JUST - S/T CD

Having just seen half of what was one of the best show opening sets I've witnessed since Geronimo beat the Nazis.

Understandably, I was rather curious to hear what was within the prize handed out to us brave folks occupying the front of the room. As I attempted to upload the home made CD to my computer I noticed there was no track list or information available. Still curious, I went to the bands bandcamp page to find the information needed for s somewhat decent review.

With five songs barring the names 'Pan', 'Grass', 'Drain', 'Chest' and 'Treat'. I have to admit, I wasn't expecting much at all from Brooklyn, New York's JUST. Perhaps that set was just an apparition or a full blown hoax. What JUST lack in a creative name, eye catching logo and catchy song titles. They more than make up for in muscular, dirty up the dance floor Hardcore. Great riifs, time changes and authoritative vocals. I guess it's a good sign when you don't flinch after listening  to something a half dozen times in one sitting

Recorded in October 2016 at Barber Shop Studios. JUST left me wanting to hear more as well as catching a full set one day soon. Let's hope the new year presents just such an opportunity. JD

JUST

Gillian - Colorize

To this day I still have a sincere affinity for the borough of Brooklyn. Having gone to school there and labored at my first suit and tie job there. Why wouldn't I? These days however, the borough seems to get more grief for it's slick, Pabst drinking hipsters than for the shining beacon of hope it's always been for music of all shapes, sizes and colors. A thread of consciousness that leads me to Colorize, the bands third and most recent release to date.

Warm and flavorful  instrumentals accent smart meets crazy vocal duos for a sound that is as eccentric as it is eclectic.
While Colorize features a mere five songs. (Freak Flag, my personal favorite returning from the 2013 release of the same name.) The band seem to have no problem distinguishing themselves as something that is uniquely special.
Possessing an approach and endearing quality that appeals to the masses while still feeling intimate and personal.
A very rare trait in a time where our attention spans have shortened and the demand for immediacy reign supreme.

Having recently signed a soul stealing deal with a publisher. Who knows where Gillian's music might be popping up. I dare not venture to guess. Regardless of whether it's the big screen or the small one. The Brooklyn quintet seem to be headed places. James Damion


http://gilliantheband.bandcamp.com/  Get it Here

United By Images; Gillian

Gillian are a Brooklyn band featuring Geoff Bennington, Paul Demyanovich, Kym Hawkins, Paul Fedorow and Brian Yurachek. The quintet play an infectious and very danceable version of indie rock/punk. In early 2015 the band signed a publishing deal to for TV, movies and commercials. While something of that nature might not sit well with music purists.
It surely marks an improvement in each of the three markets. For me personally, I will forever appreciate Gillian's unique and rare ability to make me dance with wild abandon and boundless glee. Here's to hip shakin'.  James Damion

Gillian the Band  Facebook

Colorize Bandcamp

Freak Flag Bandcamp

WWIX - If One of these Bottles Just Happens to Fall

If one of these bottles.... the latest offering from New York's World War IX is a five boot to the head kicker that is an energetic, raucous and drunkenly fun EP that brought to mind past acts such as Murphy's Law and                   No Redeeming Social Value as well as other party anthem acts of the 80's and 90's. I might even go as far as likening them to a punker version of Seattle's President's of the United States.
The EP came with a 32 page D.I.Y. comic book titled Earaches and Eyesores. Illustrated by the bands guitarist Justin Melmann. It serves as the perfect accessory to the EP. Overall, it felt good hearing from World War IX again.           I look forward to hearing more from them down the road.
While World War IX may fly a bit under the radar in comparison to many of the bigger names on the NYHC scene. These Brooklyn boys seem to be doing just fine. Adding a sense of humor and an artful edge that has always been somewhat lacking in the scene.
James Damion

World War IX Get it Here

Low Fat Getting High - S/T LP

While I won't kid you in saying
I have any idea what the name Low Fat Getting High eludes to. I will say that this is some of the best stuff I had the privilege to get a hold of as year 2014 came to a close. Having heard so much praise thrown upon this Brooklyn band in the last year or two. I was beginning to wonder if the hype machine had gone into overdrive. That was until I managed to get hold of a copy of the band's previous release 'Bad Yoga'. Those four songs were all the convincing I would need.

