Concerning the Boycott of Arizona

The passage of the new Arizona immigration law has stirred up a lot of controversy, to say the least, and my former home state has been placed in the spotlight like never before. I disagree with the law wholeheartedly. I even wrote about it for one of my reflection papers in Race, Class, and Gender, but I’ll refrain from delving into that issue once again, as there’s not a lot for me to say that hasn’t already been said through heated debates. However, I would like to mention a separate occurrence that stems from these recent events, a widespread sentiment that’s exemplified within the thoughtless statement of “Fuck Arizona.”

“Fuck Arizona,” as I’ve witnessed on message boards and other sites, is nothing but an oversimplified stance. It represents a lack of thoughtful consideration. It is a blanket thrown over one-hundred-thousand square miles of desert that, ironically enough, generalizes an enormous group of people, regardless of whether or not that was the intention.

Many outsiders have called for a boycott. Rage Against the Machine and Rise Against (the name similarity is entirely coincidental) are amongst several artists who have decided to snub their Arizonian fans in response to the immigration law. For future tours, these bands vow to avoid performing within those state lines. Southwestern tours, I suppose, will skip from Southern California straight to New Mexico, and vice versa.

Wait. Since when are local Arizona music fans the source of the problem? In all likelihood, no one who listens to RATM or Rise Against is in support of the new law. What many will construe to be a punishment (and if I were there, it would certainly feel like one, assuming that I’m a bigger fan of the aforementioned bands) will alienate a group that already stands in opposition. Everyone else, that is, all of those who support the legislation, will not even take notice of the bands’ absence.

I realize that this boycott, like any, is intended to restrict the accumulation of state revenue. But where do these bands get off in thinking that they’re so important? I’m sorry, Rise Against, but you are not essential to Arizona’s economy. Skipping Arizona says nothing. What’s the difference if, prior to the law’s passage, the band rarely visited to begin with? I’ve never spent a dollar in Texas. Does this mean that I’ve been boycotting it along? No.

Action is much more commendable than inaction disguised as a form of protest. There are much more productive alternatives, alternatives that don’t treat Arizonians as if they’re all bigoted assholes. Play a benefit. Play for free. Support independently-owned venues, or play a basement. Raise awareness to the issue at hand rather than pretend that the state doesn’t exist.

And unless the wheels of their tour buses are not touching Arizona’s roads on the way from San Diego to Albuquerque, and unless they’re not filling up for gas somewhere along Arizona’s three-hundred mile diameter, then they’re being pretty hypocritical to boot.

Chicago Songwriters

The new Sundowner record, We Chase the Waves, comes out August 10th on Asian Man Records. Coincidentally, Asian Man is also choosing that day to release Matt Skiba’s compilation of demos, all of which he recorded throughout 2009. That record will be titled, creatively, Demos. We Chase the Waves will be the followup to Four One Five Two, which came out in 2007 on Red Scare, while Demos will mark the first appearance of Skiba’s solo material since a split EP in 2002.

I have high hopes for both of these records. Chris McCaughan played an untitled song about a year ago in California, the video of which is, of course, on Youtube. It’s absolutely fantastic, bound to be one of my all-time favorites, so I’m counting on that to appear on We Chase the Waves (or at least on a future Lawrence Arms record, but for now that’s a distant fantasy). And maybe Skiba’s demos will include unreleased acoustic versions, or something of that nature, of songs from This Addiction.

Alkaline Trio has never let me down, so Demos should be no exception. Plus, it’s coming out on Asian Man Records, which, along with This Addiction having been recorded by Matt Allison, makes it seem as though the band is jumping back through time, in a sense. That’s not to say that their music has become stagnant or anything, but it’s certainly nice to see a band that has such a strong reverence for its origins and for the people who set their career in motion. “Return to roots” is often a pretty contrived phrase, and I use it sparingly if not at all, but the trio does it justice in an honest manner.

If Demos contains acoustic versions of songs from This Addiction, and I expect it will, then I’m curious to hear the songs’ progressions. Apparently, the production is minimal, as most of the recordings were created in Matt’s living room, while drunk, or something like that. Coming across additional details is not easy, but that’s unsurprising considering that Matt said in a recent interview: “I want Demos to be kind of a small record. I want it to come out kind of quietly and be something that people will kind of have to seek out.”

