Tag Archives: punk

Exploring Fire Sale: A Dive into Punk Rock’s Newest Supergroup and Their Evocative Singles

Shockingly, punk rock as a genre has few supergroups – its own Traveling Wilburys or The Highwaymen (or The Highwomen, for that matter) – but it finds one in Fire Sale. The five-piece group consists of Pedro Aida from ShotClock and The Iron Roses on vocals, Chris Swinney from The Ataris on lead guitar, Matt Riddle from Face To Face and No Use For A Name on bass guitar, Brad Edwards from Weaver Street on rhythm guitar, and Matt Morris from 41 Gorgeous Blocks on drums. The band has three previous EPs: Fire Sale in March of ‘21, A Fool’s Errand in November of ‘22, and Long Overdue in July of ‘23. Now, they are back with a new single “The Albatross,” which was released by Negative Progression Records on February 9.

Stream “The Albatross” here

Exploring “The Albatross”

While so much of punk is about youth, “The Albatross” is about the things you have to deal with as you get older. In this case, the concern revolves around the safety of one’s children. The world is an increasingly cruel place. Far too many kids who already feel like outcasts go to school every day, and instead of being greeted by love and acceptance, they are subjected to bullying from the kind of kids whose parents were bullies. This mentality is perpetuated throughout the generations. Struggling with fear, they find it difficult to maintain good grades and often resort to substance abuse as a means to numb their pain. 

As I listened to the song, I couldn’t help but think of Nex Benedict. They were the nonbinary Oklahoma teen who died on February 8 – the day before this single was released – after being assaulted and beaten in the bathroom of their high school. If an albatross is a continuing problem that makes it impossible to achieve something, then violence against children is the albatross that threatens to pull down the next generation.

The Albatross single artwork
The Albatross single artwork (click to enlarge)

About The B-side: “I Remember Damage”

The B-side track is so good the single should be thought of as a double-A side single. “I Remember Damage” is no throw-away track. It begins not with a note but with a cracked voice of a woman saying “My memories are the same as yours…” The voice is haunting almost, like a faint radio transmission, pleading for someone, anyone, to listen. She fumbles through her message, struggling to articulate her thoughts while processing her emotions. It feels like a lonely plea for connection. The first notes of the song show the group members melodic-punk pedigree and has an early-80’s ska feel, like a recently unearthed outtake from the first Police album. 

Within seconds, the song shifts into a high gear with driving power chords. “‘I come in peace,’ is what you said/we never seem to move on.” Was the woman’s voice the voice of the person Pedro Aida is referring to? Perhaps a relationship that should have never begun and yet persisted, dragging both people down with it, as if they were fated to destroy each other instead of moving on.  “What do you say? What do you say?” hints at a relationship where there’s plenty of talking but not much listening.

Whether depicting a lingering, unhealthy relationship or the broader theme of feeling lost and damaged, the song resonates. The chorus of “We’re just damaged goods” could feel sad if it wasn’t sung with such a feeling of collectiveness: we are damaged, but we are not hopeless. Punk has always been about unity and that feeling of lost, wandering souls finding a place of acceptance, and that’s the heart of “I Remember Damage.” 

Following the three EPs, and now the one-two punch of “The Albatross” and “I Remember Damage” single, I hope that Fire Sale has a full-length album in the works. For now, though, I’ll hit replay on “The Albatross” as soon as “I Remember Damage” fades out, and just enjoy the ride.

Fire Sale online:

The OBGMs Set Oct. 30 Release for The Ends; Debut “Fight Song” Video

TORONTO The OBGMs, the Canadian trio who “spit fire” (Punk News) and “boast classic punk vibes with contemporary garage rock” (Alternative Press), have set an Oct. 30 release date for The Ends (Black Box Music).

“This album is about death, wanting to die, and fighting for something to live for — it’s the end of all things. I feel this is the one of the most important cross-genre albums this century,” says the always quotable singer/guitar player Densil McFarlane. “We are Nirvana, we are The Beatles, and The Stones. We are really changing the dimensions of which the game is played like the Steph Curry of this rock shit. We all have feelings of doubt, uncertainty, and I used to live there. I’m trying not to die there. If I’m going out, I’m going out shooting.”