So when the band offered to send me a copy of their new LP.  I was more than willing to accept.
Raw, heavy and flat out noisy. This record makes me regret not posting a best of 2014 list on the blog this year. The self titled LP, which features twelve sonic tracks of post noise grunge rock validate all of the buzz that's been building around this band. While comparisons to grunge pioneers such as the U-men, Green River and Mudhoney can easily made. Perhaps a nod to Queens of the Stone age might suit those with short term memories or ones without music history degrees. Regardless of any genre specifications or trappings. I wouldn't go suiting up this Brooklyn trio in matching flannel attire anytime soon. Low Fat Getting High are perfect for what they are. Loud, raw and honest sounding. Overall, some of the best stuff out there. James Damion

Low Fat Getting High Get it Here

Making a Scene with Brooklyn Photographer Walter Wlodarczyk.

Since our one and only encounter at a Black Flag show in June of 2013. I've been in steady contact with Walter through social media. Over that time I've often found inspiration in the engaging photographs he posts from local Brooklyn shows and events.  Images that make the viewer want to cross that bridge or ride through that tunnel to investigate what's really going on and about on the other side. More than anything, Walter's images serve as an accurate documentation of the thriving and expressive music scene and artistic community happening in our very own backyard. I recently had the chance to talk shop with and have him share some of his favorite images. Here's what he had to share.
James Damion

James: For starters, can you introduce yourself and let our readers know who you are and what it is you do?

Walter: My name is Walter Wlodarczyk and I'm a documentary photographer based in Brooklyn. My work focuses primarily on creative life in New York City – music, performance, other forms of art, the people doing the creating, my experiences.

James: When did you originally start bringing your camera to shows and was there anything specific that made you want to capture what you were experiencing?

Walter: Photographing music is a natural part of what I do more generally, which is document creative life in the city. One of the things that most inspired me to take up photography is the art that came out of downtown New York in the 70's and 80's – and not just the music photography.

Hausipungo

The photography that documented the artists and what it meant to live in the city at that time, in a more general sense. Everything I read and saw from that period made me want to create my
own document of life in the city, at this time.
A document of art, music, people, my life, the things I enjoy and think are great and important. All of the things that I'd want to appear in books made in the future about life in the city today.

James: Do you shoot for any of the many music sites, blogs or media outlets out there or are you just doing it for your own selfish passion?

Walter: I do some assignment work, but generally work directly with artists, and on self-directed projects. I focus on subjects that inspire me, knowing that opportunities to publish my work will come (and they do) if I've done a good job in capturing what I see. And it's really not selfish at all.

I love it when someone tells me that they got into a band after seeing my photos and deciding they had to check them out, or when I'm able to get photos published of a band that I love.

Math The Band with Peelander-Z

In terms of specific publications,
I've recently had some work published in Impose Magazine, and Alt Citizen. Those are two publications that I like because they have a vision about what they're sharing with the
world, and a sense of being part of a creative community. That fits with how I work. As a photographer I'm a contributing member of a community of creative people – not someone who takes photos simply to get published.

James: What's your weapon of choice? What's in your bag? Make, Model, Lens, Flash.

Walter: I use a Canon 5D Mark III. Lenses depend on the situation, subject, and lighting.
I like the 24-70 f/2.8 as a good all-around lens. I might go with a wider zoom if the situation is very tight. I also like to use a faster prime lens if it's possible to (again, it just depends on the subject and situation). And I always pack a flash, because you never know.

James: Flash or no Flash? Why?

Walter: The eternal question. If you throw out the obvious situations where you simply can't use flash, or must use flash to get anything usable, I think there's a big middle ground of maybe.
I try to feel those situations out and may use flash to the extent that it'll work with the ambient light and maintain the spirit of what I'm photographing.The other dimension is that I try to be very careful that my use of flash is not disruptive or distracting, because a show is about the performance, not about me taking photos of it. There are the shows where it just doesn't matter – everything is so crazy no one even notices. The trickier spots are those where you need to use flash, but everyone's standing 15 feet from the stage and the energy is maybe tenuous to begin with. I hate to be a distraction with flash in those cases, but sometimes you just need to. I try to be economical if that's the case. But it really just depends.

