Obraskai Adds 5th Point To Rock Star

Originally Published Here:http://shutter16.com/wp/2011/05/31/show-review-obraskai-adds-5th-point-to-rock-star/

Published Tuesday, May 31, 2011 By amanda_caines. Under Editor : Amanda Caines, Photos, Show Review, Writer: Amanda Caines

Photos Here: http://www.flickr.com/photos/shutter16mag/sets/72157626853231392/

With a sound and stage presence as original as their band name, Obraskai of West Columbia, S.C., packs a double-punch of energy at every live show. Four years of performance under their belts have given them a fantastic sense of showmanship, and two excellent albums In Dire Need of Heroes and Farewell to the Former provide some great tunes for any rock fan’s listening pleasure.

Obraskai’s wild antics on stage always seems to keep audience members wondering what crazy thing they’ll do next. Bassist Greg Bolton and Guitarist Chris Byers jump on just about any object on the stage (and sometimes they fall off), and spend a lot of time on their light-up “ego-boxes” head-banging like a hardcore band or making crazy faces. Boxes of what look like dressing room lights frame Matt Warren’s drum kit and add intrigue to the stage lighting, as well as a rubber rat that perches atop the bass drum (“He’s my buddy,” Matt explains). Between the music and the jumping around like wild apes on amphetamines, it’s hard for concertgoers to get bored at an Obraskai show.

This show in particular at New Brookland Tavern in West Columbia presented something even more special than usual: it marked the addition of a fifth band member for the first time in the four-year history of the band. Obraskai plucked up guitarist Josh Wright from the dying embers of his former band Tattermask and added him to the fold, allowing the band to duplicate their multi-tracked guitars in their sophomore effort Farewell to the Former in live performance.

The performance overall was very good, but having operated as a four piece for four years, the guys still have a lot of work to do to integrate Josh fully into the Obraskai clan. As if adapting to a larger number of people on stage wasn’t enough, the small size of the New Brookland stage worked against them, too. Additionally, they have only three ego-boxes for them to share. Chris commands the stage right box and vocalist Jeff Eargle has squatter’s rights on the center stage, leaving Josh and Greg with a timeshare for the stage left box. Josh’s gigantic array of effects pedals sitting right in front of the box further encumbered its use, and both of the guys seemed a bit timid to jump up there for fear of stepping on Josh’s pedals (or each other’s toes). Josh, being the only band member with a wireless system for his guitar-to-amp connection, had a lot of freedom to walk about the stage and snagged some time on the stage right ego-box, eliciting some funny territorial jokes of “stay on your side” from Chris after the show.

While the addition of Josh to the band really did sound excellent with new guitar harmonies on a few songs such as the new song “In Truth” and a fuller sound on songs like “Feeding the Nightmare,” Josh’s level of musical participation left his entourage of fans from previous bands a bit flat. Without exception, those who had heard Josh’s intricate lead guitar-work in former projects Tattermask and FlatLine felt he was “underutilized” in Obraskai. Kind of like if Three Days Grace hired Randy Rhoads (Ozzy Osbourne’s original guitarist) and stuck him on rhythm guitar. To Obraskai fans unfamiliar with his old bands, Josh likely appeared to be another dime-a-dozen guitar player. He had no opportunity to shine and shred some mad-complex solos for which he’s become notorious in Charlotte’s music scene. Hopefully future writings of the band will feature more of what Josh does best.

Other than that, the show was pretty fantastic. Jeff’s tone on the screaming parts of the songs shows some great development to add to his Maynard James Keenan-style singing vocals, and Greg’s backing vocals harmonized very well on “Bare.” Chris and Josh strum tightly together on the guitars, giving the band a polished sound, and Greg is stepping up his complexities on the bass for the newer songs. Matt kills it on the drums with an ever-increasing sense of confidence and intensity. Possessing a great live show and killer rock tunes with a dose of metal, Obraskai is clearly the band to follow in the Columbia hard rock scene and beyond.

Fusebox Poet Rocks the Rain Away at Speed Street

The Deal: Far too often, concertgoers go to a national act’s show well after it begins so they can miss the “crappy opening bands,” but at Food Lion Speed Street 2011, that would have been a sad mistake. The act to see for the night was Charlotte’s own Fusebox Poet, who won 106.5 The End’s battle of the bands for the time slot between Paper Tongues and Everclear on the Miller Lite stage. Rain and bad weather plagued Fusebox Poet throughout their involvement in the competition, with baseball-sized hail at the preliminary round and mega-thunderstorms at the finals. Singer/keyboardist Drew Cyphers said the rain started just as he walked onto the Speed Street stage for sound check and he just looked up at the sky and thought, “Really?!”

