August seems to always come with a slight twinge of melancholy that we've now entered the third and final real month of summer. Oh, sure there can be some balmy beach days in early September, but for the most part this time of year is when you want to make good on summer-fun plans. Along with this pursuit of one more perfect beach day comes a new batch of music releases from various corners of the globe. While hometown New York City counts for half of what's reviewed here, there are still two others hailing from continents ranging over the most extreme northern and southern locales.
There is a distinctive quality to the rock and roll that rises out of New York City. From 50's era “doo wop” through the late 70's punk rock and beyond, the feel and vibe of building front stoops, electric guitars, subway cars and crowded bars all permeate it's sound. Blues-rockers New York Junk evoke all of that and more on their latest record “Dreaming,” which is out now on Tarbeach Records. Recorded at Golden HIVE Studio in Prague, Czech Republic at the end of 2019, it was mixed and mastered in February 2020.
Primary vocalist, guitarist and songwriter Joe Sztabnik's history traces back to those mid-1970's punk rock days, emphasizing it's poetic and literary side (sometimes overlooked when referencing “punk.”) Bassist, backing vocalist and songwriter Cynthia Ross shares a similar historical timeline as a founding member of The 'B” Girls. That band toured with The Clash, The Ramones, The Dead Boys and Blondie, and Cynthia also provided back-up vocals on Stiv Bators' “Disconnected” and Blondie’s “Auto American.” Similarly, drummer Gary Barnett's roots trace back to legendary NYC clubs like CBGB's, playing significant shows there in the mid-70's.
Lead off track “Gutter Angels” developed through a collaboration between Joe and poetPuma Perl, who's lyrical writing serves as the inspiration for this gritty tome. Chugging along like a mid-70's east village classic, Joe's raspy vocals spit out the lyrics in Lou Reed/Jim Carroll hybrid fashion. “Angels on the subway train - Angels in the rain. Wings of fury in the street - Halos melting in the heat. Gutter Angels up in heaven - Looking down upon us all. Bless the homeless, Bless the dope fiends, Bless the sidewalks where they fall.”
The Jim Carroll “people who died” vibe intensifies as people who are no longer with us (angels up in heaven) get name-checked with this verse: “Danny’s nickname was “Guerrilla, Linda’s was 'The Stick,'
Tito climbed through windows, Minerva made him pay. Lenny popped the car trunks - All on Christmas Day.” It's a powerful opening track leaving no doubt about what this record is all about.
“She Don't Care” comes on like a long lost Johnny Thunders and the Heartbreakers rocker. Based around a tandem guitar and bass riff melody line, Joe sings out lyrics combining serious and somewhat humorous appeal. “Hey little girl – what'cha tryin' to do? With your dirty red hair. You little 2-bit whooore. Hey little girl – oh you're drivin' me wild. Cause you talk too much – with your 2-bit smile.” Chugging guitar chords lead into the head-bopping chorus “Everybody calls me up to say – you're insane. Everybody tries to tell me- you're deranged. Tell me tell me what do you want when you – feel the pain. The way you scream and shout so loud you know you – drive me insane.” Quick Thunder-esque licks snake between each section, punctuating the cool.
It's delta bayou 12 bar blues for the record's choice cut “Walk My Dog.” Well, “delta bayou” that's been run through an early 1960's Rolling Stones filter. “If you wanna, you can walk my dog – come on baby – put a leash on me. But if you want my love – girl you better run!” There's also a touch of The Cramps swagger-n-raunch with it's slithering bass-guitar driven rhythm, and lines like “if you wanna you can ride in my car, and if you wanna you can be my star.” 60's Fender guitar tone and steady shimmering ride cymbal emphasize the blues licks in-between verses.
“Don't Cry For Me” keeps that 60's Stones (by way of Chuck Berry) vibe going with double-time drive, self-descriptive lyrics and conversational vocal style. “Workin' real hard in that midday sun. I'm never slackin' off just to get my job done,” Joe sings with early Jagger feel. While “the boss man is sitting there, sippin his iced tea,” the workers know “you better hurry up if you want to leave at 3.” Over a bold rising bassline the chorus hook “don't cry for me baby” (with filligree guitar licks in-between) punches out on “until I'm gone.” The spirit of Berry's “You Can't Catch Me” and “Memphis, Tennessee” live on inside these grooves.
