After a nearly three year silence, El Paso’s very own Mars Volta has returned with their sixth studio album, Noctourniquet.

A lot has changed since we last saw the team, such as the departure of beastly drummer Thomas Pridgen. Known for his raw energy and “just want to fuck shit up” attitude, he is now a cornerstone of Bay Area rock outfit, The Memorials. He has since been replaced by the more finely tuned, precision drumming of Deantoni Parks.

Also missing from the family this time around, is the most tenured participant of the The Mars Volta, Isaiah “Ikey” Owens. Since 2001, he was the keyboardist for TMV, but was not asked to return on this most recent endeavor. We don’t know what the true story is, but rumor has it that he has been focusing on production and his work with Crystal Antlers.

Overall, this is a very different take at previous TMV records, as Omar has come to terms with his tyrannical ways, and is giving everyone more of a say in the album. You can definitely feel it, as there are more keys, and a lot less guitars. His brother Marcel has fully taken the key role now, and with it, we hear more of a Zechs Marquise-ish feel. Personally, I thought it was a pretty interesting change. I’ve had the pleasure of meeting Marcel, and the dude is full of talent that can shine even brighter on this album.

But let’s talk about my favorites of the album.

Noctourniquet, the title and twelfth track on the album is my first favorite, with eerie echoing and programing throughout the intro, something I think has become a staple of TMV. The song has a very fast cymbal section during the chorus, but the best sections are the bass guitar breakdowns during the verses.

Track five is probably the most familiar, with it being the single everyone has come to know and love. The Malkin Jewel’s lyrics are gritty and raw, giving me nostalgia back to the first album of TMV. The shining star on this song is Deantoni Parks, his drum skills burning through the capabilities of a drumming machine. His hits are the cleanest cuts of any Mars Volta drummer thusfar. Some people may not like it, but it’s interesting to hear the dark breakdown starting a little more than halfway through the song. Marcel’s organs, Deantoni’s drums, and the droning vocals make this an easy favorite. If you have a system, listen for the beautifully placed, single powerful bass kick in the final third of the song.

The new crew.

My favorite song on the album is track three, Dyslexicon. I feel as if it is a testament to the progress the Mars Volta has made over the years. It feels like natural growth in the right direction. Juan on the bass holds it down thoroughly, and the kick-snare-kick, snare-kick-snare we hear for a few seconds around the thirty second mark had me rewinding the song half a dozen times. Omar’s guitar dance softly in the background, but come back strong in the powerful choruses by Cedric, before leading out in a screamed anthem. The whole band comes together at 3:10, Cedric repeating the words “That’s why I repent, that’s why I go under!” Of course the band goes crazy to close out the song, before drifting effortlessly into the next track.

In my years at Behind the Hype, I’ve probably talked about The Mars Volta more times than other band, and for good reason. It’s always an experience, and I am curious how the live shows will turn out. Their Irvine show a few years back still stands as my favorite concert of all time. Also interesting, will be to see how Deantoni’s surgical precision on the drums will play out with previous beasts of the Mars Volta drummer lineage. Only time will tell!

Noctourniquet is out now, so grab a copy, and celebrate!

Until next time my friends,

~Flak

After an 11 year hiatus, the creators of the mighty album, Relationship of Command, have returned. I of course speak of El Paso, Texas’ own At the Drive In.

Back in 2001, some ugly conversations took place, and a bitter taste was left in everyone’s mouth, including the fans. The aftermath gave birth to Sparta and the much more popular Mars Volta (whom I also love I’m sure you’ve noticed seen my posts over the years here), and that was more than enough.

But now, through the mysterious play-on-words tweet last night:

“¡ ATTENTION ! To whom it may concern: AT THE DRIVE-IN will be breaking their 11 year silence THIS STATION IS …NOW…OPERATIONAL”

The band is slated to play several dates this year, with the first confirmed dates being the double-weekend Coachella Festival this April. Check out the lineup here if you haven’t seen that post yet.

Keep it locked on their website for more tour info, and I will keep you in the loop as updates come out!

Until next time my friends,

~Flak

Last night was a very different kind of concert experience for me. In the quiet streets of late night Silverlake, we found ourselves at the Bootleg Theater. The reason? The first tour of the mighty Big Sir.

Started by Lisa Papineau and Juan Alderete (bassist for The Mars Volta) a few years ago, they had yet to ever nationally tour until this week. Joining them for the live show were Jonathan Hischke (bassist of Le Butcherettes) Matt Embree (of RX Bandits) and yes, even Cedric Bixler-Zavala (of The Mars Volta).