James: Do you have a certain approach that may differ from others? Is there anything specific you're looking to document or a feel you want to come across in your images?

Walter: I think every photographer's approach is unique by definition, starting with the choice of what to photograph.

In terms of art and music, I want my photos to capture what inspires me about the subject– the energy, beauty, humor, craziness, freedom. I want to convey the spirit of what I'm documenting and express what I find wonderful about it. I also like for my photos to be a very definite counterpoint to everyone who says New York City is dead. The city may be different
(it always is), too expensive, etc. But it's not dead.

James: What else do you like to shoot? Where does your camera usually take you.

Walter: I've had the privilege of touring with KEN South ROCK in Japan and around the US, and that has been awesome. I love touring and documenting the experience. I also like to visit Miami a few times a year to hang out with my friends the Audio Junkies who I met while on tour there with the ZZZ's. The Miami music scene is great and the Audio Junkies are always putting together great shows – especially during Art Basel and over the 4th of July.
I like documenting all of that madness. And of course, I enjoy documenting New York City and art in general, in addition to music.

James: I have a list of photographers who not only inspired me to pick up a camera and document my surroundings, but one or two that actually helped me get to where I am now. Who are yours? The ones who moved you to shoot?

Walter: Peter Hujar for one – especially his photographs of New York at night. I saw a collection of those photographs in 2005 and that was one of the first experiences that I remember making me really want to pick up a camera and document my New York. Also Zoe Strauss. I saw the last installment of Zoe's ten year I-95 project, which was an outdoor show, her photographs mounted on pillars under an I-95 overpass in her neighborhood in Philadelphia. The photos were arranged with incredibly specific care both up and down, and across the rows. Zoe describes her work as “an epic narrative about the beauty and struggle of everyday life” and that is really a perfect description of her work, and that show. It was epic and then some. It really made something click inside of me about what photography can and should be. Nan Goldin as well – her work also made me want to create my own document of New York City.

James: I think most photographers have their horror stories of getting gear and/or their heads broken at shows. Do you have any battle scars to share?

Walter: Thankfully I've not experienced any truly serious damage to gear or person.
Just normal sorts of thing -- I've had a cigarette put out in my arm, had people fall on me, had my camera punched into my face by a friend who was very “in character” during a performance, been stun gunned. The stun gun thing was not an accident, actually, but it wasn't malicious. I'm pretty good at preventing accidents, actually. In particular, catching falling mic stands. I once received a round of applause for making a one-handed diving catch of a fancy microphone at a jazz party.

Chat Logs

Highlight reel for photographers, maybe.

James: Personally, the thing that draws me to your images is.
I almost never know any of the bands you're sharing images of, but those images inspire me to seek out their music and hear what they're all about. I don't know if that qualifies as a question, but it's an observation that can't go without noting.

Walter: Yes – thank you. That's exactly what I hope for. I've been successful if someone sees one of my images and is inspired to learn more about the subject.

James: The last time I shared the Pit with you was at the Black Flag show at Warsaw.
(A particularly bad show for me personally) I recall Jason House, another local shooter, being there. I always here stories about very unfriendly photographers who don't like sharing the pit, their stories or anything particularly social. Personally, I've been somewhat immune to that stereotype. Do you, yourself have any personal rules of the pit?

Walter: Oh, most of my interactions at shows are totally positive. My personal rule is to try to make the best photographs I can without distracting from the performance or impeding anyone in the audience from enjoying the show as they would if there were not a photographer there. No one wants a camera jammed in their face or flash straight in their eyes – obvious things like that. And I try to share my space with anyone else who is shooting or filming. Common sense and respect. Occasionally there's someone who doesn't get it, but I just try to work around those people. And that can be a photographer/videographer, or an audience member who is intent on clobbering everyone. The best thing is for everyone who goes to shows to collectively let those people know that that kind behavior is really not okay. I think Joe from Big Ups put it pretty well –
“I know we're all animals, but let's be domesticated animals.”

