need a band to anchor
your CD release, you cannot go wrong with the beloved Pubcrawlers. The
bagpipes are being wooed by the dexterous fingers of Travis Pubcrawler,
backed by a powerhouse of traditional instruments, with a gut strong
spine of punk rock. From the instant they begin the crowd erupts; beer
frothing, fists pumping, eyes popping. I love this. I froth at learning
they are about to sate my thirst for raging pirate, rum-soaking, Jolly
Roger-flying, scally wagging, hard-rocking Celtic punk. Mind-bogglingly
talented musicians create crowd fire, just tearing up fiddle, mando,
accordion, whistle, pipes, in ways that traditionalist ghosts never
saw coming. The way they surge together, gripping; a crab boat anchored
in raging waves by ropes of salty power guitar surfing a tsunami of
beat. Lead Celtic pirate, Brian Pubcrawler, electrifies like a rogue
trap winch, an exposed wire of ocean flash fire. The rollicking crowd
is left reeling, sailing, fucking fighting, and drinking. This is the
theme of our hearts.
Next, an extremely thick wall of awesomeness treats the ears with Lost
Cause Desperados. Surprise: head banging erupts amongst rock roots,
a strong punk pepper dash, and many more, not indiscernible, flavors.
Never having seen them before, I am comforted by their tightness—a
sweet, throbbing release. CD release, I should say, and I am certainly
impressed enough at this moment, three songs in, to part with three
PBRs worth of currency to buy their CD (PBR being my current reference
to currency). In fact a said PBR has just been slammed into my ankle
by the still raucous crowd; LCD a sweet distraction. I enjoy when my
rattling spinal engagement eclipses the treble of my ankle pain. Kris,
Stu, Higgy, and, good lord, the singer guy (his mix is a bit buried
in the Wall of Wow, but man, I want to hear the studio version) are
consummate showmen. Good. Very, very good. (Stace)
THE A.R.E., JOHN MICHLIN, KIMBERLY
BOMBA
All Asia, Cambridge, MA
1/31/10
Kimberly Bomba is the first on stage at the All Asia, a small bar which
nonetheless commands a decent crowd this evening. This folk artist’s
voice carries through the club, silencing any and all conversation as
she performs songs from her new album, Inspirations, Frustrations
and Capos, along with a few new creations. Much of her music has
a relaxed, soothing vibe to it, but on a couple she picks up the pace
with some rock elements. Her music is pretty clean in terms of the lyrics,
so when she drops a couple F-bombs, the crowd can’t help but laugh
a little. “Bet you didn’t think I could say fuck?” she says after
her set.
John Michelin is a new solo artist, so he mixes covers with some of
his own original material. I met him earlier that night, and though
I could tell the rock musician was nervous, he told me he felt good
about the show, and he sounds solid as he does a rendition of “Knocking
on Heaven’s Door” to start off his set. He adds some of his own
music to the mix, including an instrumental and a song he wrote just
that day. Though he has some work ahead of him to become a crowd magnet,
I’ll be sure to catch his next show. He’s definitely got potential.
The A.R.E. (which stands for Analogue Rock Ensemble—not sure if four
people count as an ensemble, but I’ll go along with it) finish off
the night with a bang, adding their progressive/punk elements to the
show. Lead singer Rich jumps and gyrates around the stage, managing
not to slam into the rest of the band—whether that’s skill or simple
Providence is anyone’s guess. A friend tells me his moves are flawless.
Hell, they fit the music, so yeah, flawless works just fine. The band
is pretty new to the Boston area, but they’ve got a great sound, loud
and fast, and songs like “Night of the Living Me” show a great deal
of creativity behind the music. (Max Bowen)
THE BIG BIG BUCKS, LUAU, THE SINBUSTERS,
BIRDORGAN
The 119 Gallery, Lowell, MA
2/6/10
The 119 Gallery in Lowell is decorated, for this exhibit, with an amalgam
of ’40s and ’50s décor. The backdrop for the bands tonight will
be three huge shelves of broken naked baby dolls staring unwaveringly
back into the crowd. I know immediately that things are gonna get a
little weird.
The first band up tonight is Birdorgan—an
experimental noise ensemble. They start up when their drummer, Mike
Dailey, asks, “Ready?” before the band tears into an electric wall
of terror. Their main vocalist, Dei Xhrist, lets loose with some heavy
screaming and fast paced scatting that’s unlike any noise I’ve ever
heard a human make. A low, ominous electric hum fills the low end as
sporadic drums and prickly untuned guitars flank the audience. At times
it sounds as if they’re speaking in tongues. The music has no rhythm
or melody, as one would expect from a noise band. Overall, their set
strikes me as a sort of noise-theater or performance freak-out, particularly
when guitarist Marc Bisson begins to smack his guitar with a slinky—creating
an ungodly noise that I would assume is similar to the sound one hears
when they fall way off the deep end. I like it, but I may be one of
few. They’re definitely not for most people, but it’s well done
if you’re into this sort of thing.