Their set was dreamlike and intimate; with Lisa’s soft voice mixed into the Space-Funk that the band was laying down. It was interesting to see a band play with two bass players at the same time. Jonathan provided the low end bass that you would be accustomed to, while Juan turned on the iconic Big Sir high treble augmented notes.

Contemplating the musical mind of Lisa is a true journey, as her programmed beats and instrumentals were something out of a science fiction movie, a bohemian festival, and a funk concert. Also, I was truly impressed by Cedric on the drums. I figured that he would lay down a few basic beats, but he really laid it down. Matt Embree added a few guitar and vocal touches, but mainly admired the show from afar.

The crowd nodded their head throughout the entire show to the funk, with a few couples even slow dancing together to it. Might seem hard to imagine, but that’s an example of how special and different this show was. Hell, it’s hard to even describe here what I experienced.

It was a rare night, getting to shoot the breeze with Cedric for a while, and meeting Juan and his wife; recommending the Bootleggers beer. Most heartwarming of all was meeting Matt Embree, and expressing my gratitude for his years of dedication to music and his fans. We also spoke a bit about his mother who recently underwent a major surgery. I told him how I had written to his mother on Facebook (which he asked Tumblr followers to do weeks ago) and he was surprised\grateful to hear I had done so.

So many talented and grateful people took place in a tiny little venue, and it was an experience for the ages. The tour is continuing, with last night being the first. Check out the dates here and check out a show unlike any other I’ve gone to this year.

Until next time my friends,

~Flak

Some shows are just better than others.

For as long as I had been a fan of the “grunge” movement, I was never really in love with Soundgarden as much as I was with Nirvana and Alice in Chains. Chris Cornell‘s voice was always too much for me to handle…the songs themselves were fine, but something about Cornell’s throaty delivery threw me off.

When I started delving into all things grunge, including every Nirvana/Kurt Cobain book I could consume and albums by Screaming Trees, Mudhoney, Melvins, and other flanneled Pacific Northwest bands, my appreciation for Soundgarden grew.

Before long, that appreciation turned to sadness, assuming I would never see Soundgarden live, since the band had long since broken up and Cornell was spinning his wheels in Audioslave (to say nothing of his ill-advised foray into dance-pop with Timbaland).

Well, since the band’s 2009 reformation, I (and millions of other grunge fans) had been hotly anticipating a full-on reunion tour, however unlikely it seemed. When they announced that tour a few months ago, that anticipation turned into feverish excitement, culminating in the band’s mammoth performance last Friday night at the Forum in Inglewood.

Simply put, this show was one of the best I have EVER seen. I’ve probably been to more than a hundred concerts in my life, but Soundgarden’s rousing, powerful, dynamic show at the Forum is easily within the 5 best I’ve ever seen.

The Mars Volta wouldn't stand still for a decent picture

Kicking off the night was The Mars Volta, a band decidedly different now than they have been for most of their career. Playing mostly new tunes, they were much more low-key than usual. The new songs have *gasp* structure to them, a striking departure from the spastic freakouts fans have come to expect from the group, led by the hyphenated Omar Rodriguez-Lopez and Cedric Bixler-Zavala. A strobe-heavy light show spazzed out behind the band as they blazed through their 45-minute set with a combination of mesmerizing melodies, precise percussion and passionate delivery by Rodriguez-Lopez and Bixler-Zavala. If anything, the Mars Volta’s new music will help them further cement their place as one of rock’s most challenging and innovative bands around.

After a short break, it was time for a nostalgic trip back to the early 1990s. Taking the stage to the intro of Searching with My Good Eye Closed, Soundgarden demonstrated that they’re not just here for a cash-grab reunion tour. Jesus Christ Pose was particularly vicious:

There was an immense, powerful energy delivered by Cornell, Kim Thayil, Matt Cameron and Ben Shepherd that lasted throughout their sprawling, 25-song set.

Anybody ever remotely interested in any Soundgarden song had to be satisfied through the course of the night. They played EVERYTHING any fan could want. All the hits that helped define 1990s modern rock radio were present and accounted for, as well as Ultramega OK and Louder than Love songs like Flower, Gun, Ugly Truth, Beyond the Wheel, Loud Love, and Big Dumb Sex. The band pulled songs from all throughout their career, and they all sounded flawless.

Speaking of being flawless, Chris Cornell has some seriously powerful pipes. He’s 47 years old, but his soaring trademark voice never tired throughout the evening. On songs like Jesus Christ Pose and Black Rain, in particular, he had the same fury and thunder in his voice that he probably had as a twenty-something up in Seattle.