James: Most of what I've seen from you comes out of Brooklyn, particularly Bushwick. Is it safe to say that Brooklyn's more than hipsters, Pabst and clever haberdashery?

Walter: That's really just a function of the fact that I live in the area and that's where we tend to hang out, and see shows. I also shoot plenty downtown and other places, and of course not just music. There's plenty going on all over. New York is so diverse, the generalizations people make are silly. You find out what a place is about by getting out and doing things and meeting people, not by reading the comments on the Internet. I try to ignore all of that. Especially the comments.

James: Very true. Are you originally from New York City?

Walter: I'm from New Jersey. I'm a product of the tristate region.

James: Well then, we're practically related. (In a backwards finish to start kind of way.)
What are some of the bands and music spots worth looking into.

Walter: In terms of venues, everyone should visit Death By Audio lots before
it closes in November. I can't even remember how many great shows I've seen there. I also suggest checking out and supporting our great DIY venues like Shea Stadium and Silent Barn. And Goodbye Blue Monday, which has provided a stage for literally anyone who wanted to play, for so long.

Links to Walter's Work;

Website; http://www.walterwlodarczyk.com/#!/index

Blog; http://blog.walterwlodarczyk.com/

Instagram; http://instagram.com/wlodarczyk

Twitter; https://twitter.com/wlodarczyk

Facebook; https://www.facebook.com/wlodarczyk.studios

Gillian - The Eyes In My Head EP

"The Eyes in my Head" the followup to Gillian's 2013's two song effort "Freak Flag", opens with the warm, atmospheric "Spirit Night". A song as uplifting as the title implies. Celebratory, nerdy and somewhat spastic, it has an immediate impact that had me leaning in, wondering where this was taking me.

"Out & Out", my personal favorite takes the listener even forward with it's dreamy keys and Kym Hawkins addictive vocal qualities.

The airy, atmospheric qualities continue to draw the ears in. There's an unwritten invitation to not only dance, but lose any inhibitions you may have brought along with you.
A gateway drug to happiness, to say the very least.

While "Breathing in Style" brings me back a bit to the more Pop rock stylings of say, Invisible Lines. The songs overall vibe reminds me of that of the EP's opening track.
"The Good Life" closes out the set on a high note. I couldn't help but find myself arguing with.... myself on whether or not this would win the "personal favorite" award. Luckily, I won't have to decide any time soon.

Overall, "The Eyes in my Head" deliver four intoxicating songs that make you want to dance and just plain celebrate all the good things in life. Proving that dance music is more than DJ's, programmed music and auto tune. Brooklyn's Gillian have something quite appealing to offer. Personally, I am more than happy to accept. James Damion

Gillian Bandcamp

Not Blood Paint - Time to Deliver Available Now

'Time to Deliver', the new five song EP from Brooklyn's
Not Blood Paint is available for a "Name Your Price" option on Bandcamp. Mastered by
Kevin Blackler at
Blackler Mastering,
Brooklyn, N.Y. Cover by Booters Liebmann-Smith and
George Frye. 'Time to Deliver' marks the bands 6th release since their 2011 debut 'Tommy'. If the EP's artwork doesn't draw you in.
The bands glam rock guitar sound, prog rock genius and downright sinister delivery make for an interesting listen. Check it out.
James Damion

Not Blood Paint Bandcamp

Underdog, The Brought Low and Huge Play Brooklyn's St. Vitus

Despite my shitty driving, Dan (One time Underdog guitarist.) and  I made it to Saint Vitus with plenty of time to check out the bar, the merch table and run into a dozen or so people 

I hadn't seen in decades. This was my first time at the Brooklyn bar and the first time seeing the Huge and The Brought Low. It was also my first time seeing Underdog in twenty five years.

Having purchased and reviewed the bands 7' E.P. months ago. My Review I was pretty excited to see Huge perform live. Having seen Underdog numerous times in the eighties. Bassist Russ Iglay's daunting stage presence was something to behold. This was my first chance seeing him as a front man and though I really didn't know what to expect. I knew full well there would be no lack of energy or personality. I have to say, it felt really good seeing that record jump from my turntable on to the stage. The band got the night off to a great start with Russ working the stage both energized and animated. The bands sound leans more towards rock n' roll than Hardcore but retains all the aggression and energy of the latter. 