Cynthia's audible “2-3-4” count-in and immediate heavy pounding tom-toms out front of a dirty low-down propulsive guitar rhythm introduces the Ave B side opening track “Scared.” Serving up graphic lyrics with impassioned vocals, Joe sings: “This is the way, which way the wind blows – learn something nobody else knows. I (ah I ah I) want your mind. When you hear the wind blow, yeah you know which way to go – when the guns are pointed at you. Blood all over my clothes, blood all over the floor. I'm fucked up – I don't care – I'm scared. Why wouldn't I worry? Of what I see in my tv set. Hey watch out, it's jumpin' out – it's trying to catch me.” Those levels of paranoia are understandable with everything that's going on (especially these days). However, the only way out of this state of mind is choosing to (as Joe sings) “let my heart and soul be free.”
Bright, angular guitar licks pierce the air, leading in to a sweet shuffle groove on deeper track “Passion.” Rolling out this lyrical tale emphasizing relationship challenges (both at home and on the road), the vocals exhibit a world-weary sincerity. “Well I've got the passion, but I ain't got the bucks, to fill my heart with another shot of your love. Hallways filled with your makeup on the walls. You got all the junk, so I guess I better crawl.” With all that going on (including “dirty hotel rooms”and “posters on the floor”) what holds it all together is the turn-around line “cause your love keeps me on the run.”
Title track “Dreaming” closes out the EP in grand style with a ballad penned by Joe back in 2008 (as detailed inside the record sleeve). Relying on basic guitar chords and a laid-back rhythm section, primary emphasis is placed on personal lyrics and raw vocals. “I'm dreaming of you – why you went away. The roads all turned blue – since you left me here. I'm all alone.” There's a folk-song quality in how the progression holds steady for a time while each new line is delivered. Ultimately there is a shift downward with an unanticipated chord change on the words “oh baby.” With the final words delivered (“as my world fades away”) a series of euphonious toned guitar lines begin, adding further musical emotion to the candid lyrics that precede it.
Carrion is an Industrial Rock band from the northern forest lands of Norway, coming together in 2014. Founded and fronted by the bands only constant member Adrian Kjøsnes (working under the moniker Hide Beliya`al) with additional contributions from musicians Dave Diamond and Sam Dusk. A new single has now been released titled "The Blood Ov Saints," which is the first new material since last years full-length album “Iconoclasm.”
Created on modular synths (no digital numerical presets here) one is immediately drawn into foreboding low register tones that introduce “The Blood Ov Saints.” Industrial music has always derived an element of it's defining qualities by recreating the sensation of being inside a factory surrounded by humming machinery. Even more mainstream rock artists like Pink Floyd (It's factory segment on the “Animals” album) or Iggy Pop and David Bowie's collaboration on “The Idiot” (the track “Mass Production” in particular) served to capture the hypnotic drone of mechanized assembly. Those impressions are here as well, along with other details like a slow chain-rattle percussion alternating with a deeper tone thump. It all serves to set up a dramatic lyrical reading that the artist describes as a “dark, alternative path to salvation.” To that end, there's thoughtful poetry in lines that state: “So cast the first stone, and watch their heavens fall - Into the maelstrom - Hear the trumpets call.” As the track progresses, audio textures of what sounds like high-pressure air driven manufacturing devices add to this dystopian imagery. More forceful tom-tom drumming emerges underneath significant moments with the ultimate lyrical declaration: “We'll wash away our pain – with the blood of the saints.”
Also included with the release is an acoustic version of “The Light,”which first appeared on 2019's “Iconoclasm” album. Here the track benefits from the spacial qualities open air strummed guitar chords provide. With a disquieting synth pulse running underneath, more poetic imagery emerges via the lyrics “holding on to the umbilical noose, I'll make my way back up.” The vocals are delivered in rough whispery style that evokes the work of a similarly like-minded artist like Mortiis. It all leads to the pivotal vocal refrain “give me your hand – I'll give you my heart – on my knees to feel your light.” An unexpected extended-note guitar solo (of sorts) arrives in the 3rd minute (of this 4 minute rendition) echoing the melody line and bringing the track to it's conclusion.