The Good: Despite a slow start due to bad weather and some technical foul-ups, Fusebox Poet, in their color-themed outfits matching their new t-shirt design, really got in their groove. Fans and casual passersby trickled in slowly toward the stage while the band got its sound locked in during the initial couple songs. Bassist Dave McGarry’s brutal scream at the end of the first song, “Ashes and Apologies,” let everybody know that Fusebox was on the Speed Street scene. It was the third song, “Lifeline,” when things really started to click (pun intended, as Drummer Pat Gerasia begins this song with drum rim clicks), and by the end of the song, Pat’s floor tom sounded absolutely epic. The crowd had grown considerably by that point. Pat said after the show, “The weather sucked and we were really bummed out, so I didn’t look out [into the crowd] at first. But after awhile, I looked out and was like, [pauses and smiles] ‘Yeah.’” When their last song “Clean” rolled around, the faces in the crowd had multiplied exponentially, and Fusebox Poet closed its set to roaring applause.

The Bad: As the band tore into its opening song, the rain stopped, but other issues cropped up in its place. Technical difficulties swallowed the first line of Drew’s vocals, and he threw his hands in the air, watching his words fly in unamplified futility into the night. The instrumental mix was not quite right for the first couple of songs, causing a bit of a short circuit in Fusebox Poet’s usual cohesion. Drew’s vocals were a little off from his usual spot-on pitch while he adapted to relying on stage monitor speakers to hear the rest of the band. In the smaller clubs, Drew said, you can hear the drums acoustically and the keys and guitars straight from their amps instead of through the P.A., which took some adjustment on the band’s part. Fusebox Poet’s usual lighting spectacle of fluorescent ballasts and lighted “ego boxes” paled in comparison to the blazing bulbs of the big stage, but better to be dwarfed by the stage’s bigger lighting than by other bands’ bigger sound.

The Verdict: While it looked at first like the rain would put a major damper on what should be fantastic exposure for the band, the weather’s not always the same as the forecast, and it turned out to be the fantastic show Fusebox Poet deserved. (“It was awesome,” guitarist Paul Wright proclaimed.) In the end, the Fused Four found their bearings, and their musical energy transferred well to the larger venue from their customary nightclub surroundings as their Speed Street set blew two signed, national acts off that giant stage.

... (read more at qcvibes.com)

Everclear Swims Through Set at Speed Street 2011

Originally Published Here: http://shutter16.com/wp/2011/05/29/show-review-everclear-swims-through-set-at-speed-street-2011/

Published Sunday, May 29, 2011 By amanda_caines. Under Editor : Amanda Caines, Festival Coverage, Show Review, Uncategorized, Writer: Amanda Caines Tags: Amanda Caines, charlotte, Everclear, rock, Speed Street

I admittedly don’t give a racing rat’s ass about NASCAR or the Coca-Cola 600, but I always go out to the Food Lion Speed Street festival and walk past the racing mumbo-jumbo on my way to the free concerts. Over the last three years, the rock stage headliners have gone from disappointing to just downright sad, and this year takes the cake. As a former fan of Everclear’s from my glory days as an angsty teen, I thought I might recognize some songs and enjoy some nostalgia from their three-chord, angry-at-my-dad brand of alternative rock, but I had no idea how tough it would be to recognize my old favorites.

Everclear was meant to headline Speed Street last year, but the rain caused the festival coordinators to call off their set. This year, another substance made many of us wish they’d been rained out again—alcohol. At least that’s all I hope it was. Art Alexakis belted out what should have been familiar tunes with all the articulation of a drunken hobo with Tourette’s. His pitches stumbled all around the notes they aimed at, with his vocal quality akin to a dying pit bull. As I chatted with the members and friends of the previous band, Fusebox Poet, we all wondered during the first couple of songs what the hell was wrong with the guy—was he sick? Drunk? Old and out of practice? Either way, he sounded awful.

Luckily after a couple of train wreck-esque songs, the sound engineer behind the knobs and dials had enough mercy to dial back the volume on the lead vocals and add some serious reverb, making the vocals ambiguously murky instead of, “Wow, that singer’s wasted!” I guess from a band named after pure grain alcohol, I shouldn’t be too surprised. Apparently Art Alexakis fell off the wagon.

Mingling with the other rubberneckers (fans, that is), I started asking some people for their reactions to this sad spectacle. “As a fan of this band, this is just sad,” and, “If I’d paid for tickets to this concert, this is when I’d be asking for my money back,” were pretty much the consensus. Standing there chatting with people about how embarrassed for Art and the band we were, I was amused at the “A-Ha” moment when one fan realized that the murky, unfamiliar song we’d been listening to for at least a minute was “Everything to Everyone.” Yes, it was that bad. People were leaving in disgust.