Add to that the skate rock leanings that always showed up in Underdog sets and you've got a clear winner.

Huge

Russ and Jimmy G. (Murphy's Law) join forces.

The Brought Low followed and though I had yet to hear the band, the immediate presence of a familiar face Benjamin Howard Smith (Sweet Diesel) put my mind at ease. The last time I spied Ben was back in early 2011 when Sweet Diesel opened for Supertouch at
Santo's Party House in downtown Manhattan. Being that this was my first time experiencing the New York City trio. It's safe to say, I had no idea what to expect. What The Brought Low delivered was a powerful blend of soulful Rock whose power seemed connected to long gone bombast of acts such as Grandfunk Railroad and the MC5. It seems the only thing missing from their set was a thorough cow bell solo. Good shit if you can handle it.

The Brought Low

As Underdog took the stage I began to brace myself. The crowd thickened as people began moving closer and closer to the stage. It had been twenty five years since I'd last seen them perform live. Yet in that quarter of a century. The bands influence on me remained strong. As one of the bands who stood above and stood out among many of the bands in the scene during that time period. The nights set was justly dedicated to the recently deceased Carl the Mosher. (Former Icemen frontman and one time Underdog vocalist.) The energy and intensity of their set seemed to flow from the band to the crowd and back to the band again, as the band worked through a set that included songs from The Vanishing Point, their self titled 7 inch and their demos. Their were plenty of highlights along the way.
From the moshing, stage dives and sing alongs. To Richie's M.C. breakdown that followed
'Not Like You' and a bunch of forty something crowd of middle aged men singing
"Mom says better get home early. I say, "Fuck that" lets get surly." Overall, a nice return on the twenty dollar invested at the door. See you in twenty five years. James Damion

Underdog

Cousin Sleaze - S/T 2 SONG EP

Many is the time I've overlooked a band based solely on their name. The term "What's in a name?" seems to have eluded me since childhood. Luckily, I get an hourly reminder from my chosen listening device of the goofy names attached to many of my most beloved artists.
In comes Brooklyn's Cousin Sleaze and their self titled two song EP.

In most instances, I find it hard to grasp a bands sound after a mere two song introduction. However, "Too Many Days" and "Still Screaming" were good enough to warrant further investigation. In visiting their Bandcamp page. I was led to their 2013 split with Slaves BC and their 2012 full length Sick Maniacs.

Cousin Sleaze deliver fast, relentless Hardcore with cut throat, screamed vocals and nasty riffs. On these tracks in particular, it was the pounding rhythms that had me feeling as if I'd been hit by a concussion grenade. It's Hardcore meets Metal meets strep throat.
 Impressive stuff from these Brooklyn troublemakers. Get crazy. Get Fucked.
 James Damion

Cousin Sleaze  Bandcamp

Knapsack, Have Mercy and I Hate Our Freedom at Music Hall of Williamsburg

This past weekend I had the unique pleasure of getting to see Knapsack perform their one and only New York show at the Music Hall of Williamsburg. I had first heard about the short jaunt of reunion shows a few months back. Though quite excited at the time I completely lost track of time and like with many reunions, failed to get tickers.

When my buddy Chris shot me a text asking if I'd be interested in taking an extra ticket off his hands. I was more that happy to take the weight off the poor kid. Up until a few years ago I would have considered myself a casual fan of the band. They were one of many, many bands I had seen at Maxwell's during the 90's and I recall having one or two of their records in my collection at one time or another.Years later during a record store run with my buddy Dave. Suddenly, the song 'Saturday Side of the Street' came across the speakers like a jolt of electricity. "Who's this?' I asked. "Knapsack" replied Dave in his usual even tone. I was as if I had found my new favorite band, As usual, it was one that was long gone. Having the opportunity to see them again with a renewed love and appreciation is something I'm pretty thankful for.