After 10 years with the influential NYC noise-rockers A Place To Bury Strangers, bassist Dion Lunadon announced he would be leaving to pursue a solo career. Truth be told, Dion had already begun his solo recordings while still with that group, releasing singles in 2016 and 2017, before putting out an 11-track full length record in '17 (fully reviewed on DaveCromwellWrites here). Now in these changing times and current social crisis issues, Dion is back with a new track “When Will I Hold You Again.” Released as a duet with vocalist Kate Clover, the track is dedicated to everyone whose been separated from loved ones as a result of this current worldwide pandemic.
With Dion playing all the stringed instruments (guitar and bass) along with drummer @griffin_kisner, the track thunders open on a crisp percussion figure, throbbing bass line and melodic guitar riffs. Duet vocalist Kate Clover and Dion share a sense of urgency on opening lines “TV television New York shut down. I’ll hold you closer again. All alone I’m in the dark.” A palpable level of intensity can be felt in the aggressive guitar riffs slashing in and around each vocal passage. Kate's vocals move up in the mix on the Covid influenced lines “Freezing cold I feel the sweat. Filled with fear as I disinfect. I can’t see the enemy I can’t see it come.” As the track careens forward with increasing ferocity, each vocalist repeats the title line in alternating call-and-response style. It all culminates with a final 30 seconds throttle like The Stooges “Fun House” era mayhem.
The track is now available at Dion's bandcamp where you can name your price.
All donations will be split evenly between City Harvest (who help feed New Yorkers in need of food) and CampaignZERO. Dion will match all donations up to $1,000.
Previous DaveCromwellWrites Features on Dion can be found HERE and HERE.
* * * * *
Returning to the DaveCromwellWrites universe are Sydney Australia's gazey, dreampop and psych-rock collective Trillion. Their previous six song EP “When I Wake” received an extensive track-by-track review this past November here (which immediately garnered “Best Of” placement in the following month's year-end accolades). The band is now back with their recently released current 5 track EP “Move To You,” and a debut video for the single “Soft.” Recording their individual parts separately as one might suspect during these harrowing times, the end result shows a determined creativity in spite of those challenges.
Opening track (and single) “Soft” (along with it's accompanying video) immediately explodes off it's quick drum cue-in. No longer content to envelope all with 3 guitar layers (as was their previous incarnation) we now have four (4!) guitarists doing their very best to fill in every inch of the sonic spectrum. It certainly makes for a powerful buzzing wall of down-stroke strummed mayhem, while somehow allowing the throbbing bass guitar and whip-crack drumming to penetrate and be heard. With images of sparklers overlaid on top, close-ups of each instrument is afforded their feature moment throughout the video. Male and female vocals are blended together as a melodic force withing this Spector-sonic wall of sound. Hard pummeling percussion emerges as intensity levels rise, with voices, and guitars inserting melodies inside the overall structure. The video is a total trip that occasionally breaks up into digital cube blocks looking like previous decades media (VHS tape?) and other elements, like floating amoebae. Kudos to the bassist for wearing an adorable cat-themed t-shirt stating that “The End is Meow.”
The EP's second track “Out of Your Mind” initially emerges at a more measured pace, with guitar shimmer rising up as if out of the mist. Soon enough a dominant bass-line and solid drum pattern begins, accompanied by wah-wah guitar textures. A series of intricate guitar melodies weave in and around each other before a solo female vocal begins. Those voices come at the track from different angles, blending in seamlessly with the instruments melodic forays. There's a hypnotic element to the rhythms and things get quiet in places, allowing for dramatic focus via those layered voices. As the track progresses it blows up into a full-on psych-rock tableau,before falling back into that hypnotic groove.
Third cut “Don't Be Sorry” develops out of a tom-tom driven drum pattern and distant swirling guitar embellishments. As the full progression establishes itself with sheering guitar chords and buoyant bass-line over top, male vocals appear in a contrasting effects-free manner. The 4 guitar formation allows for plenty of background wash while one plays a distinctive hooky melody line, paired against the bass guitars low-end harmony. Vocals return with previously established clean delivery, while another guitar melody snakes its way over that. The title line ultimately materializes with female voice enhancement and billowy guitars.