Between songs, Cornell was candid and funny; he thanked us all for showing up after all these years, and told us to say thanks to our parents or older siblings for turning us on to the band. He also remarked that they did have new songs they could have played, but “it’s been so long, we figured we might as well play all the older stuff” instead.

Since this show was in Los Angeles, I almost expected some kind of special guest treatment. And, much to the delight of the screaming grunge fanatics in the crowd, that happened on the song Superunknown, when Pearl Jam guitarist Mike McCready showed up. He shredded through a solo for the song, creating a mini-grunge supergroup onstage that was as badass as it was sonically pleasing. Check out my video of that memorable moment:

As if that moment wasn’t cool enough, apparently Dave Grohl was rocking out IN THE PIT with the fans for a majority of the set. Here’s a video of him losing his shit during Fell On Black Days. Sadly, I wasn’t on that side of the venue, as I was over on Thayil’s side, so I will have to live vicariously through the excitement of the fans in Dave’s area. The image of Grohl bouncing around in a mosh pit at a Soundgarden show sounds like the stuff of legend…which it is, considering it’s Dave Fuckin’ Grohl.

Soundgarden saved its heaviest, most intense song, Slaves & Bulldozers, for the very end of the evening. Despite the fact that he’d been screaming for two hours at that point, Cornell drove the set home with such vocal energy that it was impressive he hadn’t totally shredded his vocal chords yet. The dude can sing.

It can’t be overstated just how impressive the band was at this show. For nearly two hours and fifteen minutes, Soundgarden sounded as vibrant and crisp as they must have been in the early 1990s. Thayil’s precise guitar work, always a highlight of Soundgarden’s music, was on full display all night long. Cameron pounded the skins like a man on a mission, and Shepherd was similarly pumped up. It was just remarkable.

Here’s hoping a new Soundgarden studio album, supposedly in the works, rocks just as hard as it should. If the Forum show was any indication, Soundgarden is indeed back, fresh and rested after a long time off. There’s no rust, no fatigue, no sober realization of the fact that they are dudes in their mid-forties playing aggressive “grunge” music.

Their return honestly couldn’t have come at a better time, and hopefully they make more noise sooner rather than later.

The golden ticket for the night

Soundgarden’s Set List at the Forum on 7/22/11:

Searching With My Good Eye Closed

Spoonman

Gun

Jesus Christ Pose

Room a Thousand Years Wide

Blow Up the Outside World

Loud Love

Big Dumb Sex

Ugly Truth

Fell on Black Days

Flower

Outshined

Black Rain

Rusty Cage

The Day I Tried to Live

My Wave

Burden in My Hand

Black Hole Sun

Head Down

Superunknown(with Mike McCready)

4th of July

Encore:

Beyond the Wheel

Hunted Down

Mailman

Slaves & Bulldozers

Below, enjoy some photos from the show, courtesy of my outdated and slightly broken Canon Powershot.

A look at the names involved in Orbs might give you the wrong impression of what exactly the band does – the quintet falls under that unfortunate  ”supergroup” classification, and the members are originally from the likes of Cradle of Filth and Between the Buried and Me. Sounds like it should be a generic metal project of some kind, right? Well surprisingly, no. Orbs’ debut, Asleep Next to Science, has far more in common with the Mars Volta than say, Opeth, but really can be traced back to each style on account of the heavily progressive approach they take to the songwriting process.

I know, how about a picture of a planet's surface! That's pretty original, right?

Falling Asleep’s musical aspect is made up of a combination of styles in progressive rock both old and new. Megaloblastic Madness takes the Mars Volta at their most maundering and gives it a bit of structure, making the near eight minute ride engrossing without sinking into a sense of self-indulgent jamming.  The bright power pop guitar flourishes of A Man of Science or the rolling piano intro of People Will Read Again put Muse’s best efforts of the last four years to shame, managing to sound catchy while always building toward something, and more importantly, never feeling derivative of their influences. These two pieces also underline Orbs’ highly narrative nature – the former  track tells a story of a scientist so dedicated to his craft that he fails to notice his life falling apart around him, starting with his drifting from his wife and children, while Read is more metaphorical, describing children playing innocent little war games, complete with references to night raids, bombs, and grilled cheese sandwiches. Then there’s the staggering fourteen minute closer, Eclipsical, which sounds like Rush’s synth-loving period updated for the new millennium.

