Nik Havert

Gang of Four – Live…in the Moment

Recorded live on November 06, 2015 at London’s Islington Assembly Hall, Gang of Four’s (Jonny Finnegan – drums, Andy Gill – guitar and vocals, Thomas McNeice – bass, John “Gaoler” Sterry – vocals) Live…in the Moment is a fine documentation of the edgy, post-punk legends’ raw power.

It begins with the fuzzy, almost frightening “Where the Nightingale Sings.” Gill’s guitar seems to double back on itself at points, and McNeice’s bass pounds out a killer beat. One of their biggest (and still truest) hits, “History’s Not Made by Great Men,” follows. McNeice and Gill get it off to a great start, and Finnegan puts down that slick groove that makes the song so good. Sterry sings to the back of the hall, urging the attendees and the rest of us to step up and move things forward instead of letting political opportunists get the best of us.

The squeaky and sultry sound of “I Parade Myself” is like something you’d hear as a bunch of strippers decided to beat up a rude customer outside the back of the club. The great beat on “Paralysed” is dub-like, but Gill’s guitar and vocals are almost shoegaze style. Sterry’s vocals on “What We All Want” are sharp and Finnegan’s groove is so good that he sounds like a human drum machine.

It wouldn’t be a Gang of Four show without “Love Like Anthrax,” one of the greatest post-punk songs of all time. Gill begins with guitar chaos that threatens to dissolve into madness before the rhythm section moves in to keep us and the song grounded. “Do As I Say” has Gill on lead vocals and he soon has the crowd chanting the chorus. “Stranded” is a modern post-punk gem, and “Damaged Goods” is another classic. Finnegan’s beats are dance floor-ready, and the rest of the band cooks like an Iron Chef right behind him. “Isle of Dogs” is a favorite with the London crowd, and you can’t go wrong with “At Home He’s a Tourist,” a classic song about man teetering on madness. Gill’s guitar is as bonkers as the song’s main character, and Finnegan beats his snare like it cut him off in traffic.

Gang of Four’s “To Hell with Poverty” is still one of the best post-punk songs ever written. McNeice’s bass work is especially good on it. Gill claims “Why Theory?” is his “feminist masterpiece” and “totally stolen from other people,” but that squelching, distorted guitar belongs to no one else but him. The album finishes with the solid rocker “I Found that Essence Rare.”

Live…in the Moment also comes with a DVD of the band’s performance in New York City in March of 2015. It’s a great bargain and a fine addition to Gang of Four’s discography.

Keep your mind open.

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Stooges documentary “Gimme Danger” to premiere just in time for Halloween.

Jim Jarmusch, director of cult hits like Ghost Dog: The Way of the Samurai, Dead Man, and Only Lovers Left Alive, has produced what looks to be a powerful, great documentary on Iggy Pop and the Stooges – arguably the greatest rock band of all time. The documentary, Gimme Danger, premieres October 28th on Amazon, and the first trailer already makes it look like essential viewing.

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Rewind Review: Dead Meadow – Feathers (2005)

I’ve seen Dead Meadow (Steve Kille – bass, Mark Laughlin – drums, Cory Shane – guitar, Jason Simon – guitar and vocals), twice in concert – once opening for the Black Angels in 2011 and then again at Levitation Austin (when it was still known as the Austin Psych Fest) in 2014. They put on a heavy, trippy show that I enjoyed both times, so why it’s taken me so long to pick up Feathers is beyond me.

Feathers is not only heavy on riffs and percussion, but also themes of heaven, life, death, and reincarnation. “Let’s Jump In” is a great start, inviting us to jump into their heavy psych sound as they sing about springing from “the face of the Almighty” and jumping into life with both feet (often literally at our births).

The lyrics in “Such Hawks, Such Hounds” sound like something out of a Tolkien story, which isn’t a surprise since Tolkien is an admitted big influence on them. “From the boughs of the oak tree, three ravens wail over his cold bones lying as they are.” It’s a haunting story of a warrior’s death and his hawks, hounds, and maiden protecting his body from scavengers.

“Get Up On Down” is a lament about being caught in the wheel of reincarnation. “If I’m back again, I’m done after the next one,” Simon sings. The guitar work swirls around like incense smoke and builds to a soaring send-off. “Heaven” is more cosmic psych and a retelling of the story of Abraham’s near sacrifice of his son Isaac. “At Her Open Door” is Lovecraft-like prose (“From the heights of the town her handmaids will announce her undying presence within her seven-pillared house…”) as guitars swell and fade with near-surf rock touches before smoothly cruising into Eastern Indian rock, and the drums are great all the while.