News of the album’s release arrives as the band debut a new single from the 10-song collection, sharing a video for the cathartically combative single “Fight Song”. Watch here.

McFarlane says of the motivation behind the track: “You ever sitting in your 9-5 and someone talking reckless and you really want to punch them in their head top? You ever get that passive aggressive email from that disrespectful person and you want to walk to their cubicle and tell them about their mom? I wrote this song so I wouldn’t have to hold my tongue. We want the smoke. All of it. You don’t like us, fight me, or get the hell out of the way. You can’t stop us, this is how we die.”

The OBGMs (that’s The oOoh Baby Gimme Mores) — rounded out by drummer Colanthony Humphrey and bass player Joseph Brosnan — aren’t your typical rock band. “This is a black-fronted punk band, and that’s really important,” McFarlane says. “Rock n’ roll is mostly white suburban kids—that’s what gets promoted. But we are Black and we out here. I was inspired to make rock music when I saw a Black guy on stage, and if someone sees that in us, I hope it will inspire a new generation to go after this.”

The Ends was produced by GRAMMY and Juno award winning Dave Schiffman (Rage Against The Machine/The Bronx/Pup) and recorded at Dream House Studios (Toronto). Album pre-orders, which include a 180g red/yellow splatter vinyl variant, are available now here.

“You can love us or hate us,” says McFarlane. “I’m aiming for that. We’d prefer the love — we’re full of love — but I’d rather you hate me than feel indifference.”  

The Ends Track List:

  1. Outsah
  2. Cash
  3. All My Friends
  4. Fight Song
  5. Not Again
  6. Triggered
  7. WTFRU
  8. Karen O’s
  9. To Death
  10. Move On

Densil McFarlane delivers his self-deprecating lyrics with the sneer and bulldozing attitude of Keith Morris-era Black Flag, but his riffing and hooks could give even the Billie Joe Armstrongs of the world a run for their money. Keep these guys on your radar for sure.” – Guitar World

“The OBGMs barrel through hook-laden, guitar forward, tracks reminiscent of the early aughts garage rock revival. Underpinning that sound is feverish punk energy coupled with shout sing vocals. It’s something like The Hives by way of The Germs. Or the Strokes covering The Stooges.” – Vice

The OBGMs Is:

  • Densil McFarlane (vocals/guitar)
  • Joseph Brosnan (bass)
  • Colanthony Humphrey (drums)

The OBGMs Online:

Website | Facebook | Twitter | Instagram

Featured photo (top) by Amanda Fotes

Orange County, CA Ska/Pop/Punk Band BITE ME BAMBI – Fun Tunes for Trying Times

Orange County, CA ska/pop/punk 7-piece Bite Me Bambi is the next band poised to help usher in a new wave of the beloved yet often maligned genre.

Fronted by talented singer and superstar-in-the-making, Tahlena Chikami (who also moonlights as an actor and has appeared on shows like Parks and Recreation, Gilmore Girls, etc.), Bite Me Bambi sports a killer OC ska/punk pedigree, with other members having played in bands such as My Superhero, Save Ferris, and Starpool.

Through steady gigging and raucous shows supporting such legends as The Selecter, Fishbone, Reel Big Fish, Mad Caddies, The Toasters and more, Bite Me Bambi’s popularity continues to rise.

See Bite Me Bambi’s latest music video
for their recently released single “Hot Lavahere:

The clip was directed by Chris Graue of The Maxies, Suburban Legends, The 131ers and stars Megan Berndt and Vincent Del Rio.

About Bite Me Bambi:

Bite Me Bambi Logo

Bite Me Bambi brings sounds reminiscent of British 2 Tone and 3rd wave ska into the 21st century. With energetic songs and masterful musicianship, BMB gets the crowd on their feet and dancing. Comprised of members from some of your favorite ska bands (My Superhero, Save Ferris, Starpool), this new group breathes fresh life to a genre that may have originated in Jamaica, and honed in Britain, but was perfected in the haze, blight, glamour, and beauty of Southern California.