A similar realization of my own during “Wonderful” gave me a new, ironic picture of the sad-but-peppy tune that has forever ruined that song for me. This is what we should expect from last call at a karaoke bar—not from the man with a major label record contract who wrote the music. I was disappointed, sickened, even. Not only did I leave the show without the normal afterglow of a great, free concert, I left with a knot in my stomach, feeling like I’d just witnessed a bus crash. I hope that next year the festival booking agents will choose a more stable headliner for the rock stage—and I really hope Art Alexakis goes back to rehab before he ruins the legacy of a very popular band.

Get Your Junk In Gear With Junkomoto

Originally Published Here: http://shutter16.com/wp/2011/05/24/reviewget-your-junk-in-gear-with-junkomoto/

Published Tuesday, May 24, 2011 By amanda_caines. Catergories: Editor : Amanda Caines, Notes from the underground, Show Review, The Money, Writer: Amanda Caines Tags: Amanda Caines, Charlotte Music, junkomoto, The Money

WWeeknight shows are always tough because a lot of people have to work early in the morning and clubs like not to start the bands until 10:00pm so people will stay until they close at 2:00am. Unfortunately, for this day-job, overtime-workin’ girl, that means I only get to see the first band play. The band I had intended to see was Another Lost Year, but I will have to catch them at their show May 25th at Whisky River in the Epicentre instead when they play before I’m falling-asleep-at-the-wheel tired. However I actually did see the opening band Junkomoto. I had never heard of this band before, but I hung out with two the three of them–Tia, bass/vox and Tony, drums– and they were incredibly cool . I recognized Tony from his old band, The Stiltskins, and chick bassists are always cool from my observation. I hoped desperately that their band didn’t suck. While they certainly didn’t suck, I can’t say that I found them particularly impressive—they reminded me a lot of Incubus, but without the catchy hooks. They can all play their instruments well, especially Tony on drums, but there just wasn’t a whole lot of magic to it. Granted, it wasn’t exactly a packed house, throwing back energy, either. They played a couple of cover songs, one of which was a Candlebox song–not a radio single– I hadn’t heard since middle school, which they nailed, but I think I was the only one singing along. The other song I recognized was Heart’s “Barracuda,” sung by bassist Tia. She’s a decent singer, and I was impressed by her ability to harmonize on their original material, but she lacks the vocal power and flexibility necessary to successfully reproduce a Heart song. She had her moments of brilliance, though, so she has potential if she keeps at it. Junkomoto’s originals had some interesting time signatures and rhythm patterns to them, so the tunes were interesting enough to be entertaining. You can usually tell when a guitarist has studied percussion, and band founder Elliot Mitchell (vocals/guitar) started out his music endeavors on drums according to the band’s Facebook bio. I enjoyed the vocal harmonies and the interplay of the bass and guitar, and Eliot has a very strong and interesting tone to his voice. It seems he may be falling into the guitarist/vocalist trap of focusing more on the guitar writing than the vocal writing such that the vocal lines end up a bit dry in comparison. They really were obviously talented players, though, which mostly made up for it. Though they were lacking a bit in stage presence as far as movement on stage, they did have a playful chatty repartee with the modest crowd and the bartenders, making wisecracks about their band name and suggesting beers off The Money’s newly refurbished draft wall. Tia had the quotation that made my night—a comment in reference to their band name’s meaning: “I always love the idea of junk in motion.” Despite my being underwhelmed by their performance, their personalities both onstage and off deem them worthy of another listen. (read the full article at shutter16.com)

Grown Up Avenger Stuff: The Unsung Heroes of Charlotte FemmeFest 2011

Originally Published Here: http://shutter16.com/wp/2011/05/24/grown-up-avenger-stuff-the-unsung-heroes-of-charlotte-femmefest-2011/ Published Tuesday, May 24, 2011 By amanda_caines. Under Editor : Amanda Caines, Festival Coverage, Show Review, Uncategorized, Writer: Amanda Caines Tags: Amanda Caines, Grown Up Avenger Stuff, GUAS, The Neighborhood Theatre, www.shutter16.com

Anyone who has ever heard of Charlotte FemmeFest probably pictures a few stages full of angry lesbians with acoustic guitars and most of my rock-oriented friends avoid those sorts of concerts like a bad case of herpes. I can’t say that I am much different. I can express adamantly that I love the concept of FemmeFest and its mission: “FemmeFest aims to reach, inspire, and strengthen our cultural community with the work of underrepresented female voices throughout the region and beyond.” However, as one of the many female rock artists who has tried and failed to break through the ironclad stereotype of FemmeFest, I must say I was delighted to see Grown Up Avenger Stuff make it on the bill this year with their quirky amalgamation of rock, pop, grunge, punk, and metal. Too bad it only took them three years of begging (and the prestige of landing a record deal last summer) to get them into the FemmeFest fold. They are the only reason I decided to actually go to the festival this year for the first time.