“Eyeless Gaze / Don’t Tell the Riverman” is a great example of the “Dead Meadow sound” – ethereal vocals, mantra-like cymbal work from the drummer, and breaking dawn guitar work that almost overwhelms you at times. Like early Pink Floyd? You’ll love “Stacy’s Song.” “Let It All Pass” is another dreamy psych track about fading from this life to the next (“All things in time when nothing will last. Lord, I don’t mind. Let it all pass.”).

The CD version of Feathers ends with a 13:44 untitled bonus track that is nothing but epic cosmic psychedelia. I wouldn’t be surprised if they wrote it after walking out of a sweat lodge. The guitars come at you from all angles, the solid drums keep you from floating away into the ether, and the vocals are like distant chants you hear on the wind.

It’s a spiritual record, a psychedelic record, and a bit of a haunting record. You have to be in the right mood or have the right kind of weather for it, but it’s perfect when you need it.

Keep your mind open.

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Deap Vally – Femejism

Deap Vally’s (Julie Edwards – drums and vocals, Lindsey Troy – guitar and vocals) Sistrionix was my favorite album of 2013. I bought it for three different people and turned on at least one other to it. It shouldn’t surprise you, then, that Femejism, apart from having the greatest album title of the year, is one of my favorites of 2016.

With production help from Nick Zinner of the Yeah Yeah Yeahs, Femejism is full of swagger, sweat, and shredding. The first single and track, “Royal Jelly,” demands you crank your stereo volume to 11. It’s a power anthem / warning to others who want to live the rock life. “If you wanna be queen bee, then you better make honey. If you want to be miss thing, then you better start hustling,” they sing. Don’t whine and bitch about it. Get out there and do it.

“Julian” is a send-off to an ex-boyfriend who missed his chance at something great, and it has some of the fastest guitar work from Troy. “Gonnawanna” has Troy planting a flag for riot grrls everywhere, declaring she’s going to do whatever she damn well pleases and no one’s going to stop her. It’s powerful, near-stadium filling rock (Favorite line: “I’m on a psychic safari, and I’m not sorry.”).

Speaking of powerful rock, wait until you hear “Little Baby Beauty Queen.” It’s frantic post-punk madness with John Bonham-style drumming from Edwards. “Smile More” brings back the distorted blues rock Deap Vally does so well and deserves to be on every woman’s mix tape from now until eternity.

Zinner’s touches can be heard on “Critic,” as it sounds like an early Yeah Yeah Yeahs track (and that’s not a bad thing) with Troy lambasting critics, Internet trolls, and haters. “Post Funk” is layered with reverbed vocals as the band sings about getting out of dodge (both in terms of places and relationships) before things get stale. It has some of Edwards’ best percussion on the whole album. She absolutely cooks, and I’m sure this song hits even harder live.

“Two Seat Bike” has Troy willing to get it on if her lover would just turn off the damn camera and quit insisting on shooting amateur porn. “Bubble Baby” has that crushing guitar sound I love so much from Lindsey Troy. It’s full of chugging riffs, alarm-like squeaks, and blues chords (and her vicious vocals) blasted to the back of the room. “Teenage Queen” has the band going after more haters who ask them if they plan to live their lives the way they do into their golden years.

“Grunge Bond” is as grungy and grimy as you’d hope, complete with call and response vocals, Edwards’ go-for-broke drumming, and Troy apparently playing a Hammond B3 organ by beating it with her guitar. That’s how it sounds to me at least, meaning it sounds great. Her guitar on “Turn It Off” is loud yet distant, much like her lyrics about not wanting to succumb to her attractions. On “Heart is an Animal,” it’s so heavy and fuzzy that it feels like Sasquatch breaking down your door.

Femejism is a strong record that buzzes with power. Listening to it is like meditating next to a power substation – dangerous, thrilling, and possibly illegal.

Keep your mind open.

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Wrecka Stow: Neat Neat Neat Records – Fort Wayne, IN

Located at 1836 South Calhoun in Fort Wayne, Indiana, Neat Neat Neat Records is a groovy place to pick up vinyl, CDs, or turntables. I went there between a couple sets during the Middle Waves Festival and discovered plenty of vintage and new vinyl.

There was a wide variety of genres, and plenty of 45’s and cassettes as well if you were looking for them.

Their used CDs are a bargain. All of them are $3.99, and they have another rack of shelves with 99-cent CD’s. Another impressive part of the store is their selection of turntables and other stereo gear.

I walked out with used CDs from Dead Meadow, Seal, and The Flaming Lips. I’d like to get back there the next time in town when I have more than 45 minutes to browse. Don’t skip it if you’re downtown.

Keep your mind open.

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Rewind Review: Early Indiana Punk and New Wave: The Crazy Al’s Year(s) 1976-1983 (2014)

I’m a Gen X’er, which means I grew up in the 1980’s, and I was among the first and last true punk rockers at East Noble High School. I was in a garage band (Stranger Yet) and spent my Sunday nights at a punk rock club (after which this blog is named) in a dive bar attached to a seedy hotel on the east edge of Fort Wayne, Indiana. So, the Early Indiana Punk and New Wave: The Crazy Al’s Year(s) compilation is right up my alley.