Stream Bite Me Bambi Tracks:

Spotify

Bite Me Bambi Online:

Instagram | Facebook | YouTube


Black/Doom/Punk Duo MANTAR Release New Music Video for “Seek + Forget”

Monstrous black/doom/punk chimera MANTAR have released the official video for another brand new song off of the band’s new album, The Modern Art Of Setting Ablaze, set to be unleashed August 24, 2018 via Nuclear Blast.

Check out “Seek + Forget” here:


In case you missed it, watch the intense new music video for the track “Age of the Absurd” here.


MANTAR The Modern Art Of Setting Ablaze Album Art

New Album, The Modern Art Of Setting Ablaze, out August 24, 2018 via Nuclear Blast

Multi-Format Pre-Orders & Merchandise Available Here

About Mantar

Hailing from Northern Germany, MANTAR have achieved more in five years than most bands twice their age and size. The product of a twenty-year friendship between guitarist/vocalist Hanno Klaenhardt and drummer Erinc Sakarya, theirs is a success story born entirely of one thing: hard work, with three albums, an EP and a live release already to their name. Releasing their 2014 Svart Records debut Death By Burning, an uncompromising clash of stripped-back punk attitude and metal intensity to instant critical acclaim, the band toured relentlessly, gracing stages the world over, including the hallowed likes of Roadburn (NL), Wacken Open Air (D) and Maryland Deathfest (US). They used 2016’s Ode To The Flame, their Nuclear Blast Records debut, to further build upon their incendiary live reputation, conquering not only Europe and the US, but Russia, Japan and South Africa.
The Modern Art Of Setting Ablaze is a title in-keeping with MANTAR‘s symbolic obsession with fire on albums previous; this time disavowing mankind’s tendency to blindly follow those that would lead us into oblivion. This isn’t necessarily a political statement; more a morbid fascination with current smoldering tensions that threaten to set the minds of the masses on fire.
MANTAR recently announced the first leg of their European tour for November/December 2018 – see below for all dates:

MANTAR Tour Dates:

MANTAR, SKELETONWITCH, EVIL INVADERS, DEATHRITE

17.11.2018       Markthalle – Hamburg, Germany
19.11.2018       Musikzentrum – Hannover, Germany
20.11.2018       Hirsch – Nürnberg, Germany
21.11.2018       Turock – Essen, Germany
22.11.2018       Dynamo – Zurich, Switzerland
23.11.2018       KJH Hallschlag – Stuttgart, Germany
24.11.2018       Rockhouse – Salzburg, Austria
26.11.2018       Backstage – Munich, Germany
27.11.2018       Arena – Vienna, Austria
28.11.2018       Explosiv – Graz, Austria
30.11.2018       UT Connewitz – Leipzig, Germany
1.12.2018         SO 36 – Berlin, Germany
8.12.2018         Schlachthof – Wiesbaden, Germany

MANTAR is currently on the road, playing select club shows as well as Europe’s biggest festivals. See dates below:

Cold Summer 2018

27.07.2018         Metaldays Tolmin Slovenia
03.08.2018         Wacken Open Air Wacken Germany
05.08.2018         Sylak Open Air Saint-Maurice-de-Gourdans France
10.08.2018         Sonic Blast Moledo Moledo Portugal
12.08.2018         Bloodstock Derbyshire England
24.08.2018         Kulturkombinat Bunker Rostock Germany

!!!NEW!!!
25.08.2018         Reload Festival Sulingen Germany

Stay tuned for more information coming soon regarding the release of The Modern Art Of Setting Ablaze.

More MANTAR Videos:

‘The Spell’ lyric video
‘Cross The Cross’ music video
 ‘Era Borealis’ stream video
‘Schwanenstein’ stream video
‘Praise The Plague’ stream video

MANTAR Online:

www.mantarband.com | Facebook | Nuclear Blast

 

PHOTOS: The 10th Annual Mustache Massacre at Pub Rock 2-24-18

Scottsdale, AZ – For 9 out of 10 years strong, a very special show has been held annually at Pub Rock – a venue formerly named Chasers Bar. A staple in the Industrial/Gothic community, Mustache Massacre is an event that brings together both new and well-known faces alike, for a night that reminds us not to take ourselves too seriously. It’s a free concert with one caveat… you’re only getting in free if you have a mustache.