Rising up out of swelling atmospherics and faded in drum pattern, “It's All I Need” serves as the first of the final two longest tracks [6:01 each] on the EP. Returning to that buzzing-bee-wall-of-sound, the multiplied tandem guitars would surely evoke a nod of approval from Rhys Chatham. With an ever-steady bass guitar once again holding its structural center, the drums are free to explore a variety of accents off of the primary beat. Male vocals with ethereal female harmony evoke that 90's-era MBV/JAMC/Slowdive style. Sonorous guitar riffs abound in-between vocalizing, impressing how an “orchestra” of guitars can produce an appealingly controlled noise. The final minute injects an intensifying step-up before pulling back to a dreamy spacious conclusion.
Final entry “When it Comes to You” appears to begin mid-progression, as if fading the mix in as the recording rolled. There is a decidedly different element to the guitar sound, as slightly off-kilter “warbling” tones appear. Shearing, pitch-bended guitar chords soon make their way up front while the ever-present driving bass and percussion lock it all down. A distinctive guitar melody surfaces over top of combined “shear,” “warble” and rhythm-section. More paired boy-girl “Halstead/Goswell” vocals arrive, blending in seamlessly with (and sometimes submerging under) the roiling instrumentation. Momentary quieter plateau's serve to set up another round of explosive turbulence. It's all adds up to a brilliant composition of dreamy-gaze bliss, and a fitting closer for this excellent EP.
Trillion's tunes and more can be found using the link tree below:
October swung heavily towards live concerts, all happening within the first two weeks of the month. Incredible shows from Mahogany, The Jesus and Mary Chain, Nine Inch Nails, A Place To Bury Strangers, The New Tarot, Apollo's Ghost and Kite Base were attended and captured inside of the first thirteen days. While newfound friendships and collaborative partnerships were formed at some, decade-long relationships provided additional spark at the larger and more grand events that attract this level of participation. A unique perspective focuses on both the dynamic audio and visual sensations experienced at these shows.
Mahogany is a band making beautiful extended musical pieces that defies any one singular category or genre. Combining the talents Andrew Prinz and Jaclyn Slimm, a dreamy (yet often beat heavy) swirl of instruments and voices propel the listener into a world of symphonic sound and graceful dance trained movements.
Playing an early evening set at Williamsburg's Brooklyn Bowl on October 7th, the unit took full advantage of it's larger room sound system and spacious stage.
Having established a new found professional alliance earlier in the evening with emerging live show photographer Toktamism.concert, a number of compelling shots from that lens (like the one above) are featured here, further enhancing this event's visual.
With close proximity to the well lit stage, numerous @davecromwell shots also served to capture much of this enticing performance.
Breaking from previous set list patterns, the band opened the night with the brand new Jaclyn penned song "A Scaffold." A brief :15 second capture of it's overall mood and feel can be heard here. Lyrical themes of "liberation," "nihilation" and "transcendence" can be found within it's sonic textures.
Photo by Toktamism.concert
Alternating between adding rich guitar textures to Andrew's full orchestra of sound, Jaclyn frequently picked up the mic to sing unencumbered while gracefully moving around.
Photo by Toktamism.concert
A lovely version of “Polyvalance” was captured and can be experienced here:
There is a delicate power in Andrew's twelve string playing on this, that at times evokes the abstract and free-flowing style of Kevin Shields less bombastic work with My Bloody Valentine.
Along with being a concert venue, Brookyn Bowl functions as an actual bowling alley, and those partaking in that activity benefit by having the band's images projected on screens in front of them.
Moving seamlessly through their set, favorites like "A Third Prism" (with the lyric "We got a message in a digital flag, In pristine code from another land") and "Commutator" (a brief IG "story" clip being captured here) warning "they will knock out your towers and plunge you into darkness" filled the cavernous room with their enchanting sound.
- - -
- - -
Photos by Toktamism.concert
That was followed by the emotionally uplifting "In White Rooms" which perfectly captures the dual purpose essence of Mahogany's appeal. Against the doubled 12 string chiming guitar strums (that's 24 strings in total, people) Andrew sings the stick-in-your-head hook "Jackie's kisses, all my love all my love" with sincere warmth and enthusiasm. Jaclyn then sang her part in the mysterious (and adorable) French language, while adding a curtsy to her movements. Andrew's rising motion guitar work behind it all heightens this upward sensation, with Jaclyn moving back in with her own guitar techniques. Check out this all around lovely sonic and visual experience here:
"Universal Promenades" had Jaclyn putting the guitar down once more to deliver her falsetto vocals as the lead singer, while a chugging, jangling percussion came paired with Andrew's guitar patterns.