It’s a stunning collection of rare singles and live cuts from bands that mostly played in the Bloomington, Indiana area (the location of the short-lived club Crazy Al’s). Where Time Change Records found some of these cuts is beyond me, but I’m guessing they had a lot of friends involved in the punk and new wave scenes back then who contributed some of the recordings. I’m also guessing Time Change Records employs some of the best crate diggers of all time.

The two-disc set has many standouts. The Jetsons’ “Genetically Stupid” sums up how many people felt about us punk freaks back then, and Dow Jones and the Industrials’ “Can’t Stand the Midwest” sums up how us punk freaks felt about everyone else back then. Your Grocer’s Freezer’s “We’re All Gonna Die” is a perfect example of the nihilism that was always on the edge of the scene, especially when we all thought nuclear war was coming any second.

Want pure punk? Repellents have two solid punk cuts on the collection – “Technorama” and “AFC!” – and the Slammies’ “P-U-S” is another good choice. Cheeses from France’s “Heart of Gold” is wonderfully weird and almost a krautrock track. The Gizmos proudly display their love of the New York Dolls on “Mean Screen” and “Mommy’s in the Kitchen.” Joint Chiefs’ “I Hate Pretty Girls” is an anthem for awkward guys who were spurned or insulted by the cute girls in school.

It wouldn’t be an Indiana punk collection without the Zero Boys, and they have two fine tracks here – “Commies” and “I’m Absent.” We’re Jimmy Hoffa were a punk band that loved John Carpenter movie soundtracks, and their song “Rock ‘n Roll” is something you’d expect to hear at a club in Carpenter’s future NYC as Snake Plissken cracks heads on the dance floor.

I can’t help but think that the parents of the lead singer of the Panics were laughing as he sang “I Wanna Kill My Mom,” because the song is pure snotty punk hilarity. Dancing Cigarettes’ “Pop Doormat” sounds like the Kinks if the Kinks decided to become a new wave band. Last Four (5) Digits bring in a goth touch on “Don’t Move” that is somewhere between Bauhaus and early Wall of Voodoo. Cast of Thousands brings an angry Brit-punk sound on “War Maker.”

Amoebas in Chaos bring back the fun with “Have You Slugged Your Kid Today?” and “Ronald Reggae” (which is live punk chaos with saxophone and plenty of guitar feedback). E-in Brino’s “Watch Alarm” is fine post-punk with heavy synths and and near-frantic vocals. Vibrato Fetish rounds out disc 1 with the rocking “Surf Bandits.”

Yes, all that’s just on the first disc.

There are plenty of prime cuts on disc two. The New Avengers’ “Mary’s in a Coma” is a lost 1980’s track you swear you’ve heard before and is even better than you remember it. The Positions’ “Follower of the Space Race” is great new wave, sounding like a mix of Devo and the B-52’s. Your Parents’ “Whiplash” is heavy post-punk, and “No Substitutions” shows their Ramones influence. The Race Records’ “Baby Take Me Back” brings rockabilly into the mix.

Lip Service’s cover of “Money (That’s What I Want)” is full of skronky guitar and peppy organ, and MX-80 Sound’s cover of “Paint It Black” is a slick instrumental. The Obvious’ “Feelings of Love” sounds like an early Blondie track. Hugo Smooth’s “Won’t Play Bumpum Cars” is so new wave that it wanders into a jazz lounge hosted by Frank Zappa. Club Pressure’s “Slinkin’” is fine punk-reggae, and the Shouts’ cover of “Gloria” (which seems to have always secretly been a punk song) is outstanding.

It’s an essential mix of Midwest punk and new wave acts, and God bless Time Change Records for putting it out there for us old schoolers and new fans alike.

Keep your mind open.

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New David Bowie box set includes an unreleased album from 1974.

The David Bowie estate has released a second box set of remastered early works – Who Can I Be Now?

The set covers the years 1974 – 1976 and includes some of the Thin White Duke’s funkiest records – Diamond Dogs, Young Americans, and Station to Station. It also includes two versions of David Live, a remastered version of David Live Nassau 1976, a disc of B-sides and obscure singles, and The Gouster – an album produced in 1976 and never released until now.

The original producer of The Gouster, Tony Visconti, has returned to remaster the album from the original tapes, so it’s in good hands.

It’s a staggering release of material at a fair price, and The Gouster and the remastered two live albums would be a great set on their own.

Keep your mind open.

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Public Image Ltd. offer 4-disc/album “Metal Box” and “Album” sets.