I went into FemmeFest with an open mind, because I do, from time to time, enjoy listening to some good ol’ folk music—but don’t tell my metal band friends. A lot of the artists were what I expected but I did find a couple of gems nestled in with the onslaught of acoustic emo-babble.

By far, the best solo acoustic performance at FemmeFest was not the headliner but Reeve Coobs, who truly blew me away with her powerful choruses and excellent guitar-work. Even my husband, the guitar snob who I dragged along for a male perspective, was impressed with her playing. Her sweet-yet-mighty voice ran the gamut from self-effacing, light folk to robust, head-bobbing blues. I missed her full-band set since it coincided with Grown Up Avenger Stuff’s time slot but I am eager to find another opportunity to see Reeve with her band.

The remainder of the lot of solo acoustic performers, on the other hand, canvassed the territory from boring to homogenous to downright cliché. With my show schedule in hand and hoofin’ it among Neighborhood Theatre, The Evening Muse, and Green Rice Gallery (Dolce Vita was a tease—no music there at the scheduled time!), I managed to catch a few songs from Natalie Royal, Elizabeth and the Catapult, Shana Blake, and Charlotte Parrott, but none of them presented anything I found noteworthy.

The headliner, Jennifer Knapp, not only did not impress me, but also approached unprofessionalism with her persistent references to the copious amounts of Scotch she’d been drinking and playing songs she didn’t quite remember how to play. She was certainly the Lilith Fair poster girl with an acoustic guitar and a chip on her shoulder, but at least the girl can sing on key when she’s drunk.

Outside the realm of regurgitated granola riffs lay a few hit-or-miss acts like HuDost, Donna Duncan, Chasing Pedestrians, and Stella Rising, I had been eager to hear StellaRising as they were the only band besides Grown Up Avenger Stuff whose name I had heard in the local music scene, but they disappointed me in performance. Each of their original songs smacked of a cover song I’ve heard too many times, but lacked the excitement of the real thing. When they finally did do an actual cover, it was Gnarls Barkley’s “Crazy,” and vocalist Kristi Ormand choked the life out of it. The vocal ornamentations of the song were completely lacking, and Kristi didn’t quite have those high notes. It sounded almost as if this were the original version of the song from the early 80’s that Gnarls Barkley decided they could remake into something better.

Chasing Pedestrians was enjoyable, overall, though singer/pianist Michaela Amato was the only standout performer, belting out their bluesy pop in one juggernaut of a voice with a timbre similar to that of Nelly Furtado or Natalie Merchant. The horn section in cheesy, blue, 50’s-style tuxes was an interesting choice that added some musical dimension and visual whimsy to the set.

HuDost indubitably had the most eclectic mix of sounds in their set, using a sitar, cello, 12-string guitar with an “e-bow, “ and a harmonium, which I’d never seen in person before. I found myself profoundly mesmerized by their Eastern ethereal three-piece band. Their sonic profile displayed a continuum from new age/world meditation chanting to three part harmonies that could easily have come from a country station.

Despite a glowing recommendation as a rockin’ lady I should check out, Donna Duncan brought nothing but worn out southern rock with stage moves that belong more in a strip club than at an all-ages festival. One could easily find a band like this in any biker bar in the Carolinas. By this point in the festival, my ears ached from too much of the same thing without enough variety—especially since granola folk music is not my first choice of sonic cereal. Granola is great for breakfast; I just don’t want to eat it all day long.

When midnight rolled around and Grown Up Avenger Stuff finally took their places on the side stage in Neighborhood Theatre, they were truly a breath of fresh air to my rock-deprived lungs. Too bad their performance was so late, after most of the crowd had bought their souvenirs and headed home. I lamented that they didn’t have a better time slot so they could’ve shared their oscillations from charming sweetness to screaming bad-ass with a larger crowd.

Vocalist Deirdre Kroener seasons her vocals with one part 50’s housewife, one part Broadway star, and one part Courtney Love on a bender. The musical styling of the band behind her goes toe-to-toe with her, boasting an arsenal of assorted tempos, moods, and genres anywhere from the likes of The White Stripes or The Beatles all the way to Hole or Weezer. If you don’t like the style they’re playing right now, wait five minutes—it’ll change. Every song is a new adventure, and even some songs within themselves are pretty bipolar, such as “Disagreements with Gravity,” where it’s calm and psychedelic one minute and thrashing pop-punk the next.

One of the funniest changes comes at the end of their new song “Too Cool,” which remains firmly in the alternative rock pigeon-hole with a sugary chorus of, “too cool, too cool, too cool for me,” that sounds a little like a cuckoo clock—and then there’s the surprise ending. After a brief pause where the audience thinks the song is done, the Avengers come back in with a hardcore metal-style rebuttal to the song subject’s cockiness. Brilliant.