“Grow it, glue it, draw it, clip it, tape it, make it…So, trim your sister’s armpit hair, shave a dead muskrat, or steal the president’s toupee. ‘Cuz we don’t care where you get the hair, as long as it’s there!…CAN YOUR FACE HANDLE IT?!!!”

The 10th Annual Mustache Massacre (& Wa’s 40th Birthday Bash) featured entertainment by Ikonoklast, 80*D, Goth Brooks, Camel Enamel, Family Secret, and DJs //SHE// & Zander. With these 5 bands bringing industrial, goth, punk, metal, and even a little bit country, 2 DJs, a crowd of characters that weren’t afraid to dance and mosh, a photo booth run by Burning Hot Events, and even a mustache contest, it made for a long, hard, and nutty night.

“Get yo’ bad-ass mo’-fro’ pho-togged to show your grand kids what a freakin’ weirdo you were!”

Check out all of the shots from the photo booth HERE!

Photo Booth - 10th Annual Mustache Massacre 2-24-18
Photo Booth - 10th Annual Mustache Massacre 2-24-18

Mustache Rules:

  • Must be hands-free (attached to your face somehow)
  • No finger mustaches! (drawing on finger and placing to face)
  • 5 o’clock shadow does not count (add some roughage to that stubble!)
  • The more outrageous, the better! (get creative, there is a contest!)
Mustache Contest
Mustache Contest
Photography: Russ Broty © All Rights Reserved

The mustache contest was after Goth Brooks’ set. Participants stood on stage, and the winner was chosen by an audience vote.

Prizes

1st place – Mustache Messiah ($50 plus band merch)
2nd place – Bristle Baron ($25 plus band merch)

Mustache Massacre is presented by Screeching Harassment Ent., who brought us SINister Fetish Party & Concert last year!

The Music

Photos by Russ Broty

View Band Photo Albums:

Ikonoklast | 80*D | Goth Brooks | Camel Enamel | Family Secret

Bands & DJs at Mustache Massacre 2018

Photography © Looking at You Too
All Rights Reserved

REVIEW: ANTI-MELODY by American Standards Gets Real About Grief, Loss, & Suicide

Phoenix-based hardcore punk-infused metal band American Standards is known for their “piss and vinegar” sound, boasting a well-crafted amalgamation of heavy-handed, technical instrumentals, and brutal yet poetic lyrics that confront societal divides such as corporate greed, media corruption, loss, materialism and personal struggle. Presumably due to their focus on DIY ethics, the group attracted a devoted following in response to their leadership of what has come to be known as the “guerrilla punk” movement in Phoenix. Think of the gritty, raw basement shows we all know and love, except this time American Standards would be there to distribute self-produced compilation CDs as a method of raising money for local causes and charities. Pretty rad, isn’t it?

Online you’ll find American Standards listed as “chaos-driven noise punk” also noting themselves as self-proclaimed “purveyors of fine noise” and “Voted Least Likely to Succeed in 2011″ – the year the band was formed. Don’t let their humor fool you though, the message packaged within the chaos tells something of a deeper story. The group has since been recognized in the form of a regular presence on local radio stations like 98KUPD, RadioPhoenix and TheBlaze in addition to sharing the stage with acts like Atreyu, Comeback Kid, Norma Jean, Every Time I Die and many more.

American Standards’ most recent album “ANTI-MELODY” (which premiered in Revolver Magazine, Alternative Press and Lambgoat) is the group’s fourth release, delving into topics that are undeniably more personal than ever before for its members while simultaneously continuing to deliver on what the band has always been known for: pungent commentary on societal divides and anti-consumerism. This time around however, the development of this album is a distinct reflection of American Standard’s ability to focus through times of struggle while baring it all despite battles with depression after the loss of founding guitarist Cody Conrad to suicide, followed shortly after by the loss of the vocalist Brandon Kellum’s father to cancer.