Post-punk legends Public Image Ltd. are offering impressive “super deluxe” sets of two of their classic albums – Metal Box and Album – through a PledgeMusic campaign.

Both records are available on either CD or vinyl and include remastered versions of the albums, a live record, unreleased tracks, art prints or posters (depending on which version you get), B-sides, BBC session cuts, and a lot more.

Metal Box was first released in 1979 as three 12″ singles in one package (a literal circular metal box) that made up the entire album. Album came out seven years later (and, full disclosure, is one of my favorite albums of all time).

The signed versions of these deluxe sets sold out on September 20th, so don’t wait to get an unsigned copy if you want one.

Keep your mind open.

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Earthless announce December U.S. tour.

Colossal rockers Earthless have released dates for a December tour throughout the U.S., and I plan to see them on opening night at Chicago’s Empty Bottle. Don’t miss your chance to have your face melted and consciousness expanded. Earthless always puts on a great show. They’ll be with Ruby the Hatchet as well, so it’s a fine double-bill of psych / stoner rock power.

Keep your mind open.

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Live: Buzzcocks – September 22, 2016 – Chicago, Illinois

Buzzcocks make things better.

I’d planned to make it to Chicago an hour before show time so I’d have a chance to meet with a friend and grab a leisurely bite to eat with her. That plan was dashed, however, when the Lowe’s appliance delivery service showed up nearly two hours late with our new washer and dryer. My wife had to come home from work early so I could leave for the show.

On the way to Chicago, I chose the slowest moving toll road booth lane nearly every time. Once on Sheffield and near the Vic Theatre, I thought my luck had taken a good turn when I found a sweet parking spot just a block from the venue. I then discovered it was only for people with the “383 permit sticker” on their cars. That wasn’t me, so I ended up parking eight blocks away. I walked to the venue and was turned away by security due to me having a digital voice recorder I’d brought in case I had a chance to interview Buzzcocks before (if the delivery drivers had arrived on time) or after the show. I had to walk back to my car to leave the recorder in it. Of course, there is a voice recorder app on my cell phone and every other cell phone in the building, but apparently security didn’t realize or care about that.

I managed to grab a sandwich before the show and breezed into security without issue. I walked in and immediately spotted the merchandise table. A wavering drunken man was looking at the shirts with his buddy. I heard the woman behind the table ask the drunk guy, “So you came to see a band you hate?”

“I didn’t always hate them,” he said. “I liked them before they sold out.”

I chuckled. Buzzcocks have never sold out, no matter how you define that.

I met up with my friend and we got a nice spot on the main floor about five bodies back from the front of the stage. Buzzcocks came out and immediately broke into one of their fastest, hardest hits – “Boredom.” The show was anything but boring, as it turned out.

They tore through classic cuts like “Fast Cars” (a personal favorite), “Totally from the Heart,” and “I Don’t Mind,” and cuts from their newest album, The Way, like “People Are Strange Machines” and “Virtual Reality.” Unfortunately, some of these songs were drowned out by the bass mix being too loud, but the sound board guys corrected it by the time Buzzcocks got to “Why She’s a Girl from the Chainstore.”

This was also about the time two girls tried to get a mosh pit going. They finally succeeded, bringing in two people, then four, then six, and finally up to about ten or twelve. This was about the time someone made a bad decision.

An old school British punk rocker, probably in his 60’s, decided to walk from one side of the main floor to the other, along the edge of the mosh pit, with a full cup of beer in each hand. He was surprised and angry when a young man in the pit accidentally bumped into him and caused him to spill half of each beer on his shirt. Again, why he thought something like this wouldn’t happen at a punk rock show is beyond me.

The old schooler was instantly pissed. He chugged one half-cup and poured the other on top of the young guy’s head (who thought that was great). The old schooler then stepped to the back of the pit and waited, right fist balled up and ready. This poor guy missed Buzzcocks tearing through fun cuts like “Last to Know,” “Unthinkable,” “Autonomy,” and “Breakdown” while he waited to get within arm’s reach of the young guy. He eventually slugged him (a glancing blow) and four of us pulled them apart. The old schooler kept yelling about his shirt being ruined as he walked away from the pit. Security never showed up. It was up to us to break it up and keep the pit civil. That’s a punk rock show for you.

I got in the pit for the finale, which included “Orgasm Addict,” “What Do I Get,” “Ever Fallen in Love?,” and “Harmony in My Head.” I was the oldest guy in there, and I was able to keep up with the young’uns.

Steve Diggle getting us to sing “Harmony in My Head” with him.

Buzzcocks were more than able to keep up with them, too. They played hard, fast, and loud. They reminded everyone there that they haven’t sold out. I hope that wavering drunk was paying attention.

Thanks, lads, for keeping it 100, as the young kids in the pit say.

Keep your mind open.

[Thanks to John for setting up my press credentials for the show.]

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