- - -
Other tracks played included "Resistance and Release" and "Keystone Sonata."
- - -
Photos by Toktamism.concert
With the live set version of lengthy recorded work "Phase Break" being pared down to the workable edit "Phase Caress."
- - -
- - -
For their final song of the night, they rolled out an all-encompassing guitar churning buildup that precedes Jaclyn's vocals on “Express Clean Power.” With a motorik percussive pattern ticking away, frantic washes of guitar overtones envelope the senses. In between mysterious vocal lines, Jaclyn delivers a powerful atmospheric guitar burst.
After a quick changeover, powerhouse instrumental trio Apollo's Ghost took to the stage and crushed out an impressive, well-crafted set of music.
Photos of Apollo's Ghost by Toktamism.concert
- - -
- - -
The band is a tight three-piece unit that incorporates a number of different styles and genres - often within the space of one single three and a half minute song.
- - -
- - -
At times there was an easy going western feel within various extended passages. Ben Curtis' guitar work provided a number of distinct melodies over top of bassist Dave Sutkin and drummer Ray Mazza's rumbling precision rhythm section.
Inside of appealing, uncomplicated chord patterns, a series of structured rhythmic breaks and moving bass lines revealed a deeper sophisticated approach to songwriting.
Headlining the show on this night was the dual sisters fronted occult influenced act The New Tarot.
Photos of The New Tarot by Toktamism.concert
- - -
While Monika Walker commanded the stage with a charismatic presence and strong vocals, sister Karen complemented the sound with her own potent vocals along with playing all of the keyboards.
- - -
With the release now of their 10 track debut album Book of Promises (which you can listen to streaming here), the Walker sisters present a determined, coordinated effort to advance their collective ideas.
Calling their album "a sci-fi rock opera," introductory track "Kingdom" leans on slow building ambiance, stark piano, plucked strings and dramatic-to-intimate Kate Bush-like vocals.
- - -
"The Skinny" marries industrial and trip-hop beats to a middle-eastern vibe while questions like "are you crazy?" stand out in contrast to more complex thoughts being conveyed.
- - -
Probably the most surprising track on the album is it's closer "America." Incorporating subtle elements of country and folk along with their own unique perspective (and deep synths), a lyrical story attempting to see things from all sides emerges, leaving enough room for your own interpretation of the intended message.
A few days earlier, an opportunity too good to pass up presented itself as New York City's reigning kings of noisy psych rock - A Place To Bury Strangers treated their fans to a live in-store performance at the Dr. Martens store in Manhattan on October 4th.
- - -
Not knowing what to expect from a show in a shoe store (albeit the very cool Doc Martens), it was a big of a surprise to see everything set up at ground level, right in front of the merchandise.
Lio Kanine helped set the mood with a DJ set of steady 90's Dreampop, Psych and Gaze classics.
- - -
APTBS wasted little time as they lurched into fast paced set of classic face-melters mixed in with newer material.
- - -
This show also doubled as a pre-released celebration of their brand new remix album Re-Pinned.
Midway through the set, Dion bull rushed the crowd (tethered bass still very much plugged in) and waded into the audience, much to the delight of all in attendance.
- - -
And the band raged on.
The first casualty of the night - Dion's bass.
Stoked audience members, soaking it all in.
- - -
Royal guitars, pedals and stompboxes
- - -
Check out this wild performance of their wonderful Transfixiation song "We've Come So Far" from this appearance here:
Reflected energy
Space bass
Social Media Shenanigans
Numerous DaveCromwellWrites features on APTBS (and Dion Lunadon, solo) can be found at the links below:
When the announcement went out way back in May that Nine Inch Nails and "special guests" The Jesus and Mary Chain were going out on tour together in Autumn, an archaic level of hysteria from a previous bygone era was created.