The centerpiece is the two song suite The Northwestern Bearitories. We the Animal and Kid Cancer do a great job of pairing blistering guitar work and crushing metallic sections with bright, almost bubbly ones that bring to mind Fang Island’s self-description of “everyone high-fiving everyone.” While Dan Briggs’ guitar work is a stellar cornerstone, Orbs’ secret weapon is unquestionably keyboardist Ashley Ellyllon. This project grew from cross country file swapping sessions between these two (not unlike the Postal Service’s humble beginnings), and it shows – Briggs’ parts are very much the foundation of each song, with Ellyllon’s keys beefing them up with spacey textures and heavy piano-led melodies. There’s just one thing which is guaranteed for some listeners to take issue with, and that’s vocalist Adam Fisher. He has an incredibly nasal and high pitched singing voice, and it definitely takes some getting used to. However, this doesn’t mean that the guy can’t sing – far from it, in fact. He’s startlingly capable with guttural growls (as Lost at Sea demonstrates early on), shouts, and even spoken word sections, and generally holds his own very well; impressive, considering the talent that he’s fronting. While it may be grating to those not willing to lend a bit of patience, those who are will be quite rewarded, as he’s very in sync with Briggs and Ellyllon, and his vocals lead the musical assault very well.

Wow, it's like that shitty show with the nerds and the cute chick

Asleep Next to Science is a fresh approach to the current incarnation of progressive rock. Orbs always feel in control of where their songs are going, and are constantly employing bright, catchy melodies to keep listeners interested in the complex song structures, and as such are able to avoid the typical prog pitfalls that many great bands have not (in some cases, have even openly embraced). If you’ve been looking for a great prog release, this just may be up  your alley.

I don’t know how these guys keep doing it, but again, Portugal. The Man has brought forth another important album in music. ‘Define important’ you might be saying, and I shall. I feel like there has always been imagery and the state of our society in music, but not quite like this.

On a lyrical level John Gourley has perfected the method of capturing a folkish outlook on the world around him; and everyone he comes across. The subject matter always varies from album to album, but again, the method is something that’s very unique when it comes to his outlook.

The band just released their latest album, American Ghetto; and while I had no idea what to expect, there was a gut feeling that it would have me running tracks back to see what’s really going on.

The first single (and intro track) off the album, The Dead Dog wastes no time at the holier-than-thou’s of America. I was surprised yet relieved at how straight forward the lyrics were, right off the bat. While the song is sharp, it doesn’t point fingers without a solution; which is to chill out. Musically, you can feel the gritty drums straight from the start, which I’m happy to hear, are a constant on the album. The echoing horns and old school sci-fi noises lingering in the background easily branded this song a PTM track.

My second favorite song was the 8^th track, Do What We Do. I’m a big fan of when a band can successfully harmonize together over a chorus, and PTM have mastered this difficult practice. Also, John has a firm grasp on the method of making your voice more than just that; and rather into another instrument to the ensemble when he echos into the chorus with the rest of the band. Think, Cedric of the Mars Volta. Furthermore, this is by far one of Zach Carothers’ best performances on bass. If you’ve seen them live, you already know how he’s a monster on it; so seeing him groove to this track should have you getting your cameras set to video mode.

But the best track on the album (and one of my top ten by the band period) for me was track 7, The Pushers Party. First let’s talk about on a lyrical level. For the old fans, you know that there’s an abundant amount of imagery in John’s lyrics, and for me at least, this told me the story of a snow covered port town, where the navy boys are getting’ funky with the lovers at a dance party; enjoying the (most likely) Alaskan sunlight at midnight. Musically, Ryan Neighbors is holding it down with Middle Eastern sounds on the keys, with percussion layered on top. Mr. Gourley is getting his John Frusciante on with the guitar in the intro, before the beat drops with Jason and Zach. Zach keeps it really down low on the bass, keeping it extra funky (by the way, you can’t help but nod your head to it); while Jason Sechrist holds down the rhythm on the drums, with flutes covering his back right before the first chorus (keep an ear out for those two sick cymbal hits too). It’s definitely one of my favorite tracks for Jason, who just plain keeps it loose, especially at the harmonized chorus at about 2:56 and beyond.

I’ve listened to this album several dozen times, and I think that this is another successful experiment for the band. As I stated before, this is a band that comes out with some new flow and flavor on every album. That’s why I love Equal Vision Records, because their creative bounds aren’t as restricted as some of the other labels. I feel like I want to make a movie and score it with a few tracks from this album; if only to pay respect to the time taken for the imagery of the lyrics. The story pretty much tells itself in my opinion.

The band is on tour in the US right now, so check the tour dates after you go out and get the album (which by the way, the deluxe version with the lyric/art book is worth it). Personally, I won’t get a chance to catch up with the band until Coachella 2010, in mid April…which reminds me of writing a certain pregame article, if you remember from the one I did last year.