Humor is an oft-heard tool of Grown Up Avenger Stuff’s, but that is hardly to suggest that all of their songs are silly or funny. Songs like “Static” and “Wish” round out their aural portfolio with a little bit of straight-up alternative rock that delicately bares the fragile faces behind the rock-hard avenger masks. John Thomsen’s dynamic guitar riffs meld together with a solid rhythm section that fortunately possesses the sensitivity to lift up the beautiful agony of Deirdre’s soaring vocals.

As many times as I’ve seen Grown Up Avenger Stuff, I could see this was definitely not their best show. New bassist, “Mr. Red,” had some trouble getting his sound dialed in and it came across a bit clanky, some songs didn’t have quite the confidence to them that I’ve come to expect from the Avengers, and John broke a guitar string on the last song. After seeing them headline at Amos’ Southend with hundreds of adoring fans, I hated to see them close out their set at FemmeFest to a roaring crowd of… um… TEN. I hope to see them play the event again next year with better placement in the show’s lineup.

All in all, FemmeFest was significantly more entertaining than I expected, and I did come home with a couple of new and different CDs for my music arsenal, even if I had to run around like a headless chicken to find all the music I wanted to hear. Maybe next year they’ll have each stage representing one loosely categorized genre so it’s not such a trail mix strewn about everywhere. A rock stage would be nice.

To those who have yet to see Grown Up Avenger Stuff show their stuff: this band is a must-see. There are many upcoming opportunities on their calendar including June 17th at Charlotte’s own Amos’ Southend. To see their complete calendar that includes shows in Fayetteville, NC, and Charleston, SC, or to hear their tunes, visit their website at GrownUpAvengerStuff.com or on their Facebook Page. They also have a CD for sale, so definitely grab one if you like what you hear.

For more information on FemmeFest, visit CharlotteFemmeFest.org.

PERSONAL REACTION: Carolina Rebellion: A "Woodstock" for Metal Heads

After spending an afternoon watching over 30,000 metal fans sun themselves on the lawn at Metrolina Expo with the sound of heavy guitars and aggressive vocals soaring overhead, I now see that metal is NOT dead in Charlotte... only sleeping. I've been a listener of 106.5FM for almost 15 years and a supporter of the Charlotte hard rock scene pretty hardcore for about three years and as a casual fan even longer than that and I was really starting to think that metal just had a niche market, but no... metal is HUGE around here, apparently.

Driving to the venue was one of the biggest traffic jams I’ve seen in Charlotte in the nearly 15 years that I’ve been here. I was thinking to myself while baking in my hot car (to go 1.5 miles in one hour) that they should perhaps change the name of the concert to Carolina Clusterf*ck… ‘cause that’s what it was, traffic-wise. As I approached the venue, I watched the price for parking go from $10 to park in some rednecks’ yard and take a shuttle, to $20 to park and walk a mile, to $30 at the actual Expo parking lot—which was full by the time I got there at 2PM (when my GPS said I should have arrived at 12:30PM).

Patrons were allowed to bring in ONE sealed, 24-ounce water, but security made us take off our bottle caps and throw them away before entry. Not that security was really that tight—there were no actual purse searches or metal detectors. I must say, in a sold-out field full of metal-head rednecks, I expected at least a pat-down. Now I wish I would’ve snuck in some sandwiches and beer.

With 30,000 tickets sold for an all-day festival where patrons aren’t allowed to carry in outside food, nor can they leave to picnic at their vehicles and be re-admitted, the event really ought to have had significantly more food stands. Waiting in line for food for somewhere between an hour and two hours is a bit ridiculous. I missed at least two bands’ sets waiting for my $9 chicken tender “basket” (more like “snack”). The line to meet bands at the autograph tent (I met Alter Bridge!) was shorter than the food line—that’s just sad.

Enough about the logistics of the show; let’s move on to the music, which was AWESOME. The three stages operated like clockwork, with each next band starting literally seconds after the previous one had finished. Only the savviest of crowd-movers could manage to meander through the acres of people in order to be up front for all of the bands on the bill, but there was always live music playing that could be heard throughout the grounds. The Carolina and Rebellion stages sat in tandem at one end of the field with the Jagermeister stage off near the gate.

The first band that I saw upon arrival was Pop Evil on the Jagermeister (small) stage. I have to say they had the best stage presence I saw all day. I’m not really into their music, but the front man knew how to work a crowd and the band was very animated and into their music. It seemed like the bigger the bands got in popularity, the smaller their stage presence became. Though Adam Gontier ‘s (vocals, Three Days Grace) scaling the lighting scaffold, illuminated by a spotlight, was pretty ballsy and interesting. Corey Taylor (vocals, Stone Sour) had a shining moment in crowd involvement, himself. During Stone Sour’s set was the first time I’ve ever heard a crowd, en masse, shout “motherf*cker.” (It was practice for something that went with the song—you had to be there.) It was like a redneck Woodstock for metal heads.

