Acoustic-punk heroes Andrew Jackson Jihad don’t like jerks — just ask the handbill for their upcoming Santa Cruz show. On Tuesday, July 29th, the whip-smart antifolk troubadours stop at the Rio Theatre for an all-ages gig with post-punk trio Hard Girls and “pup-punk” sextet Dogbreth. This lineup should raise DIY hell and cannot be missed. Plus, you’re likely to find many of our loyal staffers there to witness the madness and probably hand out some KZSC stickers n’ other media while we’re at it! For more information or tickets, check out riotheatre.com, but until then, rock out in your dreams!!!
1. PARQUET COURTS – Sunbathing Animal
2. ORWELLS – Disgraceland
3. FUCKED UP – Glass Boy
4. THEE OH SEES – Drop
5. WOODS – With Light And With Love
6. CLAP YOUR HANDS SAY YEAH – Only Run
7. GOLD-BEARS – Dalliance
8. WHITE LUNG – Deep Fantasy
9. PAINS OF BEING PURE AT HEART – Days Of Abandon
10. FRESH AND ONLYS – House Of Spirits
Top 5 Adds:
I’m pretty into this new Tigers Jaw album. It is some fun 90s influenced pop punky stuff.
Tech N9ne and his Strange Music camp are work-horses. They tour for two-thirds of the year, and still manage to find time to release many quality albums. Strange Music put out 13 projects in 2013 alone.
Tech N9ne made a stop at the Catalyst in Santa Cruz for a sold out show on Sunday, June 1. The Independent Grind Tour 2014 has over 70 stops and includes opening acts from Psych Ward Druggies, Jarren Benton, and Freddie Gibbs; Tech N9ne is joined by Krizz Kaliko on stage for his set.
The Psych Ward Druggies began the night, Sunday, with a very energetic set. They bring an interesting dynamic with several MCs on stage, as well as a live band. Their performance was a good way to get the crowd going. Jarren Benton, of the Funk Volume label, was up next. Benton was just named to the 2014 XXL Freshman List. The crowd seemed to really enjoy his performance. The Atlanta native’s style incorporates elements of the hip-hop from his home town with influence from Eminem, Wu-Tang Clan, as well as artists from other genres such as Nine Inch Nails. The final opener was Freddie Gibbs, accompanied by his ESGN affiliate G-Wiz. Gibbs’ has been releasing music for about ten years, but his career is now at its highest point following the release of his critically acclaimed collaborative album with Madlib, titled Piñata. The set was going well, but Gibbs really won over the crowd when he rapped a verse his song “Rob Me a N***a” completely accapella. It was interesting he chose not to perform any of his songs from Piñata, but his other work is still very hype. Following Gibbs’ performance, the stage was set up in an interesting fashion, with props laid out across it. Tech N9ne and Krizz Kaliko came out together wearing all white, Tech N9ne with his face painted. The performance was very theatrical, as Tech and Krizz are very animated in the way they perform and there were many special effects incorporated in the set. The audience absolutely loved it; there was so much energy in the Catalyst that night.
Fonzie got a chance to ask Freddie Gibbs a few questions before his show on Sunday, June 1st at the Catalyst on Tech N9ne’s Independent Grind 2014 Tour!
Check it out:
Stay tuned for more interviews with Fonzie coming to the KZSC blog soon!
Listen with caution! One listen through of this album may leave you couch-locked as a result of your mind being fully blown. Fucked Up’s latest Matador release, Glass Boys, is nothing short of a juggernaut of an album. The band’s first full length LP since 2011’s David Comes to Life, Glass Boys shows just how far Fucked Up has come in terms of musical mastery. It’s melodic, yet ear piercing; polished rock, yet still hardcore. Like many of their previous releases the album starts off soft and gentle, only to unexpectedly lurch into a furious punk rock maelstrom. Track one (Echo Boomer) begins with 27 seconds of new age wind chimes, leaving one with a deep feeling of wonder as to what the hell is about to happen next. A bass drum pounding bars later, a wall of wailing guitars appears wildly to pimp-slap your expectations across the face. With the familiar screaming of Damian “Pink Eyes” Abraham, the album begins in earnest, combining the pure, unfiltered rage of their earlier work with some (but not TOO many) of the softer, “prettier” tendencies of their last two albums. Fucked Up channel the latest installment of their trademark melodic hardcore in a manner we have both come to expect and admire. Pink Eyes’ vocals sound like he may just be poised to kill you, a feeling strongly backed up by high-pitched wailing guitars, pounding drums, vocal harmonies, and overall furious musical intensity. An extremely polished piece of work, Glass Boys is truly a gem, as evidenced by such epic tracks as “Sun Glass” and “Paper the House”. Despite having achieved huge success within the mainstream, Fucked Up use this album to prove that they are no less furiously awesome than they have always been. Released June 2nd, Glass Boys is sure to blast some young, impressionable ear drums in the near future.
On R.E.M.’s new live release showcasing their 1991 and 2001 MTV Unplugged sessions, there are almost two different bands displaying a similar sound. In the first CD that contains the 1991 MTV Unplugged session, there is a young, emotional band that is starting to settle into a sound they are comfortable with but still wants to explore new sounds. The 2001 MTV Unplugged session shows a much older band that has settled into their defining sound and only looks back to the past for their inspiration instead of going forward into new fields of sound.
The 1991 unplugged session is an audio document of R.E.M. At their peak in popularity and sound. Out of Time had just come out, and R.E.M. was just starting to explore new instruments like organs, mandolins, and bongos to add into their music. Michael Stype sounds happy, even on the more somber tracks, consistently through every track and the rest of the band reflects this overall feeling of happiness that dominates the 1991 MTV session. There are some minor mistakes that can be heard over the course of the session that even Michael Stype acknowledges on some of the audio tracks, but it’s the imperfections that make the band and the session seem more real than just an audio recording. It’s as if you were right in front of R.E.M., watching them play their greatest hits in 1991.
The 2001 unplugged session is similar to the 1991 session, but more overall themes can be heard in the 2001 session that aren’t in the 1991 session. It’s as if there is nothing no longer new to R.E.M. that they haven’t already done. There are marimbas, banjos, pianos, and so many other instruments used in this session, but the band feels to comfortable with all of the different instruments. The band doesn’t seem to have that enthusiasm and happiness that was on the 1991 unplugged session. Michael Stype seems almost bored and just treats the session as if it’s just another show; there is nothing new and nothing that no longer excites him. It’s almost sad to hear such a stark contrast in sound in ten years from a young band that was enthusiastic to do anything to a band that knew they could do anything and took that for granted.
– Brandon Oleksy
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