Next up are the Sinbusters, a Lowell band that’s been quickly gaining
popularity. The night of strangeness continues when keyboard player
Patrick steps on stage with a huge bushy beard, pig tails, and a dress
that I can only describe as charming. They jump straight into their
set. Nick’s shouty vocals ring out through the vintage mic with a
tinny garage rock style that gains distortion the louder he belts it
out. Jen provides backup vocals and shakes a tambourine as she dances
to the punky one-two drums. Their songs are fast and loud, and their
energy is contagious. The Sinbuster’s music sounds like a car chase,
and it’s great to see the crowd getting into it. They have that classic
garage rock sound with an interesting tinge of surf reverb. These songs
are heavy enough to be confrontational, but mean enough to sound genuine—and
that’s important.
Luau’s guitarist and lead singer, Jake, introduces the band and takes
a long swig off his bottle of schnapps. He asks, “Does anyone have
any antacids? This is giving me bad heartburn.” A voice in t responds,
“Stop drinking the schnapps!” Jake is giving the crowd a hard stare
as he calmly responds, “You’re not going to get me to stop drinking
the schnapps, so get me an antacid.” With that the band promptly explodes
into fast drums and dense chords. Their sound is something like At the
Drive-In, if they had stayed together a bit longer. Luau has all the
attitude of a hardcore punk group, but with melodic interludes and breaks
that really show off their song writing skill. At times their guitar
breaks have a triumphant quality as they take off over the driving distorted
bass. They have a clear direction in their music, and they give the
crowd a great performance.
Last for tonight is the Big Big Bucks. They start up with some tunes
that have a very rock ’n’ roll feel to them, but with some pop hooks.
They have a good energy, but know how to cool things down when the time
is right. The drums pound away and smooth vocals weave in and out of
the guitars’ distortion. The Big Big Bucks sound a little like Weezer,
but edgier and heavier. They plug on through their set list and maintain
a great balance of slow, fast, heavy and soft songs. The guitar riffs
they are playing range from ’70s heavy rock to chugging grunge power
chords, with sweeter breaks that hearken to Oasis and other ’90s pop.
Their sound if something all their own, but it’s recognizable and
easy to listen to. (Alex Enman)
THE FOUR LEGGED FAITHFUL
The Chit Chat Lounge, Haverhill, MA
1/29/10
I go to the YMCA to work out now. I see Matt, a guy who works there,
carrying a guitar, so I ask him if he plays with a band. And that’s
how I end up at the Chit Chat Lounge tonight. The Four Legged Faithful
is a four-piece with no drummer. They make use of an acoustic guitar,
stand-up bass, banjo, mandolin, and four strong voices. The band starts
with a bluegrass number. It’s kind of what I expect from them. The
next song has such a complicated rhythm that it comes off as some strange
vein of folk jazz. The third song is what I’d call a cowboy song—laid
back and kind folky. Next is a cover of Jethro Tull’s “Locomotive
Breath” complete with a vocalized flute solo. Okay, they’ve proven
to me that they’re not just another kickin’ bluegrass band. At least
for this set, they tend to take a bit too much time between songs and
never let momentum of the set get rolling. The good part is that each
one of these guys, Nate Pelletier on banjo, Jon Kaplan on mandolin,
Pierog on bass, and Matt Migliori on guitar, is a complete individual
and could be the lead singer of his own band. Put four lead voices together
and you get some great harmonies and a big variety of singing styles.
A couple of songs really stand out. One original called “New York”
is about a tree growing in the city that cites shades of Crosby Stills
& Nash, and a fun cover of Cake’s “Stickshifts and Saftey Belts”
that complains about the seating arrangement in today’s cars—“I
need you here with me, not way over there in a bucket seat.” The Four
Legged Faithful are quite the musical workout. (T Max)
HERO(N) OF ALEXANDRIA, THE HIGH
SEAS, MOTHER NIGHT, HANGMAN'S ALPHABET
Middle East, Cambridge, MA
1/10/10
Hangman's Alphabet tries to warm up a frigid Sunday night crowd with
feedback induced nightmares. This is not quite metal machine music.
It is rock ’n’ roll with enough stops and starts to keep you on
your toes as you rock out with an eye on your thesaurus.
Mother Night plays second to a good,
if frozen, crowd. They play a very short instrumental set that leaves
the crowd yelling for more. Not a bad Boston response for a new band.
Are they math rock? Post partum methadone drone? Spazz core oompa krunk
tone? Psychedelic indie narcoleptic two-tone noise? Yes.