Brooklyn's I Hate Our Freedom opened by not sounding remotely any other opening band I've experienced.
I've heard about these locals for some time now. This, however was my first taste, my first face to face. The band features former personnel of such notable acts as
Texas is the Reason, Garrison, Milhouse and God Fires Man and House & Parish. The bands energy and edgy post core sound had me wondering why it's taken me so long to make my way to one of their shows.
I picked up their album 'Seriously' a few days later and can't wait to give it a spin.
I Hate Our Freedom

In between set I talked to a few of the people taking pictures and had and somehow found common round with someone standing right next to me.

Being that he was from New Brunswick, the conversation quickly turned to the towns history of basement shows. Going to shows is such an amazing way to meet and connect. Turns out we shared many of the same friends and experiences. Within a matter of minutes Have Mercy took the stage. Though I had no prior knowledge of the Baltimore band I could feel an instant connection with the bands music. emotive vocals and melodic buildups. Impressive to say the very least. It's always rewarding to see a non headlining/touring band get  a rise and response from the local crowd and Have Mercy more than earned the praise.
Have Mercy

The night was already bordering on perfect with a fantastic sushi dinner with a friend, finding a good spot up front to shoot and seeing some excellent bands for the very first time.

My lazy Sunday afternoon on the couch morphed into an epic night with so many memorable moments.

Knapsack

It might have been hard to imagine it could possibly get better. But as Knapsack finally took the stage. I quickly realized that it was about to.
As the band finally took the stage you could feel the energy and pulse of the crowd grow and quicken. My eyes and ears perked up as one of the best shows I'd been to in months was about to reach it's peak.Imagine my amazement when the band opened their set with that same song ('Thursday Side of the Street') It was the perfect song to dust off my memories of my first and only time seeing them perform live. The perfect track to remind me why, years later, I fell in love with knapsack for the first time through 'Silver Sweepstakes' and their self titled Alias releases. The bands set reminded me of everything I love about the band and live music in general, The give and take from the band and the audience was palpable. singer/guitarist Blair Shehan was more than happy to share his feelings about having the opportunity to play, share the stage with such good friends and fans. After their long,sweat soaked set, the band returned for an encore before sending us home with smiles on our faces, good tunes in our ears and perhaps a few trinkets from the merch table. Not bad for a Sunday night. Until the next time. James Damion

Knapsack

Have Mercy

I Hate Our Freedom

Hounds Basket - Delusions of Grandeur EP

It's never a good sign when your half way into a records first song before you realize you're listening to a Doors cover. What's just as bad, if not worse, is finally realizing that it's actually not a cover. Brooklyn's Hounds Basket self described mix of alternative, grunge, stoner metal come together rather nicely.

This seven song EP opens with 'Melatonin' and 'Master Plan'. Two sludgy stoners that would best serve as the closers.
It's not until the cleverly titled 'She's a Nihilist' riffs kick in 'til the ears perk up and wake me from my slumber.
'Dazed and Amused'
and 'Delusions of Grandeur' follow with similar results. Excellent metal rippers that really highlight the bands ability and promise. Strangely though, 'it's When in Rome' the records closer that is by far the EP's strongest song. Though it shares the sludgy stoner influences of the opening tracks. It's mammoth sound and grinding power have an incredible effect on the ears. There's some serious Alice in Chains love going on here. Though I'm not sold on 'Delusions of Grandeur'. I'm glad I stayed long enough to here the entire package. I'm cautiously optimistic about the bands future. James Damion

Hound Basket  Bandcamp

 

Cinema Cinema - Fifty Ft. Queenie / Adult Themes

In the oddest of couplings since President Obama and Governor Chris Christie walked hand and hand along the Jersey Shore. Brooklyn's experimental noise duo Cinema Cinema team up with New Jersey's micro-indie label Dromedary Records.
As the label gets ready to celebrate its twentieth anniversary it will be releasing an album featuring covers of songs released in 1993.
The fateful year Dromedary was launched.