Forcing eager attendees into what they called a "Physical World Presale," the justification for this was explained this way [with personal thoughts and commentary added in brackets, in between]:
The promise of a world made better by computers and online connectivity has failed us in many ways, particularly when it comes to ticketing. Everything about the process sucks and everyone loses except the reseller. [And yet - this did not prevent any reselling profiteering - in fact it actually added fuel it]
We’ve decided to try something different that will also likely suck [and it did], but in a different way. [Did that make it "better?"] We’re hoping many of you will be happy with the results, while some may do what they always do and bitch about it. [Nice dismissal of their fans concerns]. Here’s how it works:
You (an actual human being) show up at the box office, interact with the ticket seller (another actual human being) and purchase up to four tickets that will actually be handed to you on the spot. The tickets will not be available online or anywhere else before or during that day. All seats (including the best seats) will be available first come, first serve. You may actually encounter other actual human beings with similar interests likely wearing black clothing during the process and potentially interact with THEM. [Right - because there is no other way to do this - oh, right - how about every time you go out to a local club?] The experience has the potential* to be enjoyable. [with the smug asterisked addition *not guaranteed - and it wasn't] Nine Inch Nails has always been about bringing people together, living life to the fullest and good times.** [** not entirely true - One more attempt at humor?] Any remaining tickets will be sold at a later date. [And of course they were - hawked relentlessly by "authorized" resellers at marked up prices - online. Please explain again what this "Physical World Presale" accomplished or prevented?]
- - -
Sufficiently whipped up by this hype and the "need" to be there when "our heroes" took the stage - the planning and ultimate execution of this near military-like mission was undertaken.
After five hours of standing in the pouring rain, treasured seats were ultimately secured. The fact that only days later two more shows were added in Brooklyn (which is the exact same "regional market") - selling those tickets the new fashioned way - online - only added further to the absurdity of the "physical presale."
Ultimately once showtime arrives, all the costs both physical and financial are pushed aside by the anticipation of the event you are about to experience.
Massive lighting trucks squeezed onto busy Manhattan side streets just outside provided an indication of what was to come.
Inside the visual aspect of this storied theater conveyed an impressive display of grandeur from decades past.
The Grand Foyer
- - -
With more modern offerings like reasonably (!?!) prices beverages.
As well as the obligatory feeding frenzy at merch counters.
The visual splendor of this building's Art Deco architecture comes into greater focus once seated.
Opening the show was the duo Kite Base, who along with a lot of keyboard electronics boast the distinction of both members playing bass guitar.
In fact dark haired member Ayse Hassan also serves as the bassist in the more well-known band Savages.
Taking full advantage of the larger stage, lighting and sound - the two woman band filled the arena was their sonic waves while early arrivals found their seats.
Vocalist (other bass and keyboard triggering) Kendra Frost sang with a distinct English accent and vocal phrasing which, along with the songs progressions had the feel of Siouxsie Sioux fronting an industrial act. Which is certainly an appealing combination.
The equipment changeover was something of an eye opener as the sheer number of stagehands scurrying about seemed a bit excessive. At one point it appeared there were 20-30 individuals on stage at the same time. However the conversion was quick and seamless, so one would have to assume each and every individual provided a necessary task.
Soon enough it was finally time for the co-main event (for some of us the main event) The Jesus and Mary Chain. Playing a crisp tight set of "greatest hits" they opened with arguably their most well-known song "Just Like Honey."
Surely aware they were "on the clock," little time was wasted before launching into the classic Automatic album cut "Head On." The band is super tight now (which was not always the case) and Jim Reid's voice sounds as good as it ever was. They're a band that "makes you wanna feel, makes you wanna try - makes you wanna blow the stars from the sky."
Next up was the first major highlight for this uber fan - and the first dip into their current Damage and Joy album "Amputation." Devoted fans who already knew this song originally as a Jim solo cut called "Dead End Kids" have seen this reworked version grow over the last two years. His biting lyrics remain unchanged from the original showing maturity and honest appraisal of the world around him. “Try to win your interest back, but you ain’t havin’ none of that. We’re just like a ship in a bottle, kissed today but fucked tomorrow - I don’t know, I guess that we are through. Fucked up girls like drugged up guys, but that won’t keep them warm at night. It’s just like a grape in a bottle, it’s wine today but piss tomorrow – I don’t know, I guess that we’re all through." The song reaches it's high point with Jim leaning into the lyric "Amp-u-taaaaayyyyy-shun" while brother William lets rip with shards of buzzy guitar riffs.
The other big MTV hit from Automatic - "Blues From A Gun" continues to delight with it's dirty Peter Gunn riff and nod to Bob Dylan's lyrical imagery.