That’s all for now kids; you have your goal for today: American Ghetto.

Until next time my friends,

~Flak

It’s been three years since Wolfmother put out their stellar debut album. Some haven’t taken notice. Some wondered if Wolfmother were just flash-in-the-pan classic rock shucksters who were riding the retro garage throwback wave which as we all know came crashing down in late ’07 (shortly before reports, still speculatory at that point of the fragility of our economy started to seep through). Rumors would run rampant. Had they broken up? I heard somewhere down the electric grapevine they were involved in a grisly tour bus crash. And a plane crash. Of course, none of these things are true, and Wolfmother come back assertive and more focused on Cosmic Egg, though this is an easy enough feat when traversing familiar territory. Solid hard rock album? Oh yeah. Led Zeppelin/Black Sabbath revivalists? Sure. Possibly the next great Stadium Rock act? It’s sure startin’ to sound that way, kids.

Cosmic Egg starts off with the sonic blitz, “California Queen”. The quick tempo and steady and heavy drumbeat never let up and make sure to grab your attention. Even if you’re not a big Wolfmother fan, you’re sure to find yourself shocked to see you tapping your feet or pumping your fat little fist. It’s definitely a promising start to the album and prove thus far that Wolfmother are gonna stay the course set by their first LP. Anthemic and primed for radio play, the next song “New Moon Rising” doesn’t disappoint and sheds light down an avenue of rock and roll traversed by other legendary stadium rock bands such as Led Zeppelin, Deep Purple, and Stone Temple Pilots. It becomes quickly evident that Wolfmother know what their good at, have a formula, and are sticking to it. Folks, let’s be clear now: you ain’t gonna be hearing any new fangled experimenting or masturbatory analytical guitar work here. But that’s not why you listen to Wolfmother, is it? The only shame is that the big bombastic songs are so good, it makes the less impressive and mid-tempoed “White Feather” and “In The Morning” sound dull and unimpressive. These songs are easily forgettable and sound more like filler than anything else, relying mostly on a half-hearted vocal melody and Houses Of The Holy era guitar work. If Wolfmother were attempting to write their “Rain Song” or “The Ocean”, the effort was hackneyed and unimagined. Veering off into slightly different and sludgier territory, “In The Castle” and “10,000 Feet” follow the Black Sabbath/Soundgarden riffbook to a T. At this point it’s clear they have no intention of developing a new sound or if they are, just can’t seem to get away from the Stadium Rock Rubric. Though by the end of the album, they sound like the stopped listening to Led Zeppelin and decided to picked up Masters Of Reality along the way, the album remains mostly consistent and has no real surprises to offer, nothing unexpected around the corner. The closer, “Violence Of The Sun” resets the pace and clocks in at just over six minutes, the longest song on the album. Considering that most of the songs averaged at about three and a half minutes and is slow to get the point, it tries your patience being the final song on the album. By the time the hit the chorus nearly three minutes in, you may have lost interest, which is a shame since this song sounds more like their own than any other on the album. Atmospheric, thick, and heavy, it’s a fitting if not pedantic closer.

Fans of stadium rock will not be disappointed by this album. In it’s entirety it plays well, is paced predictably if not consistently and surely sounds great live. Those of you expecting a touch of experimentation, a bit more creativity, a little less derived musicianship, turn right the fuck around and pick up “10,000 Days”, or the last masturbatory piece of garbage The Mars Volta are trying to tell you is an album an not their collective spurt dedicated to disc. In these low and trying times, that type of pedantic shit takes up too much space and wastes too much time. Unimagined, yes, derivative yes. But fuck if this album ain’t fun, which is exactly what I expected. Whether you agree or not, that’s the point and it always has been. Wolfmother break no ground, set no new rules or antes, traverse no new avenues. But they never attempted or pretend to. If The Mars Volta are to this generation what Pink Floyd was 30 years ago, then we’ve found our Led Zeppelin, our Deep Purple, our Bad Company. In a time where experimental and creativity are lauded by the indie music hordes, even when they fail miserably,Cosmic Egg is refreshing and familiar territory. Break this one open, kids, and bask in the Cosmic Egg. You’ll be glad to know you’ve seen and heard what’s inside before.

Portugal. The Man. Again I need to stress just how badass this band is. Not only musically, but as human beings.