'50 Ft. Queenie', a cover of the opening track to PJ Harvey's album 'Rid of Me' features the mind twisting reverb, savage guitar riffs, schizophrenic vocals and tribal drumming that we've come to expect from this Brooklyn duo. Yet somehow these kissing cousins managed to take things to a level of intensity that somehow manages to go beyond the scope of it's music. Since first being introduced to this very special band in mid 2011. I've noticed myself move from a position of observance to somewhat of spiritual inclusiveness. Where I once surrendered to the trip.
I feel as if I am now part of it. Just as Cinema Cinema's cover of '50 Ft Queenie' manages to take the song to new and barbarous heights. It also gave this listener a new level of appreciation and interest in PJ Harvey's classic.

The records B side 'Adult Themes' is surprisingly more melodic and atmospheric. The band really take it down on a notch on this song which features a spiraling guitar sound and a jazzier more rhythmic approach to the drums, it's a both interesting and welcome side of the band  that I've seldom seen before. The upcoming   'Covers' album will feature more than a dozen artists covering various songs from 1993. The double LP is to be patterned after the great 1994 compilation "Why Do You Think They Call It Pop?" from Pop Narcotic records. Look for it in the fall. James Damion

Dromedary Records  Get it Here

Images and Thoughts from Big Eyes show at Brooklyn's Death By Audio

Though it is way too late to do a review of the  Big Eyes performance at Brooklyn's Death By Audio;
It's never too late to post a few images and thoughts from the night. With a highly anticipated and praised debut album 'Almost Famous' in tow, the Seattle by way of Brookyn trio returned to their roots to play a high energy set at
Death By Audio in Williamsburg. There was plenty of positive vibes on both the stage and the dance floor. Kate is one of the fiercest guitarists I've seen, she packs a ton of energy and rock n' roll swagger into a small frame. I had the pleasure of speaking to Kate before and after the show and can't say enough about her or anyone involved with the band. This was my first trip to Brooklyn's Death By Audio and everyone involved with the venue were friendly and easy going. The club features two boxy rooms. The front features artful walls, a stage and sizable dance floor. Whlie the back features tables for band merch and an area for cheap refreshments. Overall, a nice little DIY space.
James Damion

Big Eyes Kate Eldridge

Big Eyes Chris Costalupes

Dance, Dance, Dance!!!

Check out my review of Big Eyes 'Almost Famous' Here

Images and Insight from the Black Flag Reunion

In the days and weeks leading up to Black Flag's reunion show at Warsaw in Brooklyn my interest in attending reached an epic low. The fact that my friends in Cinema Cinema were on the bill was an exciting addition but hell, I could see them most days of the week without the hassle of bouncers, barricades and drunken forty somethings trying to relive their glory days in the mosh pit.

Lucky for me, the excitement of my friends in Cinema Cinema and the fact that they were kind enough to get me on the guest list allowed me the opportunity to have a friend come along and enjoy what had become an extra ticket. By the time Jason got to the club we had already missed the first band and made it to the front just in time to watch Ev and Paul of Cinema Cinema set up their weapons of mass destruction. It was great to be there to celebrate their success. The band has been incredibly busy playing countless shows, recording, making videos while practicing brain surgery as a hobby. The duo put on an amazing show that really doesn't change with the size of the stage, venue or audience. Big, loud, manic hard rock beauty with lots of reverb, distortion and intensity. One of the biggest rushes I got from their set had nothing to do with what they were playing. It was seeing Greg Ginn and Ron Reyes leaning on every note while proudly wearing Cinema Cinema gear. That impressed me a lot. For as long as I can remember going to shows. I've seen too many bands hanging outside the club or backstage while other bands (many of which were their friends poured their hearts out on stage.) A great show and another great opportunity for this very deserving band. They've got a new 7 inch with a cover of PJ Harvey's '50 Ft. Queenie' out on Dromedary Records. Go scoop up a couple of dozen copies.

When I got wind that a forth band was added to the bill I was less than excited. In reality,
I was hoping for a short night and an additional band meant I wasn't getting home anytime soon. That all changed though when Good For You got down to business.