Perhaps this is the reason that the record, which has been finished for quite some time now, was delayed until August. If you ask me, pushing it so far back makes absolutely no sense, especially since This Addiction came out in February. Then again, I guess that I’m a traditionalist. I realize that typically, a (predominantly major) label will space apart albums to maximize the exposure of each. DGC/Interscope, for instance, could have easily released the new Blaqk Audio record, but first they’re making sure that they can generate every ounce of hype out of AFI’s Crash Love. Greed sometimes dictates album releases, but since Mike Park of Asian Man could obviously never have such motivations (the label is run out of a garage, after all), then I’m a bit confused as to why it’s taking so long.

Regardless, now that there’s a solid release date, the release itself seems much more tangible now. And to think that my future Asian Man package will also contain the new Sundowner... that makes the prospect even more exciting.

Review: Crime in Stereo - I Was Trying to Describe You to Someone

Appears at http://www.nationalunderground.org/news/must-have-albums/190-crime-in-stereo-i-was-trying-to-describe-you-to-someone

Crime in Stereo has evolved considerably from their Long Island hardcore roots. This progression has yielded a notable amount of experimentation, which was adequately displayed on 2007’s Bridge Nine debut, Is Dead. I Was Trying to Describe You to Someone is a logical extension from that particular sound, though the realization of this comes mostly in retrospect. The unpredictably of Crime in Stereo’s music is immediately noticeable upon first listen. At first glance, the changes appear to be drastic and shocking, though subsequent listens entail an increased familiarity. Once the listener accepts the band’s commitment to creative evolution, however, it is easy to embrace this record for what it is.

The Brand New comparisons have been brought up repeatedly, so I’ll try to refrain from stressing that relation. It must be noted that regardless of their apparent influence (which was seemingly inevitable to begin with), Crime in Stereo has developed and matured according to their own unique ambitions. I Was Trying to Describe You to Someone contains few, if any instances of the straightforward melodic punk from which they built their initial fan base. On the contrary, this album explores new and unfamiliar territory, delving into sonic textures that are anything but simple.

Kristian Hallbert’s vocals evoke a great deal of emotion, though the lyrics aren’t confessional enough for me to fully draw the Conor Oberst comparison. The passion is similar, regardless, but the content itself has become increasingly ambiguous, which is fitting.

Songs such as the phenomenal “Exit Halo” touch on elements of shoegaze. “Exit Halo,” in particular, weaves through several different parts, including an extended bridge that features distorted guitar effects before building up to its climax, on which Hallbert’s vocals are at their most intense. Here, his vocal melodies overlap one another, rendering his screams as indecipherable without the accompaniment of the lyrics booklet, and yet this is probably his strongest performance. The wall of guitars leads to a brief, false ending, followed by the return of the most memorable, triumphant, powerful riff on the entire album.

Even at just under six minutes long, “Exit Halo” exemplifies only a small portion of the album’s creative ambition and diversity. The intro to “Young” features raw vocals over a lone guitar, a singer-songwriter-esque sound that quickly turns around, with a misleading bridge that builds intensity before settling into a mid-tempo, soft singalong. “I Am Everything I Am Not,” the title of which should provide some indication as to the ambiguity of the lyrics, ends with anthemic gang vocals emphasized by a faint, droning guitar somewhere in the distance.

The liner notes of I Was Trying to Describe You to Someone stress, “No synths, keys, drum machines, etc. were used on this recording.” To create such unique textures using traditional instruments is an impressive accomplishment, I must say. The large scale of the production is apparent, but it never relies on heartless, cheesy additions. Yes, the album might alienate traditionalists, but for those who are willing to keep an open mind, they should expect nothing more than the unexpected.

Discard any previous conceptions of hardcore. Crime in Stereo darlingly defies all genres, creating an exceptional album that refuses to be easily categorized (I’ve come to interpret the title as being self-referential in this respect, but that’s just me). After the initial surprise sets in, I Was Trying to Describe You to Someone demands repeated listens, as all revolutionizing albums do. From here, Crime in Stereo’s future direction is anyone’s guess.

Insert Synonym for "Good"

I haven’t written anything for National Underground in several months. I’d really like to. I haven’t received any of the mass e-mails that they send to their writers and editors, and I’m not surprised. I rarely click on the site's bookmark anymore, out of fear of discovering all that's progressed without my contributions. Honestly, I’d like to be able to say that I was too busy with school, but that’s only true to an extent. After all, the time spent on each one of my meandering blog entries could have been attributed to music reviews. Come to think of it, a few of them were, ironically enough.

