Well boys and girls, it’s summer and it’s that time again, Summer Fests time.  Of course, I mainly refer to metal festivals and today we’re talking about the Rockstar Energy Mayhemfest.  On July 9^th, in San Bernadino the Metal and Hard Rock tour came to Southern California for an evening of Brutality and Devastation.  Carrying over from the previous years, the format remained in tact with three stages, two side and one main, with the most noticeable difference being the rotating main stage openers.  Three bands, Trivum, In Flames, and Machine Head have been set up to rotate on this tour, swapping positions either heading up a side stage, or kicking off the main stage.

The side-stage was packed with its most robust and diverse acts it had this year.  It was a seemingly perfect blend of the previous years combined.  The Death Metal styles of All Shall Perish and Suicide Silence reminisce of the 2009 Hot Topic Stage.  Straight Line Stitch and Unearth are cut from the same cloth as Mayhem alumns Shadows Fall, God Forbid, and All That Remains.  Hell, Jamey Jasta makes his contractual appearance with Kingdom of…. Wait, wasn’t Kingdom Of Sorrow on the bill last year?  Oh, wait, Hatebreed was on Mayhemfest and Kingdom Of Sorrow was on Ozzfest last year.  Naturally you can see how a guy gets confused.  Actually Kingdom Of Sorrow deserves a special mention though, for it is the first, and probably only time since the band’s formation that Kirk Windstein has actually been a part of the Supergroup that was his idea in the first place (kinda).  Beyond that a new influx of sounds were on display with Red Fang’s Stoner Groove metal kicking off the morning, and Testament’s old school Thrash rounding off the Revolver stage.  Heading up the Jager Stage was Mayhem veterans, Trivium, bringing with them a new set list, a new album, and even a new drummer.  Trivium’s new sound and the performance they bring to it was awe inspiring, and seeing new tracks like Dusk Dismantled and In Waves given new life in the live setting is a perfect sampling of what promises to be an incredible headlining set later.

I have to restate, this is one of the best lineups this tour has ever taken on the road.  The best surprise the entire day came from relative newcomers Straight Line Stitch, a bold and refreshing mutation of Metalcore.  Truth told, Straight Line Stitch has probably been lying on the cusp of this music for the longest time, and this is a band that needs to be immediately pushed to the front.  For years, these tours commonly feature bands with female vocalist, and Alexis Brown has some of the best range I have heard out of any of them.  This band should not be missed!  Making their way back to the tour, Suicide Silence took a slot on the Revolver Stage to obliterate the crowd.  Unveiling their new album, The Black Crown, the band destroyed with new songs You Only Live Once and Slaves To Substance.  The brilliant craft of Suicide Silence is their live show.  Mitch Lucker is one of the most energetic singers the medium has to offer, and watching him on stage is instantly reminisce of the great rock giants that came before him.  Mark Heylum is a brilliant guitarist and core to the band’s contagious charisma.  I could praise all the members, but truthfully solidarity is the driving force of this band, and this is the strongest group dynamic of any young band touring today.  Newcomers to the summer festival circuits, major mention should be made of All Shall Perish who stepped up to a knock-out performance.  The band was one of the first on deck in the afternoon with a break out set that had the crowd feverish (not just figuratively).  These outdoor festivals seem to have their own barriers and obstacles and All Shall Perish took up the mantle like old pros.  Touring on This Is Where It Ends, the band is breaking new ground in the story of their music, especially with the introduction of two new members into their creative process.

Let’s talk about our two headliners.

Godsmack is one of those bands that have been knocked around more than they deserve.  Optimal word in that sentence: “Deserve.”  This is the part of the review where I say that the live show impressed me more than I thought it would originally, and they are a completely solid Hard Rock act, and…… none of that covered up for this one.  It’s horrible to have to resort to saying “there was nothing wrong with it.”  For example: “their live show was pretty good… I mean, there was nothing wrong with it.”  They played a great set and got in a lot of their recognizable hits… I mean, there was nothing wrong with it.   Some of their best songs, the band played well, they kept a decent pacing, hell they even made good use of the stage, I honestly can’t crucify it for anything.  For a letter grade I’d have to give it a low B+ for content, B- for effort.  A solid show that never took that extra mile to dazzle me with something I haven’t seen before.  Perhaps this is a band that needs a full-headlining set to get the full experience from, but on this tour it fits only adequately.