Honestly, I did not know thing one about this band beforehand, but by the time they were half way through their set, I was ready to run out and get the record. Take Black Flag and add skater and all around bad ass Mike Vallely's blues rock elements and you've got yourself a little party.
Mike makes an awesome frontman. During the set  many in the crowd had gotten very drunk, belligerent and downright stupid. Throwing beer at the stage (Yeah, you have to be pretty fucking stupid to waste beer.) But he took it in stride "Throwing beer at me is like throwing a glass of water at the ocean." When things got a little out he hand, he reminded the instigators that he could indeed beat the life out of them. It was a good set. One I was really glad to have experienced.

As Black Flag took the stage the crowd started pushing their way towards the stage. I couldn't help but feel a war was about to break out. I had no idea it was going to be world war III. The crowd went ballistic as Ron Reyes launched into the bands set. As much of my Black Flag history relies on Keith Morris, Henry Rollins and Dez Cadena. I wasn't sure what to expect from Reyes? Would I have a chance to experience a band whose early releases turned this and many other young teens into lifetime Flag bearers? Lucky for me and anyone with a ticket, the latter would firmly apply. This was no old man reliving his salad days. Ron Reyes' presence and overall performance was strictly legit and praise worthy. Watching Greg Ginn firing on all cylinders gave me an entirely new level or respect for him, his work and his integrity. 

As Black Flag ripped through their set I found myself fighting for my own survival, as the crowd pushed forward the photographers at the front were being crushed against the metal barriers. The constant pressing against the gates andassault of feet, fists, kicks and sweat definitely took it's toll. The people fighting to squeeze us out from the front didn't help much. Notable were the group of four or so forty somethings whose drunken mayhem was so idiotic, it made one of their wives visibly distraught.
Then there was the guy who spent most of the GFU and Black Flag sets giving anyone and everyone the middle finger while endlessly screaming "Fuck You" to the bands he paid to see. As I headed out I saw some old friends, many of which I was just to drained to stop and talk to.

Before I could leave I got into an altercation with a guy who almost knocked me over while pushing his way through the crowd. I threw the garbage can that he had pushed over in his direction which prompted him to swing on me. Luckily, he was so drunk that he missed me by a zip code. He would have most certainly ended me if cooler heads  hadn't stepped in to diffuse the situation. Overall, it was a great show that had it's share of challenges and frustration. All things considered, it gave me the chance to experience musical experiences both old and new. I guess you can go back every once in a while.

James Damion

Cinema Cinema Premieres Video for "50 ft. Queenie"

Tomorrow I'll be posting my review of Cinema Cinema's "50 ft. Queenie" single which was just released last week by Dromedary Records . In the meantime I wanted to share their video for the song. This way, when I describe they're approach to a PJ Harvey song as "diabolicalyptic", you'll know exactly what I mean. Caution, keep this video away from small children and adults with heart conditions. United By Rocket Science is not responsible for any exploding heads or melting flesh. Enjoy James Damion

Thinning The Herd - Freedom from the Known

If you've been following the many highs and absolute lows of Thinning the Herd over the past year or so you will know how absolutely important this record is to the band and it's founder Gavin Spielman.
With a number of personnel changes over the years and upon hearing of the very tragic and unforeseen death of the bands drummer Rich Cimato on December 26th, I'm sure many wondered about the future of Thinning the Herd. Would they sink or would they swim? Luckily for all involved, the future would prove the latter.

"Freedom from the Known" is highlighted by Spielman's exceptional guitar wizardry, trademark thick muscular riffs and powerful vocals. The album opens with the Motorhead heaviness and menacing vocals of "Never Wanted". "Doctor Reed", my personal favorite track follows, bringing early Metallica to mind  with it's angry growls and abusive guitar attack.
The albums third track "Sludge" lives up to it's title by bringing things to a slow, grinding pace. It's muddier than a Warrior Dash, with elements of unrelenting bluesy stoner rock, with Sabbath inspired rhythms and power. Spiraling , spoken word samples sprinkled in give the album a nice narrative feel. While the lyrics convey a spiritual and survivalist nature that hints at transcendentalism.

Released on St. Marks Records, "Freedom from the Known" is a stellar collection of songs and a soaring triumph for a band that's been through the ringer. Gavin's musicianship, leadership and overall resilience stand as testament of what can be accomplished with the drive and determination to execute the overall plan. James Damion

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