When it comes down to it, it’s difficult to think of new terminology when describing a particular sound. If I spend enough time, I can do an adequate job. More often than not, however, I’m plagued by writer’s block. It’s pretty discouraging, to say the least, especially since I was hoping to make a career out of using this one, for lack of a better word, talent. I listen to a lot of new music, and I’ve formed thoughtful opinions regarding so much, but sometimes it’s agonizing to translate certain feelings into words.

The lack of proper vocabulary constantly hinders my descriptions. Obviously, it’s not enough to say that something is “good” or “cool.” I need to be able to identify the subtle nuances of a unique sound. But how do I identify a sound that doesn't necessarily tread new ground? Most music is derivative, of course, but that doesn’t always equate to staleness. Dear Landlord, for instance, is a fantastic pop-punk band. The three-part vocal harmonies and (insert description of musical characteristics here) evoke the similar strengths of their obvious influence, Dillinger Four. The similarity here serves more as an homage than a blatant rip off, and it works remarkably well. If a band plays a traditional form of punk without pushing any musical barriers, how do I convey that said band is exceptional without relying on comparisons?

Comparison, by the way, is inevitable. It is a practical tool used to outline a general sound. For new bands and debut releases, it is especially useful. On the other hand, it is often my writing’s greatest downfall.

“Dear Landlord, eh? I’ve never heard of them,” said a Generation Records employee upon my purchase of their 2008 split 7”.

“They’re kind of midwestern pop-punk,” I replied. “A lot like Dillinger Four.”

It was an effective description, but for professional reviews, I feel as though I need a lot more. Where typical music journalist jargon should enter, I fall short. As the blogger bio on this page points out, I love music, but I am incapable of playing it. What, for example, are power chords? I feel like I should know. In fact, it’s embarrassing not do. Thankfully, my Music Appreciation class last semester enlightened me on a lot of terminology, so hopefully that will benefit my writing in the future. Dynamics, texture, time signatures... at least I’ll be able to examine those elements more thoroughly from now on.

And don’t get me wrong. I’m far from giving up. There’s just been a selective type of writer’s block lately that’s been preventing me from sharing my thoughts on that which I’m most passionate about, music. Ironically, I decided to confront this dilemma by, you guessed it, writing this very blog entry.

The latest Crime in Stereo album was pretty unconventional. I think I’ll get to work soon, starting with that. It’s pretty experimental, as they've evolved considerably from a typical Long Island punk/hardcore band.

A lot like Brand New.

For Flannel

Defiance, Ohio announced their latest full-length, Midwestern Minutes, a few weeks ago. Var from No Idea Records posted the details on a message board. There will be eleven songs, including all four from the Songs for the Icarus Project EP. I’m not sure if these are the same versions or new recordings, but I’m hoping for that latter. No Idea also posted an mp3 of “Hair Pool,” the final, electric version of a song that first appeared on If You Make It’s Pink Couch Sessions. As with past Defiance, Ohio releases, the song has already become my new favorite. The same happened with “The List” and “Oh, Susquehanna!,” from 2007’s The Fear, the Fear, the Fear and 2006’s The Great Depression, respectively. Yes, it appears that the band is not only fond of commas, but capable of topping themselves creatively on a consistent basis.

“Hair Pool,” for instance, is simply a masterpiece. At just under four and a half minutes (though the acoustic version is several seconds longer), it encompasses everything that makes the band special, while still pushing new musical boundaries. Will’s sincere songwriting actually leaves me with this sudden desire to live in a small town, in a place absent of the stress that arises from urban geography. Then again, there are numerous Defiance, Ohio songs that evoke the same feelings.

I wonder how they feel when they visit New York City. Honestly, I can’t think of a place that’s more crowded, hectic, and intimidating. I imagine it represents the complete antithesis of their ideals. Skyscrapers, enormous billboards spanning the length of apartment buildings, busses and taxis functioning as moving advertisements... depressing sights indeed. Hell, the city itself is like one revolving product placement. There’s no avoiding it. It consumes the consumers. Maybe that’s why I have yet to see “Oh, Susquehanna!” live. Maybe we don’t deserve it.

Not to imply that I have any kind of special connection to New York City (outside of concerts and a record store, of course). Nope. Driving through that place is like holding your breath. Relentless anxiety stems from severe claustrophobia. For the most part, it’ll stick with me until I cross back over that bridge. I couldn’t imagine having to sleep there at night. How do people drown out the noise of honking horns?