Let me state at the starting gate that Disturbed as this year’s “official” headliner felt to be the most appropriate choice we had ever seen in the history of this tour since Slipknot on it’s maiden voyage.  The band played a monstrous set list, picking out the best of the new album, Asylum, and weaving in the best of their old material such as Stupify, The Game, and Prayer.  That said, there were two main issues at hand for Disturbed, their incredibly stripped down performance and vocalist David Draiman hit numerous sour notes.  The latter is easier to breeze through, at multiple times during the performance Draiman’s pitch was off.  Nearly a month off from the band’s last performance, something was a miss because this was noticeable to nearly everyone.  During Indestructible, Stupify, and Down With The Sickness, vocal sour notes were harsh and noticeable.  Secondly, the set itself felt incredibly bare and relatively static.  Maybe it’s the economy, but it’s hard not to notice lack of massive set pieces that were instrumental last year, yes, even the ones that recreated Bakersfield.   In a setting like this, naked space is noticeable, and I’ve seen Disturbed on smaller stages with more packed into their set.  Time limits have always plagued the big festivals like this, but part of the fun is rising above constraints and being able to push forward to give a larger than life performance.  Disturbed put on a good show, but it certainly did not feel like they were headlining a major summer festival.  Also, word of advice, stage pyro is like Frosted Icing, a delicious addition to an already incredible treat.  Frosting alone does not make a cake.

There’s something weird in the metal community when the cartoon is one-upping the “REAL” headliners.  At the end of the night, Dethklok took center stage and the crowd began to mosh… to a cartoon… on a screen behind the creator and voice himself.  Folks, lets have some perspective, if these tours existed years ago the night would have closed with Spinal Tap as the headliner… which is not a bad idea and someone should write this down for next year.  For the uninitiated, Dethklok is performed by Brendon Small on vocals and lead guitar, Gene Hoglun on drums, Bryan Beller on bass, and Mike Keneally as Rhythm Guitar.  Now, here is where I am a complete hypocrite, the stage for Dethklok was bare, save for a screen that played cartoon videos of the fictional band the entire set.  Now why am I not beating them over the head as I just did for Disturbed?  The great illusion of Dethklok is that the real people playing real instruments are the illusion.  Your focus is on the screen and the cartoons are big and elaborate enough to make you bridge the connection over the medium itself (the actual band).  You notice Brendon Small playing, and notice from time to time, but he is not lit to be the center of attention and the reason you come to the show is to feel as if you are at the Dethklok show you’ve seen on TV.  The scary part is that Dethklok was electrifying.  Not only was the fantasy of the fictitious band well-received, but the band had unparalleled technical prowess, and as the show was built for, it culminates several ranging influence of every band.  If I could someone blend all the other bands from that day alone into one, it would sound exactly like Dethklok.  There have been jokes about the fact that people are moshing to a fake band, honestly guys, this is the best reflection of fan’s appreciation about this music.

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Deeply dark oil washes over person and object alike, as shots cut quick to the rhythm of “The Immigrant Song”. Electrical cords stab and wrap around writhing figures as a tossed match ignites the sloshy stuff. This is the opening sequence of “The Girl with the Dragon Tattoo”, an adaptation of the late Stieg Larson’s premier novel.

The film follows recently deposed journalist Mikail Blomkvist (played by Daniel Craig), as he takes on the investigation of a murder case forty-years cold at the behest of a retired industrialist. Mikail is joined by Lisbeth Salander (Rooney Mara), a twenty-three year-old hacker and investigator enticed by the thought of catching “a killer of women”. The story follows the path carved out by mysteries before it: a crime occurs, clues are found and followed, dead ends and false leads crop up, and the solvers find themselves in more and more danger as they get closer and closer to the truth. The plot introduces several interesting aspects, such that the murder occurred long ago, a family member is most certainly involved, and that the film gifts the viewer with two protagonists to follow (their paths meet only later in the movie). While the mystery is intricate enough to warrant thinking, it is in no way overly-convoluted. This is a smart movie that engages its audience as every movie should do.