As a sat through a few more sets, I started to think the tour organizers told all of the bands about the way Charlotte operates regarding live concerts, because a lot of bands played a cover song. Theory of a Deadman’s “Cocaine” was alright, and Three Days Grace throwing in a verse of an Eminem rap in the middle of a song was interesting. 3DG also brought one of their backstage guys onstage for a surprising cover of Limp Bizkit. Yes, indeed. The guy did sound a lot like Fred Durst, but really, Three Days Grace? The best cover of the night, hands down, was Seether’s rendition of Nirvana’s “Heart-Shaped Box.” If I closed my eyes and forgot that Kurt Cobain was dead, I might have thought it was the real thing. Wow.

Seether had other surprises as well: they brought on Lizzy Hale from Halestorm to do Amy Lee’s part on “Broken.” Now, don’t get me wrong; Lizzy Hale has a great, strong voice, which was great on many parts of the song, but she overpowered Shaun Morgan on the first verse, lacking almost completely the delicacy and tenderness of the song at that point. I was disappointed, but that was one of few things, musically anyway, that disappointed me. A plethora of pre-recorded backup vocals (does anybody sing real harmony anymore?) and short set times that prevented bands from playing my favorite songs were the only other things.

As I made me way to the exit, stepping over passed-out goths and rednecks on my way out, I smelled the unmistakable odor of stale beer and B.O., but I felt energized by all that I had just witnessed. Despite my grievances, would I go again if they made it an annual event? ABSOLUTELY. Would I sneak in my own food and liquor and camp out on site the night before? HELL F*CKIN’ YEAH.

BAND REVIEW: Swift Robinson & Fusebox Poet at The Money (Rock Hill, SC)

Since my usual posting spot for review is down (http://www.shutter16.com), I am resorting to posting reviews here in the meantime, before they become "old news." ... and the pictures are not of the calibre of shutter16, but I'm gonna post 'em anyway... I'm still learning photography ;)

May 6, 2011 – Swift Robinson & Fusebox Poet at The Money

SWIFT ROBINSON
Tight, spunky, and teeming with talent, three-piece rock outfit Swift Robinson gives new meaning to the term “power trio.” Their presence on stage is so full of energy that photographers will need a fast lens to catch a clear shot of them. Each of these guys brings exceptional skill to the table music-wise as well. Though Swift Robinson boasts a catalogue of catchy choruses, there is substance behind each song, giving enough depth to captivate the ears of even the most seasoned music snob. Bassist Ben Robinson and drummer JC Mears build an air-tight fortress of rhythm around which mobile bass lines and gliding guitar riffs can weave a tapestry of sonic force. Overall, the band has a diverse sound that ranges anywhere from the like of Sublime to Chevelle to late-era Toad the Wet Sprocket, with Casey Bennett’s vocals mixing a cocktail of Finger Eleven, Maroon 5, and Justin Timberlake (with a dash of comic/musician Stephen Lynch). All players display an abundance of skill on their individual instruments, and that was to their detriment during guitar solos. Syncopated drum beats and bustling bass lines make poor anchors for wild guitar solos. The three-piece lineup works so well for them the rest of the time that a second guitarist is unnecessary, but maybe a loop pedal would come in handy to give those solos a platform from which to spring into action. Read more about Swift Robinson or hear their tunes at http://www.swiftrobinson.com.

FUSEBOX POET
For a band that has been playing shows for less than a year, the guys in Fusebox Poet sure do play well together, but technically three of them have been playing music together for many years in a prior project—from which they’ve come a long way. Even since their first show in July 2010 and their CD release show in November 2010, their physical expression of their music has become more natural and fluid. Now they look like they move because they feel the energy of the music, not because they just feel like they shouldn’t be standing still. In previous shows, vocalist/keyboardist Drew Cyphers had been seated throughout the show, but this time he rose from his piano bench and interacted with the crowd, making a palpable difference in the energy returned to him from the fans. The next step might be to add to that energy throughout the show by standing at the piano instead of sitting (since a keytar might look a little odd in a band as pop-rock as Fusebox Poet).

As a vocalist, Drew’s training in school chorus shows through in his firm control of his power and pitch. A broad base of musical influences enables him to write interesting vocal lines that are delightfully catchy, yet not simplistic. He would've been a great candidate for a Best Rock Vocalist award.