I went to the mall today with my sister and her friend. We don’t usually go with the intent to purchase anything, as the drive itself is mostly just an escape from boredom. Still, the mall increasingly gives me the same feeling as New York. It’s the go-to center of consumerism, where a single flannel shirt costs twenty-five dollars. I’m sorry, but I don’t want any part of that. Not for me, thanks.

I know that I’m far from perfect. I’m wearing Hot Topic skinny jeans, after all. Still, I’d like to seek a new alternative: the thrift store. I’ll admit, the record selection could be improved, but it should be sufficient for other needs. Two-dollar flannel shirts should be flying off the racks soon.

“Fuck this city, and fuck this filthy air. Let’s build a-frames in the woods and just live there. We’ll all eat berries and build fires every night, and forget this mistake we call modern life.”

Temporary Goodbye to Stress

As of two days ago, the semester is officially over. My very last exam was on Thursday morning. I’m pretty sure that I did well on all of them, but I’d still like to have a definitive guarantee. Right now, only two professors have posted the final grade online. I passed Political Theory with an A and Art Appreciation with a C. Neither were much of a surprise. I’m still curious to know how I did on the final test, but I guess I never will. All I can gather is that it went well enough to secure those three credits.

Walking away from the campus that day brought such relief. Until September, I’m free. And what better way to celebrate than to attend a Converge show later that night?

I drove straight from Connecticut to Long Island. My dad returned home from work shortly thereafter, and we headed for New York City at around four. My dad dropped me off at the front of the venue, then went to a nearby restaurant. I would have gone with him, but the time at which doors were supposed to open was minutes away. My friend Kyle and his friend Ernest showed up at close to six. I abandoned my spot in line to hang out with them, and I’m glad I did. It’s impractical for one to assume that he/she can remain in one particular location for the entirety of a hardcore show. That’s just not possible. Not only that, but having no one to talk to makes standing around feel like an endless wait, as I’ve experienced on multiple occasions. No thanks.

Ernest didn’t have a ticket, and the show had sold out. Then Kyle recognized John Pettibone of Himsa, who is now a roadie for Converge. They struck up a conversation, which eventually led to John putting Ernest’s name on the guest list. What a thoughtful gesture. It’s too bad I’m not familiar with any of Himsa’s music, but I’ll definitely look into them. The lead singer shook my hand, after all.

The three of us stood in the back, moving up after the first two opening bands (the latter of which, Lewd Acts, featured the most drunken, out-of-control singing performance I’ve ever seen, as if the singer was a modern day Darby Crash). I was pretty excited to see Touche Amore, a fantastic hardcore band from Los Angeles. Kyle and I purchased their LP at the merch table before the show, which they kindly set aside for us to pick up at the end.

Touche Amore received an enthusiastic response from the crowd, almost as if they were the headliners. The band was really appreciative and modest, sustaining that night’s infectious amount of positive energy.

Setlist

And Now It’s Happening in Mine

Cadence

Broken Records

(New Song #1)

(New Song #2)

History Reshits Itself

Nine

Swimming with Sharks

Adieux

Always Running, Never Looking Back

Honest Sleep

I’ll be honest. At that point, I was terrified of that crowd, constantly expecting the worst. Being trampled, beaten, losing my glasses... all were recurring fears in my thought process. I wasn’t willing to fight my way through such an amazing band’s set, so I stood next to a pillar where I could watch the chaos unfold. I made the right decision.

The intensity of Converge’s live set was relentless. The precise technical skill combined with Jacob’s menacing scream was a powerful force, matching the ferocity of the original recordings. Everyone up front quickly wore themselves out, moving off to the side while others brought themselves into the nonstop mayhem. I was gradually squeezed closer to the stage, at which point I was within close proximity to Jacob. Twice during “Dead Beat,” he pointed the microphone in my face, and I screamed my guts out, “Pick your poison as dead beats do. Leave a wake in the hearts that hurt you.” It was surreal. Kyle, as well, enjoyed his own spotlight, singing the bridge to “Drop Out” onstage alongside Jacob.

Converge played a phenomenal, lengthy set. They truly put their hearts into that performance, displaying the passion and talent that they’ve always expressed on the studio recordings. As Axe to Fall was my favorite record of 2009 (http://www.nationalunderground.org/reviews-mainmenu-71/285-converge-axe-to-fall), this show will end up becoming one of the most memorable nights of 2010.