After being ripped off for fifteen dollar parking, I made my way towards the Troubadour, looming in the distance. Whilst griping to myself, I hoped “damn, I hope I run into the guys tonight… that would make my night”. As if on cue I look up across the street, to see Zach and Nataly merrily making their way down the street. After the futile attempts to talk from across the busy Santa Monica Boulevard, we eventually meet up and head in.

I try to give Ryan a handshake, but he insists we bring it in for the real thing, and gives me a hug. It’s  still staggering how laid back these guys are. Instead of hanging out in the band room above the main floor, they instead hang around and sign autographs, while sharing kind words about their opening band for the evening, Drug Rug.

Drug Rug is a band for lovers. Comprised of front woman Sarah, accompanied by Tommy, Julian and Dan, the bands roles were changed throughout the set. It’s been a long time since I’ve seen a band so talented as to switch up the roles. In the live aspect, this is what will draw the crowd in; having jobs change on the fly.

For me, I got the feel-good feeling of a shoegaze daddy who had a lovechild with a southern belle while on tour, thus creating Drug Rug. Drawing from both their 2007 self titled release, and their latest 2009 album, Paint the Fence Invisible, I felt like I should have brought a pair of my cowboy boots to have a better stomping on the floor effect. But the crowd loved the energy so much; they took care of the stomping for me.

Thanks to Kenny, new front man of bone grinding metal band Halo of Gunfire being in attendance with the PTM crew, I was given a sticker to head upstairs to the VIP to finish out listening to the set. After a round of celebratory round of Kamikaze shots (thanks again Nat), we wormed down to stage right for a personal touch.

Ryan kicked it off with his keys to summon the rest of the band before our faces were melted off. I wish that I had stolen the setlist off the stage, but an aspiring fan really wanted it, and being the awesomely gracious person I am, I let him take it home.

The dedication of the fans are something to be admired, as throughout the night I heard people discussing what great lengths and how many failed attempts some had made to try and catch the band live. I’m sure at the next show I’ll hear those same stories echo, as last night’s show was a sold out one.

This set was much different than the Outside Lands set, with a more spread out approach (record wise) for its duration. AKA M80 the Wolf, caused a ruckus, with Zachs signature body drop-back-twist move throughout the chorus.

Of course Church Mouth reared its beautiful head with its title track. I prayed for Dawn, my favorite PTM song, but alas, maybe next time. The band had a lot of ground to cover, with an album being released every year since 2005. 1989 got the entire crowd singing with John, clad in his puffy vest with OG Spock flare to boot. Also getting the crowd singing along was People Say from their latest album, The Satanic Satanist (on my upcoming best albums of the year feature).I was more than happy however, to scream the chorus to Work All Day (third favorite song by the boys), after yelling “Portugal the guy!!” per Nataly’s request at the count of three.Towards the end of the set, we were treated to Do You (the latest video to which is badass), which felt right at home, making sci fi lovers happy.

The band later made their exit, with fans’ voices ablaze, which turned into the chanting of “POR-TU-GAL!! POR-TU-GAL!! POR-TU-GAL!!” Finally, Zach came back down to thank the crowd, his words being drowned out by their screams. The returned for a short encore, including Chicago, before bidding the crowd adieu.

This was an incredible show, with creative interludes between tracks, that would have The Mars Volta nod in approval. The stage presence always surprises me, as this band is for the most part, undefined. But it’s comforting to know the diverse (musically) crowd that I noticed while at the show.

The band took time afterword to sign memorabilia, and I offered to take a few pictures for the fans who want them. If you want the big versions, feel free to email me, and I’ll make it happen for you.

Well played gentlemen, and see you soon.

Until next time my friends,

~Flak

By Saturday, I had figured out the mass transit rituals that the city offered to me. I found it easier to make random friends on the street, than to find a spot on a bus. As we all rode those couple dozen blocks, festival goers told me how cool I was for what I do and I couldn’t agree more. There’s a small bit of prestige that you feel whilst donning the media wristband/lanyard that I get at every event.

Zion I

This time, I got up earlier, to make sure that I didn’t miss the phenomenal bay area artists in the Zion I crew. The energetic duo and their set partners were energetic and proved wonderful in getting the early birds (they played at 12:30, so I use the term loosely) ready for the rest of the day. Playing a good chunk of their February release The Takeover, I was very impressed by the power of the Zion I crew. It was one of those situations where you aren’t sure of if you’re going to love an artist the same once you see them live. The main stage music quality seemed to waver most of the weekend, but luckily this was not the case for this set.

Raphael Saadiq

After a short break, and reconvening with my friends in the press tent, I made my way back down to the main stage to catch a glimpse up close of the legendary Raphael Saadiq. Let me first say that the guy doesn’t look a day over thirty, but he’s already 43. Not only did he and his crew look like a snapshot of yesteryear, but also equivocally captured that 60’s sound.