What would have broken so many other bands transmuted into a powerful point of resonance for American Standards, empowering them to produce an album that not only cuts deep, but holds true to the spirit of the band’s fiercely integral essence.

The Tracks

Writers Block Party

“Writer’s Block Party” might at first sound like pandemonium to an unfocused ear, but with closer listen you’ll quickly discover a lyrical contrast that highlights societal pressures imposed on those who desire success or any place in the limelight. The song immediately portrays the immense impact of these pressures through the band’s eyes; “dancing around like we’re marionettes, a stutter in our step, a cadence in our breath, to the unimpressed…”

This is an opening number that comes out swinging, keeping things hyped while immediately addressing the lyrical heart of the matter which made it an ideal choice for a single. And despite seeking an “easy fix” it’s clear things weren’t so simple as the song goes on to say, “I gave up my heart to find a soul… The clouds came in and the lights went out. We were guided by the roar.”

The metaphorical nature of their lyric choices leave much to interpretation and making space for further connection with their ever-growing fan base, but it can be speculated that this track alludes to the many struggles of avoiding corporate sponsorship in the music industry and beyond. This line in particular encapsulates the track well:

“Remove the spine and the heart. Safe bet, mindset. And claim what’s left as art.”

Carpe Diem, Tomorrow

Although brief in content, the technical aspect of  instrumentals included in “Carpe Diem, Tomorrow” are placed well as both a striking opener and stout interludes that highlight a wake-up call just beneath the surface:

“Concrete minds cannot change. Don’t stand still, keep moving. You’ll become what you say you hate.”

Encouraging fans to seize the day, this track utilizes the concept of time to motivate listeners and warn them of the consequences of stagnancy in life. Audibly this track has an underlying rhythm that is a bit similar to that of System of A Down, Throw Down, or Tool; while offering unique lead guitar, which in contrast offers similarities to bands like From First to Last, Trivium, and Hatebreed.

Church Burner

“Church Burner” starts off with an eerie chorus which repeats throughout, but not before laying down some seriously chunky guitar riffs that bring a daunting undertone. The lead guitar and bass notes are undeniably the highlight here, although this is the first sing-scream track to be found on ANTI-MELODY which is to be noted as well.

Lyrically this track is beautiful in the simplicity of its resounding metaphor while still managing to communicate the intensified angst that American Standards fans long for.

“An extremist in boldface type. We’re all people, but compassion doesn’t sell. And there’s no time for independent thought. There are no divisions outside the ones that we create.”

While chaos and hardcore don’t exactly scream “empowerment”, American Standards is clever in the execution of their message. They scatter calls to action throughout each song and foreshadowing for what is to come if the previously mentioned social obstacles aren’t addressed in a way that keeps things moving, so-to-speak. The lyrics go on to say:

“Tear down the walls and build a bridge… We don’t want another title to tell us who we are.”

Bartenders Without Wings

“Bartenders Without Wings” slows things down a bit, sounding more like a classic punk ballad that explores a struggle between man and self. The energy of this track is especially solemn, suggesting the song may be addressing the unexpected loss of founding guitarist Cody Conrad as well as Kellum’s father. “Bartenders Without Wings” also spotlights some inarguable similarities to the sound of now infamous As I Lay Dying.

According to Kellum, ANTI-MELODY is the result of “what started as social commentary on the growing divide in our society” but then became much more personal due to the loss of Conrad and Kellum’s father amidst recording; this track communicated that effortlessly.

Kellum went on to say that the band “went back in to re-record much of the album and in a lot of ways used it as therapy to cope with the experiences.”

Danger Music #9

“Danger Music #9” is a smashing reminder of the dreadful state of conglomerate corporate takeover and a return to the classic American Standards sound, fueled by the pain and grief that lurked in the shadows for these four bandmates at the time. It can be inferred from the lyrics that they are not simply addressing a grandiose idea of anti-consumerism, but more specifically an issue with the intentions and treatments of our healthcare system. Though often choosing to communicate through lyrics that are poetic and/or satirical in nature, “Danger Music #9” takes an unprocessed approach to its confrontation of western culture particularly medicine, making the lyrics that much more savage in nature.