The only other song played from Damage and Joy on this evening (very different from their tour last year which obviously showcased many tracks from their just released album) was the William Reid penned "All Things Pass." William's dominant guitar riff and rich deep-boned licks provide the melody for ironic and amusingly self-deprecating lyric "I have taken a vow - to prove myself -to find me - I'm regrettin' it now - 'cause I found me!" An elongated quick stop break has been added in the middle, showing how this one continues to evolve.
A mainstay in their live show since that very first reunion in 2007, "Some Candy Talking" epitomizes the bands ability to balance between quiet build-up and explosive release. There are times when Jim sounds like he's singing with western drawl on the verses, as if channeling Lee Hazlewood. Of course there is William's star guitar moment after Jim signals that with the single word "talk."
Fourth studio album Honey's Dead provided a number of classic songs that garner steady inclusion in the live show, and "Far Gone And Out" is certainly a worthy one. The bass-heavy, fuzzed-out three-chord stomp shines as Jim sings “It’s like a heart attack!” Further lines like “well I’m television sick and I’m television crazy” indicate the songwriting has always been equally about insightful lyrics. “Ah hey hey HEY! She’s the meanest mean. Ah hey hey HEY! She’s the sickest sick. Ah hey hey HEY! She’s the blackest black. Ah hey hey HEY! I gotta get her back. She's never comin' back. Ah, no no no!”
Drawing from their "final" (before this latest one) studio album Munki the buzz-fuzzy "Cracking Up" was played. A caustic self-psychoanalysis where being a “freak” gives you “the view of a rat king's son.” With the further declaration that “I guess I'm new and I don't know what to do. I'll judge you fine in my mind in my...”
Dipping back into the Psychocandy album, the track that inspired much of A Place To Bury Strangers sound "In A Hole" was given the large venue treatment. The band delivers this sheering squall as Jim sings “I step crueler - But less defined - Striped cats cooler - But so is mine - And I want to see - What I want to be - And I see me on a touching screen - And I'm dancing to a scream.” However, it is genius or insanity to come up with a rhyme that goes “How can something crawl within - My rubber holy baked bean tin!”
Live show staple (and third from Automatic on this night) "Halfway To Crazy" delighted the audience with it's slight country-meets-pop-rock sound.
Building this tight-schedule, limited-time-allowed set to reach it's peak at the end, the gloriously noisy "I Hate Rock 'n' Roll" (with it's own biting lyrics about "people with nothing to show") explodes into a veritable psych-rock guitar jam between William and Scott.
With Jim announcing we've reached the final song of the night, he thanked the audience for attending and the host band for having them. Bassist Mark swapped out the one he was playing for a different one, no doubt due to having that 4 stringer correctly in tune for the high-point grand finale "Reverence." This particular Honey's Dead track has now become the sonic tour-de-force where William truly soars. While the band thunders on furiously underneath, William takes off on strong melody driven forays of guitar explorations. It has really built into this massive psych-rock psych-out that embraces it's Iggy Pop "Now I Wanna Be Your Dog" lick appropriation and runs much deeper into the jungle. Drummer Brian is given a moment take a spotlight roll with a full band breakdown wrapped around it. Better effects are now added to Jim's voice as the echoes of "I wanna diiiiiieeeee - just like JFK - on a sunny daaaaaaaaayyyyy" fill the venue.
Check out the brilliant performance of it from this very show:
An alternate view (from closer seats) can be had by viewing fellow JAMC acolyte Andrew's recording here (which includes the previous "I Hate Rock and Roll" as well).
* * *
With no bad seats in the house, a center front location in any of the mezzanine sections afforded a high quality viewing and listening experience.
Of which attendees were more than happy to enjoy.
Soon emerging from a cloud of smoke and lights, headliners Nine Inch Nails kicked off their show with "Mr. Self Destruct" from their 1994 (and personal favorite) album The Downward Spiral.
A steady barrage of explosive lighting assaulted the audience for the next hour-and-a-half-to-two-hours.
Along with that came a twenty song set that spanned their entire career arc from 1989 debut Pretty Hate Machine up through and including their current 2018 release Bad Witch.
Second song in, 1992 Broken EP standout track "Wish" delivered on all the pent up aggression and violence some of us felt (and sometimes still do) at whatever point in life we first heard it. While the chorus of "Wish there was something real, Wish there was something true, Wish there was something real, In this world full of you" begs for some kind of meaning to our existence, the verses deal with self analytical disgust at more grim realizations. "I'm the one without a soul, I'm the one with this big fucking hole. No new tale to tell, Twenty-six years, on my way to hell! Gotta listen to your big-time, hard-line, bad luck, fist-fuck! Don't think you're having all the fun - You know me, I hate everyone!"