Next up is the High Seas. These guys would fit well with one of my favorite
Boston bands, Tristan da Cunha. All four guys take turn singing lead
and complete each other’s phrases like they were married. Maximum
minimalist, these guys could do the college fight song for RISD.
The last band I get to see is Hero(n)
of Alexandria. I hope to see a full set next time. If Lightning Bolt
and Can't held a tea party, this would be the soundtrack at the end
of the wonderful rainbow. There is lots of hooting and hollering. (Eric
Baylies)
GENTLEMEN HALL
Roger's Pub, Wellesley MA
2/5/10
Roger’s Pub at Babson College is a notoriously hard venue to play.
A school full of over-worked business students coupled with an ancient
sound system rarely leads to enthusiastic responses from the audience.
Gentlemen Hall is one of those rare exceptions. I walk into the bar
and my first thought is it sounds like MGMT and Jamiroquai got in a
gang-fight with the Backstreet Boys… and it sounds pretty awesome!
After a deliciously cheap one-dollar draft I am immediately caught up
in the band’s infectious dance vibe. It seems each one of the six
members of Gentlemen Hall is a front man and they each contribute to
the high-intensity energy of the night. Guitar player Jacob repeatedly
walks with an unspoken confidence into the crowd getting everybody to
sing along and even get on stage. Rory lays down driving and heavy
bass lines. Seth, the band’s flute player (who has a flute player
nowadays?!), adds catchy riffs to every song and routinely calls out
to the crowd. The unspoken hero of the night, however, is Brad; barely
visible behind his wall of keyboards, he adds enough synths, noises,
and effects throughout the night to send the Killers back to the drawing
board. Gentlemen Hall combines all the essentials of a dance party with
a healthy dose of electrical accompaniment, and endless energy to knock
Roger’s Pub off its unsuspecting feet. (Yonatan Dotan)
PESKY J NIXON
Cat in the Cradle Coffeehouse, Byfield, MA
1/15/10
I catch the last song of John Waterman’s set—he’s a decent folk
performer with a bit of delta blues in his guitar.
Pesky J. Nixon is a folk three-piece tonight (they’re missing their
bassist) with Ethan Baird (guitar/ lead vocals), Jake Bush (accordion/
harmonica/ vocals), and Dan Carp (djembe with suitcase bass drum/ vocals).
They start out with the light-hearted “Hope I Don’t Get Born Again”
to show where they’re not coming from. Remember the name Nixon is
more than a dethroned president—these guys have more the feel of the
once Red Sox right fielder Trot Nixon—talented and humorous at times.
Ethan runs the show—he’s a burly guy with a good voice and a knack
for storytelling between songs. The cafe is about sixty-foot square
with a thirty-foot ceiling and a four-foot high theatrical curtained
stage. The ceiling holds a dozen spotlights to give the place a real
professional show feel. The sound by booker Chris Paglia is clean and
clear, and, down below the back of the stage, beer, wine, coffee and
treats are to be had. Back to the band—wow—they do lots of three
part harmonies and have their dynamics down. Jake, who has a nice deep
voice when harmonizing, takes on some of the lead vocal chores on his
songs and sounds a bit like Harry Chapin, which is fitting for the café,
since Harry sang “Cat’s in the Cradle.” Ethan gives advice to
the gals in the audience who go out with songwriters—“don’t ask
them to write a song about you—especially if they write good break-up
songs.” He continues on about the ex who asked him to write a song
about her. A week later they broke up and “Who Will Love You” was
written. They end the show with a couple of good audience sing-alongs.
(T Max)
AUTUMN ABOVE
WUML Studios, Lowell, MA
1/25/10
I’ll always have an affinity for UMass Lowell’s radio station, WUML.
So many great bands from Lowell have passed through their doors and
it’s always fun (or at least interesting) to stop by on Monday nights
for their weekly showcase, Live From the Fallout Shelter.
Playing live in the studio tonight is Autumn Above, an all-acoustic
act from Beverly, Mass. They have three acoustic guitars, an acoustic
bass, and drums—as well as a mic for each member. They open up much
louder than anyone expects and people scramble for earplugs. They have
a good grasp on dynamics and don’t seem limited by their all-acoustic
status. Ryan Davidson and Chris Harvey belt out wailing vocals over
proggy guitar riffs, at times sounding a lot like early Coheed and Cambria,
but at others they have an almost Iron Maiden flavor—no easy feat
for an acoustic act. They power through complex songs and the drums
keep everything moving, but never overpower the others. Though they
are primarily acoustic, they encounter the same problems that other
progressive groups do: sounding a little long-winded and generically
complex. This is a problem most bands with very talented musicians run
into. They put on a good show, though, and while they might sound a
little lengthy they have a great energy and fun about them. (Alex Enman)
Live Reviews