“You make a beautiful statistic, diamond eyes. Giving incentives to move these units. Prescribe more illness. And we’ll become the money they count behind closed doors. A half a million dead. A third of us next.”

Cancer Eater

The title may have tipped you off as to what this track is about. The tragic loss of Kellum’s father is uttered through every verse of “Cancer Eater”, tearing from word to word with an energy unmatched by any other song on the album. Instrumentally, “Cancer Eater” is equally as brutal, once again highlighting lead and bass guitar.

Lyrically, however, this track has got to be the most poetic:

“We’re taken hostage by the ones we love, that leave us behind. I can’t be as tough as nails, with this paper skin. And organs that fail. But life moves on, and I’ll go on too… I lived like him. I’ll die like him. Remember me, remember.”

Broken Culture

“Broken Culture” is self explanatory in its purpose, erupting with energy right from the start with strategically coalesced vocals and a true hardcore sound that are again unique in their likeness to other tracks on the album if you listen close. Themes of anger, fear and isolation resurface once again, but this time with a more somber tone in wake of its preceding track “Cancer Eater”.

“We had more guns than bullets so, we made pistols with our hands. Where’s the good; there’s evil we must fear. So, pull the trigger and pray the rounds land.”

Chicago Overcoat

“Chicago Overcoat” takes all the energy from the seven songs before itself and delivers that consolidated energy as one swift punch in the ear drums before ending on a beautiful piano note. The track is in itself, a crescendo of all-encompassing instrumentals accompanied by a dominating vocal performance by Kellum.
“Chicago Overcoat” starts off with the focus on bass and drums as opposed to vocals and lead guitar, making for a pleasantly unrefined, and super-sludgy combo. And yet, there is a tone of desperate release, resentment, and determination to rise above through and through.

In Closing

ANTI-MELODY took things to the next level for American Standards, allowing fans to get to know the individuals behind these powerful words that leave us feeling a little less misunderstood and a little more at home in the world.

Ever-brutal. And ever-poetic.

It seems, although incredibly tragic, the struggles that American Standards experienced during the making of ANTI-MELODY created a vacuum of emotion yielding an outcome no fans could have predicted. We’re looking forward to seeing where this intimate breakthrough takes them, and eager to listen in as they continue to evolve.


ANTI-MELODY is available now on iTunes, Google Music, Amazon and Spotify or you can pick it up along with exclusive merchandise through the
American Standards Bandcamp page.

BANDCAMP | ITUNESAMAZON | GOOGLE MUSICSPOTIFY | FACEBOOK | TWITTER | YOUTUBE | INSTAGRAM

REVIEW: Space Punk Zombies From The Future, Quantum Colossus, Shred Faces At The Yucca Tap 3-3-17

TEMPE, Ariz. — It’s ten o’clock on a Friday night at Yucca Tap Room, and the crowd is starting to trickle in at a greater volume as drum and guitar duo Face The Flames is finishing up their set. It’s a good mix and seems like the typical Yucca crowd. There’s a diverse array of people ranging from crust punks to cow punks and garage punks. The band up next was not one that I was familiar with at all, but my curiosity won the night. Quantum Colossus is a local self-described “Sci-Fi driven Punk/Sludgecore” band, and I’ve been tapped to come out tonight and check them out. So here I sat against the wall watching fans mill around in Bad Religion hoodies and Everything Dead tees, sipping cold Pabst and warm Jack. As Quantum began setting up I ducked outside for a quick smoke before they start tuning.

There was a slight change in scheduling because one of the bands had to cancel. As I sat on the curb speed smoking, I overheard the reason. Apparently one of the guys from the band was arrested the previous night and the other members only found out hours before the show. That sounds pretty damn punk to me. I sauntered back in after stomping out my Camel butt, and reclaimed my seat against the wall just as the show is about to begin, and I resumed people watching. I felt out of place. It’s been awhile since I’ve been to Yucca. The last show I attended here was Future Loves Past with The Sugar Thieves, and this was by far a stark contrast in demographic.