Lyrics and sound that won a Grammy in 1993!
The live band is a finely honed unit incorporating the best that technology in 2018 has to offer along with obviously skilled musicians. While everyone at every level now uses audio enhancements (what has been commonly referred to as "backing tracks" - look no further than your local club band at the smallest venue with the laptop as an essential "instrument"), ear-worm trigger sounds like instantly recognizable percussive ticks now come as part of the package. That said, the majority of sound still appears to be emanating from Trent Reznor's voice and guitar (and anything else he choose to honk or poke at during the show), first mate Atticus Ross on keyboards, super-stud guitarist Robin Finck, trusted bassist/keyboardist (you can never have too many keyboards in this band) Alessandro Cortini and madman drummer Ilan Rubin (who puts on a helluva show!).
Moving on to newer material, they played "Less Than" from their 2017 Add Violence EP, which is a excellent track in the same style of their early (and best) work.
Another The Downward Spiral classic "March Of The Pigs" followed, with the more introspective, quieter offering "The Lovers."
Taking things even further down the rabbit hole of "anxiety, advanced self-awareness and amplified chaos" another Add Violence contribution emerged with the late-period Bowie influenced "This Isn't The Place."
The first major high point arrived via the brilliantly scathing Downward Spiral classic "Reptile." A truly complete musical composition, percussive audio elements and overall pace do as much to conjure up the image of slithering movement as any of the lyrics do. However those lyrics are truly inspired in their tale of willing engagement in depravity. "Devils speak of the ways in which she'll manifest. Angels bleed from the tainted touch of my caress. Need to contaminate to alleviate this loneliness. I now know the depths I reach are limitless. Oh my beautiful liar, Oh my precious whore, My disease my infection - I am so impure."
Check out how they sounded playing it at THIS show:
Much has already been made since the start of this tour about how NIN is now playing the 1997 contribution to David Lynch's film Lost Highway track "The Perfect Drug" live for the first time ever. It's inclusion in this evenings show added another special moment in being there.
Midway through the set, a three song arc of brand new album "Bad Witch" material was presented.
With "Shit Mirror"
"Ahead of Ourselves"
and "God Break Down the Door" all making the cut.
- - -
Some clever shadow lighting was employed for the song "Copy of A," which was a single released from 2013 album Hesitation Marks.
- - -
Another Broken gem "Gave Up" was rolled out to the enthusiastic audience.
Taking a moment to pay tribute to his friend and collaborator David Bowie, Reznor and the band launched into a note perfect cover of Bowie's own condemnation of misguided thinking "I'm Afraid of Americans."
Following that with another cover, Joy Division's "Digital."
Along with 2005 album With Teeth track "The Hand That Feeds."
The big pre-encore show closer was arguably (and not surprisingly) their most recognizable song "Head Like A Hole." One of the most scorching rebukes of "money worship," a universal anger boils over at this "god" and it's relentless dominance for all the wrong reasons. "God money's not looking for the cure.
God money's not concerned with the sick among the pure.
God money let's go dancing on the backs of the bruised.
God money's not one to choose. No you can't take it
No you can't take it
No you can't take that away from me!" All who refuse to accept this way of life defiantly choose another path while condemning those who willingly accept it. "Head like a hole.
Black as your soul.
I'd rather die than give you control.
Bow down before the one you serve.
You're going to get what you deserve."
Check out fellow attendee Andrew's capture of this incredible performance (listen to the crowd sing along) combined with the previously played "The Hand That Feeds"
Coming back to do the expected encore, they played "All The Love in the World," "Over and Out" and a dramatic, spotlight rendition of the much beloved "Hurt."
Post show revelry and the shared experiences with friends are the best reasons to do anything.
Dave Cromwell has been writing about music since the dawn of the internet age. In addition to the steady flow of features here on this site, he has been a regular contributor to The Deli Magazine (both Print and Web) since 2010. With numerous Print Issue cover features and weekly contributions on the Deli website, scores of artists have received the Cromwell point of view. Along with ongoing contributions to this site and The Deli Magazine, Dave has written for Dingus, My Social List, The Waster, Spin and Rolling Stone magazines.