Not only did he play one of my favorite songs by him (or Lucy Pearl rather), Dance Tonight; but also surprised me with a track from his first album Instant Vintage, Be Here. The song originally features D’Angelo, but this version was on a whole new level. Don’t get me wrong, D’Angelo would have been amazing to see in tow, but the live band created an original rendition of his 2002 hit. Unfortunately this set ran parallel to the Street Sweeper Social Club set, but luckily I caught them live earlier this year.

Portugal. The Man

Next up was the Portugal. The Man. The thing about Portugal. The Man, is that unlike a good chunk of the musicians I have met, these guys are true gentleman, who are quick to make a friend (or at least a tagalong). Most artists would take the back alleys to get to the stages, to remain hidden from the crowd. Maybe it’s because they aren’t “big time” yet, but they had no problem walking about the crowds and engaging with fans that approached them.

Their generosity to their fans was only matched by their ability to captivate an audience. Drawing songs mainly from the recent album, The Satanic Satanist, complimented by songs off Censored Colors and Church Mouth, this was one of the best sets of the weekend.

Jason played the role of the smooth operator on the drums, donning his red headband throughout the set. Ryan did excellent quadruple duty as always, with multiple keyboards shakers and a percussion passion to boot. John rocked the mic for us, hitting the high notes without problem or delay. However I believe the star of this set was bassist Zach Carothers. Obviously, I’m a bass and percussion fan, but even that aside, it was very entertaining to watch the stage presence of an overlooked position on the stage. And it’s not like those notes packed together were easy to play; yet still he prevailed. Well played gentlemen.

Bat For Lashes

Bat For Lashes was probably my sleeper hit of the weekend, as it was my first time seeing, let alone hearing about the beautiful British singer. Usually a multi instrumentalist, she brought along her live band crew to sooth us in the afternoon shade. It’s hard to describe her musical prowess. It was like shoegaze, but with a more comforting feeling to it. Also, she had the 80’s look and even 80’s mannerisms, complete with fist pumps and other entertaining hand gestures.

If I had to put labels on it, I would say she had the sense of if Sia met Moby and had a lovechild. Give her a listen yourself to get a head trip with her latest album, Two Suns.

TV on the Radio

I was faced with a pivotal choice at this point in the evening. Do I go to the main stage to see the Black Eyed Peas? Or stay true to my boy Tunde and watch TV on the Radio? Seeing as the Black Eyed Peas boarded the fail boat after Fergie joined their ranks, I choose the latter.

I saw them at Coachella, but Twin Peaks stage made the experience that much more intimate, with Tunde reminding us to take in the beauty of the people and environment around us, as he’d done before last time I saw them.

What I love about their sets, is that they can make the turmoil of the world very danceable, with Tunde doing his signature hand claps, and weird sliding shuffle. I knew once the horns of Wrong Way started to blare, we were in for some serious shit.

The Mars Volta

My last serious take on the night was a long awaited performance by The Mars Volta. It would be my sixth time seeing the crew live, and I needed to make up for seeing them at the lacklust Ventura Theatre. Not only was the sound quality much better, but Cedric wasn’t sick as he was at the last show. During the set, Ced took time out to break down the bands sign and carry it across his back, before playing peek-a-boo behind it, coming up to scream lyrics.

I’m somehow always surprised at the display of energy from this band, with rippling waves smashing into you on every note. The highlight for me however, was when Omar started playing a familiar (albeit only to me) guitar riff, with Juan coming in on the drums. A big Volta fan turned to me and asked “wait…what song is this” to which I looked to him and said “oh shit, it’s Eunuch Provocateur!” After this, Thomas kicked in with the insane drum work, and all hell broke loose into an epic dance fury. For those of you not in the true Volta know, Eunuch Provocateur is a song off their original Tremulant EP, and was the first time I had heard it live. A song that dates back to 2001, it was a true masterpiece to watch enacted in front of us. Here’s the entire setlist from the show:

1. Goliath
2. Cotopaxi
3. Roulette Dares (The Haunt Of)
4. Eunuch Provocateur
5. Viscera Eyes
6. Halo Of Nembutals
7. Drunkship of Lanterns
8. Luciforms (to which the band dedicated to the members of Mastodon, standing backstage)
9. Ilyena
10. The Widow
11. Wax Simulacra

I made my way back to the main stage to meet up with my crew, and caught the last twenty minutes of Dave Matthews Band. It was perfect timing too, as the band played a long rendition of Sly and the Family Stone’s Thank You For Lettin’ Me Be Myself Again. Afterward, I watch in awe of the love showed to ambidextrous drummer Carter Beauford’s ten minute ovation, as he threw dozens of drum sticks out to the crowd at the end of the performance. This was a perfect way to end the evening, leaving me with one more day of musical bliss.