Suddenly, as if a light had been switched on, the show had officially begun. No hello, no introduction, just thrash. I immediately noticed that bass player Andikrist bears a slight resemblance to a young Gary Oldman, which made me think of Batman’s Commissioner Gordon a la Sid and Nancy. As the intro lead into the meat of the first cut, the group had pretty much fully meshed. They sound great. The bass tone is very Godsmack. Deep and clear. Guitarist Kelvin Yazzie is an absolute shredder. The red Schecter SGR he’s playing has a bright tone that compliments the bass so well that I could have sworn it was a Paul Reed Smith. Drummer Mike Driscoll is on point and in time pounding out the heartbeat of the entire band as Yazzie begins a blistering solo that left me thoroughly impressed as well as checking to see if my ear drums were still in tact. Lead vocalist Geoff Lane seems to be a very hands-on kind of guy. He seems more comfortable in the crowd during the set than he does on stage, even going so far as hugging several fans during the set.

The band dedicates “Naked Ape” to legendary vocalist Ronnie James Dio, incorporating an intro that seemed to me reminiscent of “Holy Diver” with plenty of crowd participation. Throughout the rest of Quantum’s time on the stage they shared banter amongst themselves and with the crowd. They were genuinely having fun up there. Their Grand Finale for the evening is “War of the Currents” and Quantum gives it the full beans. The band expertly maintains an impressive ebb and flow to their sound, alternating from slow and brooding into hard and fast with surprising precision. Punk is not my personal genre of preference but these guys are by no means amateurs. The YouTube videos I watched of Quantum Colossus online before coming to the show actually didn’t do the band justice all and I’m pleasantly surprised. They sound far superior live.

If I had even one criticism of the show, it would be that the vocals were difficult to decipher, but that’s to be expected and not necessarily a bad thing. It’s punk. It’s meant to be abrasive. At face value, Quantum Colossus is a pretty talented group of guys who seem to really enjoy what they’re doing on stage. The show had a fun-loving vibe and it was evident that their audience thoroughly enjoyed themselves. Even though this was a free event for a relatively obscure local band, I drove away thinking I would have gladly paid to see that show. Thanks for showing me a good time, fellas!

PHOTOS: Unagi Usagi – The Rhythm Room 2-16-17

PHOENIX — Last night, locals Unagi Usagi performed at The Rhythm Room. They opened the gig with the high-energy “Holy Valkyrie”, which takes the audience by storm without a buildup, and shows them they’re in for something delightfully insane right off the bat.

From start to finish, Unagi Usagi brought constant power and animation from each band member. The vocalist, who goes by Ghostrick Alucard, brings oozing charisma and animation to the stage.

In the midst of their set, “It’s Your Fault I Have Issues… You Stupid Bitch” is a crowd favorite, as all stand together in solidarity for glorious bitterness. The breakdown during the song, which might be their hardest and heaviest instrumentals, unexpectedly blows first-timers away and brings sweet satisfaction to fans.

Setlist

  1. Holy Valkyrie
  2. Pigs!
  3. It’s Your Fault I Have Issues… You Stupid Bitch
  4. You Suck
  5. Reason
  6. Heart In The Graveyard

Unagi Usagi debuted a song called “You Suck”, which is distinguished from their other songs by an infusion of ska. It really rounds out their set list by offering an upbeat sound and comic relief, while retaining their signature angst.

“Heart In The Graveyard” was a fitting closing song, finishing things off with both Big Jake (bassist) and Austang (guitarist) down on the floor, wildly emoting… while, astonishingly, Dead Wesley (drummer) shows no sign of fatigue up to the end.

Every crowd becomes noticeably impressed and intrigued shortly after the band begins playing, and they are always enthusiastically applauding and cheering by the end of the set. Unagi Usagi just keeps getting better and they’re gaining traction in the Phoenix scene, so follow them on Facebook to see what comes next.

PHOTO ALBUM
by Katherine Amy Vega

Unagi Usagi – The Rhythm Room 2-16-17

Photography © Katherine Amy Vega, Kataklizmic Design
All Rights Reserved.