Setlist

Concubine

Dark Horse

Heartache

Hellbound

Lonewolves

Hanging Moon

No Heroes

Reap What You Sow

Cutter

Distance and Meaning

Dead Beat

Orphaned

Axe to Fall

Wishing Well

Damages

First Light

Eagles Become Vultures

The Broken Vow

Drop Out

Last Light

Chicken Rules

When a show feels like a reunion amongst old friends, then it’s clear that the band who is performing is truly special. For me, Against Me! fills that role. I saw them twice on their latest tour, reaffirming my belief that they are terrific performers, while bringing the realization that they are also a different band.

Warren’s departure was a heartbreaking loss. His ear-to-ear smile brought such a distinct personality to the live show. The classic thumbs-up rivaled Fonzy’s as a memorable trademark. He was the first band member I ever spoke to, and I’ll miss him dearly. He recently opened a Mexican food restaurant in Gainesville. I wish him the best.

George Rebelo of Hot Water Music stepped in as an adequate, unsurprising replacement. He’s an excellent drummer, of course, and I’m sure that I’ll warm up to him eventually, but for now he’s still “the new guy.” His drum fills aren’t as fast as Warren’s, but that’s pretty much my only criticism. That, and he has a smaller beard.

The New Haven show was ultimately disappointing. The “hidden” fifth member was a shock, and he was especially unnecessary as a third guitarist on certain songs. Oh well. Several songs killed the energy, and there was nothing out of the ordinary. Maybe that’s my own fault. After all, there are just over twenty-five post-demo Against Me! songs that I have never seen live. Not to imply that I will ever get sick of something like “Pints of Guinness Make You Strong.” That alone makes the show worth attending, every single time.

Crowd surfers deserve to fall hard, though.

Setlist, 4/28/10

High Pressure Low

Don't Lose Touch

New Wave

White Crosses

Pints of Guinness Make You Strong

I Still Love You Julie

Up the Cuts

Ache With Me

Amputations

I Was a Teenage Anarchist

Miami

Borne on the FM Waves of the Heart

Sink, Florida, Sink

Suffocation

Stop

White People for Peace

Cliche Guevara

Thrash Unreal

Rapid Decompression

Turn Those Clapping Hands into Angry Balled Fists

Baby, I'm an Anarchist!

I used the New Haven show as the basis for my contemporary concert report for Music Appreciation, which was due the next morning. I wrote the majority of it in the library, dropping it off at the professor’s mailbox that same day to avoid any late penalties.

The Long Island show was two days later. I went with my sister and my dad, which was automatically more enjoyable as result. Against Me! is my sister’s favorite band, which makes her cooler than most girls her age.

Against Me! played a near-identical set, but for some reason the energy felt much more positive. They played with a noticeable enthusiasm, which tends to reflect the crowd’s own attitude. They also sounded fantastic, as Tom’s voice was clear and distinct. Although the set was extremely predictable, I decided to make the best out of it, embracing the songs that I otherwise can’t get into. Even though the new material abandons the subject matter to which I used to relate, the band’s passion remains. Tom’s priorities have naturally shifted according to his newfound responsibilities as an adult. To demand that his lyrics reflect my own mindset would be incredibly selfish. I applaud his courage and honesty, and will always respect his creative integrity.

Setlist, 4/30/10

High Pressure Low

Don't Lose Touch

New Wave

White Crosses

Pints of Guinness Make You Strong

I Still Love You Julie

Up the Cuts

We're Breaking Up

Amputations

I Was a Teenage Anarchist

The Ocean

Miami

Sink, Florida, Sink

Suffocation

Stop

White People for Peace

Thrash Unreal

Rapid Decompression

Turn Those Clapping Hands into Angry Balled Fists

Cliche Guevara

Baby, I'm an Anarchist!

Unrelated from Against Me!, Dead to Me, the opening band, was terrific. I spoke to Chicken, the bass player, at the New Haven show. Chicken happens to have played in a band called Western Addiction, who released one of my favorite hardcore records of all time in 2005. I asked him if they would record again, to which he replied, "I hope so! Fingers crossed." I saw him again in Long Island while I was waiting in line. He walked by, so I waved and said hello. He stopped, shook my hand and said, "I've met you before." We then struck up a brief conversation. My dad asked him about the tour and Chicken told of his fondness for New York, and of the thrill of watching Against Me! every night. If it's not apparent by now, yeah, Chicken is the man. Seriously, he was one of the sweetest dudes I've ever met. Everyone should check out Dead to Me's Little Brother EP. It's flawless.