Fusebox Poet’s other standout player is drummer Pat Gerasia. Having studied percussion performance in college, Pat’s sensitivity to the intricate melodies put forth by his bandmates gives him a level of rhythmic expression not often seen in the heavy rock world. He can roll out the perfect drum fill to punctuate a phrase, or add a hi-hat syncopation to dress up an otherwise simple rock beat while he leaves space in the music for the other instruments to shine.

Part of the fun of Pat’s drumming is probably in playing off of the unique rhythms strummed forth from guitarist Paul Wright. Songs like “Skylines & Fine Lines” and “Follow” bring out rhythms that defy the white bread quarter notes and power chords that are all-too-common in the realm of hard rock.

If genre-smashing, relatable-yet-complex music is not enough to grab fans’ attention, Fusebox Poet also brings its own concert lighting, controlled on stage by bassist Dave McGarry. Large pillars of white fluorescents and a variety of smaller, colored flood lights illuminate the guys, and choreographed lighting changes pack an extra punch when those heavy chords hit. Fans of many rock genres from Ben Folds to Foo Fighters to Trapt will definitely enjoy this band. Read more about Fusebox Poet or listen to their tunes at http://www.fuseboxpoet.com.

View my *admittedly amateur* photos here:

Five Truths to Understand Before You Join/Start an Original Rock Band

1.) You're going to have to do more than just play your instrument well and write good music to get somewhere.
So much for "If you build it, they will come;" today's music scene is bursting at the seams with new music, free music, and other noise with which some people with too much time on their hands want to assault your ears. People who listen to local music are inundated daily with new bands trying to recruit them as fans, so that means they're not as likely to be out trolling for the "hidden gems" of local music. Sometimes the good bands get their names out there just by being good... sometimes.... but we're talking Steve-Vai-Chris-Cornell-Danny-Carey-and-Les-Claypool-started-a-mainstream-rock-band-together calibre sort of bands. You have to face the fact that you will spend several hours a week tethered to your computer or in your car with a fistful of flyers & demo CDs, making friends, making new fans, and promoting your band to everyone who will listen. Learn your social networking platforms. Network with other bands. Go to other bands' shows and support your local scene. And, for crying out loud, make sure you're willing to promote your own band's shows. If you won't promote for your band, you better be irreplaceably awesome at your instrument, because bands tend to unload dead weight.

2.) Most bands that play originals spend more than they make the first couple (few) years.
If you want to make money playing music, you probably need to brush up on your Skynyrd tunes--original bands often don't make much, if any, money. Getting a guarantee is rare, and if you get one, it isn't usually very much. As far as the "glamourous" touring situation, lots of bands tour with no money and sleep in vans eating ramen noodles their first time or two away from home. If you're starting/joining an original band to make money, DON'T. Learn some southern rock or country (both, if you're smart) and play some covers.

3.) Established bands are established for a reason, so don't expect to saunter in and change everything.
If you are auditioning for bands who already have a following out there, respect the fact that they have put a lot of time, money, and effort into building that following and writing their music. Sometimes bands bring on new members because they need a change, but if that's the case, 99 times out of 100, they will tell you that upfront. Even so, while the new music will have your input (if you're lucky), expect to be asked to play the old music the same way that it is on the CD (especially at your audition)--that's what the fans are expecting. Also recognize that there is (hopefully) a long-range business plan in place that was set into motion before you'd even heard of BandXYZ and you should not necessarily expect to have a say-so in the decisions regarding those plans. Success is built over time, and good planning creates the building blocks for that success. Make sure you know the big picture before you get mad that the band doesn't heed your off-the-top-of-your-head suggestions. Most importantly, IF YOU DON'T LIKE THE BAND'S MUSIC, DON'T TRY OUT.

4.) If you expect to be the center of attention, don't be the drummer or bassist.
Not to diss on the importance of every member in a band, but unless you're doing something really flashy, the singer and the lead guitarist are going to get an abundance of the attention from fans. Is it because you suck as a bassist/drummer? No, it isn't; it is simply because you are less in-your-face than the singer and lead guitarist. For drummers, it's even harder to be noticed since you're in the back on the drum riser. Get some cool lights, turn your kit sideways, or do some really flashy stick tricks if you want some attention. Bassists: get a wireless system and perfect the bass spin around your shoulders (it's hard--practice a LOT with a crappy instrument before you try this with your gigging bass). Or get a good costume to wear that makes you stand out. Drummers: hats work for you.


5.) Musicians are weirdos.
It is a rather unnatural thing to want to bare your soul in a crazy outfit in front of a crowd of people, so if you're expecting your new bandmates to be normal, well-adjusted people, you will be sorely disappointed. Normal, well-adjusted people usually just play in cover bands, if anything. Additionally, this means you will likely have to sift through a pack of egotists, cry-babies, thiefs, and troublemakers before you find a group of people who can play their instruments and not drive you crazy.