Check out the complete gallery here, and keep an eye out for the last chapter in my Outside Lands 2009 series. Or you can look at the past and future straight up in day 1 and day 3 here!

Happy Labor Day! Until next time my friends,

~Flak

Hey everyone, just wanted to remind you that this weekend is the monumental second year of San Francisco festival at Golden Gate Park, entitled Outside Lands Music and Arts Festival 2009.

Be sure to follow my Twitter to keep up on whats going down in the festival.  Optimalarea is my user name, so hit me up!

Like Coachella 2009, this one is a three day extravaganza near the water of the bay area. Yours truly will be in attendance, and I just wanted to let you know who was going to be in attendance, and what the show has to offer. Here’s the banner:

Originally, the third night’s headliner was supposed to be The Beastie Boys, but due to the untimely discovery of a cancerous tumor in Adam Yauch’s (aka MCA) throat, the rest of their tour dates were cancelled, and new album pushed back. Instead, Jack Black’s hilarious Tenacious D will be taking the stage instead.

The festival grounds will be teeming with wine tasting and local food vendors to keep it fresh and original, while making a splash in the community. There will also be tons of nightlife after the daytime events are over at different venues around the city. Be sure and check the details at their website.

Anywho, these are my MUST sees:

Friday, August 28^th

Q-Tip and he better play Vivrant Thing and of course Breathe N Stop… sure the new stuff is good, but those songs helped define my childhood.

The Silversun Pickups, to hear what all the fuss is about. Don’t get me wrong, I have full faith I’ll be blown away. Let’s just say I’m being cautiously optimistic.

Thievery Corporation is great at getting the crowd hyped like they did at Coachella 2009, and San Francisco will turn out even better for them.

Pearl Jam, because I have never really been a diehard fan, but I want to change that.

And of course Incubus, because they have been a favorite of mine for over a decade. Besides, I owe Ben Kenney an apology for not recognizing him when I saw him at Fry’s years ago and didn’t know he’d joined the band.

Saturday, August 29^th

Portugal. The Man, because I have loved all of their albums, but have yet to see what they can do live.

Zion I, because they have kept afloat in the hip hop madness for years, and even had my friend Brandon Jordan from Killradio on one of their tracks, so it’s a must see.

Street Sweeper Social Club, because they rocked the hell out of Epicenter 2009, and I know they will rock it again. San Francisco will give them a warm welcome I’m sure.

Raphael Saadiq, because I have a feeling that because Q-Tip will have been in attendance the night before, they will perform Get Involved. And if we’re lucky, he’ll find a way to perform Lucy Pearl’s Dance Tonight. Remember that one?

Mastodon, because I also want to know what the fuss is about. They have been around forever, and I’m sure will pleasantly surprise me, unlike the power outage that just knocked out the last few paragraphs that I’m rewriting.

The ladies love Conor Oberst, so I want to see if I am half as moved as they are when he hits the main stage.

Of course TV on the Radio, Jason Mraz, and The Mars Volta are must sees. They have been favorites of mine for a long time.

The Black Eyed Peas have come a long way, and while I might not have been along for the ride the entire time, I’m sure it will be off the chain.

Dave Matthews Band deserves the top spot, as their album after their several year hiatus is worth the wait, and a perfect sound for the main stage this year.

Sunday, August 30^th

I’ll most likely start my locked gaze with Atmosphere later in the day, as third time will surely be a charm for them to play Dreamer.

Jack White’s new band The Dead Weather blew me away with their recent album Horehound. Additionally, I’ve heard the crew is a monster live.

Modest Mouse has been a sleeper hit in my collection for years, and I hope to hear something new that the band is working on. It’s already been two years since their last release.

Apparently Ween is the must see act, from what my friends have told me, so here’s to optimism to the work of the Ween “brothers”.

M.I.A. and Diplo killed it at Coachella, so I’m hoping she tops her madness from the desert festival, this time in the bay.

Come to think of it, Tenacious D will be a fun and hilarious way to end the weekend, to send me home on that early-ass Monday train with memories on my pocket.

The weekend is sure to be amazing, and I hope to see you there. Don’t be shy, as I’ll be getting many a picture to capture the festivities.

Until next time my friends,

~Flak