Luna's Lament @ (NOT TREMONT) The Ultimate Basement

Luna’s Lament began as the brainchild of Kim “Kimniption” Karnes and drummer emeritus Matt “Madman” Deese, and since the band’s inception in 2005 it has received some great honors including Charlotte Music Awards’ “Rock Band of the Year” in 2008. What new listeners may not know is that this band has a rich history and overcame some grave obstacles to continue being a part of today’s Charlotte music scene. Each time the band returns, it is strengthened, rejuvenated by weeks of rest and reinforced by the stark reality it had to push past to maintain its vitality. A diagnosis like the one Kim received in 2008 would have stopped most bands: breast cancer. Her Myspace headline at the time was “Cancer?!?! WTF?!?!?!” but she didn’t slow down for any longer than she had to. Once back on the scene after Kim’s treatment, Luna’s Lament had a tense situation erupt onstage, which ended in a cursing match between members, especially Kim and then-singer “Ziggy,” that culminated in two members’ departure–a near-fatal blow to the band. For over a year, the Charlotte scene saw Kim jamming with other bands, supporting other shows, and quietly b92ut dutifully searching for the perfect lineup to breathe new life into Luna’s Lament. Upon discovering a brutally feminine voice in Morgan Riley, now the vocalist for the band, Kim knew she had found the unique front-woman necessary to replace her former front-man. Bassist Chandler Austin (an outstanding and surprisingly YOUNG player) and drummer Michael Biggerstaff (formerly of The Omega Cell, Copacetic) came along, one by one, to complete the current and stellar Luna’s lineup. The band is working on a new album presently that will be released soon to eager fans. Listen to Luna’s Lament or and read more about the band at: https://www.facebook.com/lunaslament or http://www.reverbnation.com/lunaslament ~ac~ (originally published at http://shutter16mag2011.wordpress.com/2011/05/01/lunas-lament-not-tremont-the-ultimate-basement-42211/)

Cry, Baby, Cry, ‘Cause The Stellas Are No More

Originally Published Here: http://shutter16.com/wp/2011/05/01/cry-baby-cry-%E2%80%98cause-the-stellas-are-no-more/

Published Sunday, May 1, 2011 By amanda_caines. Under Editor : Jenny Lou Bement, Show Review, The Evening Muse, Writer: Amanda Caines Tags: Amanda Caines, charlotte, concert review, music, nc, Pop, punk, relaunch, rock, The Evening Muse, The Stellas

It’s such a shame to see good bands die, and The Stellas’ Farewell Show April 23 at The Evening Muse birthed yet another casualty to the fair-weather friend called the music business. Since 2007 The Stellas have played some fantastic shows, taking their music not just in Charlotte and all over the Carolinas, but all over the world. The Stellas seized the opportunity to tour in Asia and the Middle East, playing for U.S. troops back in 2009, which was not only quite an experience for the band, but was also a nifty treat for the fans back home to read about and to see photos from their adventures overseas. Even the most interesting, well-traveled, catchy-song-writing band brothers, however, may eventually have to part ways. Sad day.

As the fans awaited The Stellas’ set, it was almost as if the air in The Evening Muse that night was the dirt piling on top of the coffin, spoonful by bittersweet spoonful. Fans stood in pensive anticipation, eyes downcast in their beverages, voices lacking the usual boisterous quality that comes along with concert-going. Adam Middleton (vocals, guitar), Shaun McFall (guitar, vocals), Josh Knight (bass) and Jacob Worden (drums) haunted the bar, downing a few brewskis with a sidecar of melancholy before their set. Beer bottles soon became amp décor, and The Stellas’ final set began.

As if a fog had lifted, the room came to life to the sounds of dark pop-rock that could only be mastered by a group of seasoned musicians. Despite not having played a show in over six months, these guys still brought on the rock with post-grunge virtuosity. One of the best things about The Stellas is their ability to take lyrics about some pretty distressing subjects and make them seem more palatable and almost cheerful through catchy melodies backed by high-energy drums and guitar riffage. Some songs sounded just like they always have, but others had some new, creative lyrics to them, never before heard and perhaps never to be heard again, credited to one-beer-too-many or spur-of-the-moment creativity. After one song, Adam chuckled, “Wow. That’s how we should have written it in the first place.”

For the fake last song (the one before the encores), “Vampires,” the guys didn’t have their usual mob of impromptu go-go dancers come up on stage. Only two ladies were bold enough to honor the tradition, likely a sign of the bittersweetness of the moment, but they sure danced with gusto. Encores blew by the eager fans all too quickly, and the amps echoed the end of an era. Rest in Peace, The Stellas; may we hope to see you once again on a reunion tour.