Although “Girl with the Dragon Tattoo” never quite lives up to the vicious mania of its title sequence, there is plenty to be disturbed by in the film. While there are moments of violence, the rape scenes are what really batter the viewer. David Fincher and Co. pull no punches when presenting Lisbeth’s sexual torture, opting to show as much physicality as possible and as much pain as possible. The scene works as intended: the audience is shown the consequences and finds only disgust and revulsion.

I AM IN CONTROL!

Do not adjust your television screens…

…your computer monitors…

…your laptops…

How about don’t drop your smartphones, does that work?

To all our loyal readers,

By now you’ve no doubt noticed the lack of activity on the website, and are sorely missing your fresh dose of MishMash content.  Our editor, Ms. M’Lou Elkins has been out for the past couple months due to spinal surgery.  Incredibly serious, requiring a great deal of recovery time, it is with a great sigh of relief that I can report that she is feeling better and is in great health.  As for the magazine she is entrusting me with the responsibilities of Managing Editor.

Since moving to LA, this magazine has been an incredible source of success in my professional life and a platform to develop my abilities as a journalist.  It is my hope that within the months that follow we can kick-start this site again and have it return as the buzz of the Rock N Roll community!

Now rebuilding the magazine will mean rebuilding the MishMash team.  We’ll try bringing back many old friends and introduce plenty of new faces.  Now I know there are a lot of you loyal MishMash-ers who have been reading and watching all the material on this site and thinking “Wow, that MishMash staff is so cool and insightful, and damn sexy too, if only I could be a part of their staff.”  Well, your dreams may finally have come true.  If you have any interest in writing or journalism, please send a message to the following email address:

writeformishmash@gmail.com

Please write up a cover letter and send some links to previous works.  If you have supported us in the past, it’s the least we can do to support you in getting your voice heard.

In closing, WE’RE BACK!!!  We’ll see you in 2012!!!

Name: Star Wars: The Clone Wars

Platform: Gamecube, PS2, Xbox Original

Developer: Pandemic/Lucas Arts

Release Date: October 22, 2002

Rating: Teen

Price: Amazon New $27.25 Used $3.65

The Clone Wars was my very first Gamecube game.  Actually I got it along with Robotech Battlecry, but it definitely saw more play.  CW is a vehicle shooter reminiscent of the Rogue Squadron series set in the tumultuous Clone Wars in a time before the animated series, the comic series, the other (much better, less childish) comic series, and assortment of other things now affiliated with what has come to be my favorite period in Star Wars lore.

Even at this time, the Clone Wars were still a time fraught with mystery and excitement.  Epic battles, awesome troopers and a huge assortment of planets.  CW focuses on several key Star Wars environments, allowing the player to fight their way through wave after wave of enemy tanks, hailfire droids and others as either Mace Windu or Anakin Skywalker.  Combat consists of strafing, backing up and mashing A for laser fire and B for missiles until everything in your path is reduced to a smoldering heap of slag.

At times the action steps out of the tank and on foot, but I’d rather forget about those times.  On foot, gameplay takes a huge dive.  Movement is awkward to say the least, combat is reminiscent of Resident Evil in that swinging your lightsaber also acts as a foot hold, gluing you in place, and the number of enemies is grossly disproportionate to your piss poor Padawan skills in the force.  In other words, you die.  A lot.  And it’s not even fun.

The vehicle sections far much better, but do at times reek of the old school theme of unfairness.  Bosses have stupid amounts of health and rain fire from every angle and at times you will have no idea as to how to damage them.  The auto targeting present in most of the games combat is strangely absent during some boss fights, making weak points completely unlocatable and the battles frustrating.  The AI is characteristic of the day, in other words, dumb as a woodshed and often serves better as a laser sponge than as  backup.  In the game’s 2^nd mission, my AI companion sat idly by as I made easy work of several turrets lining the road.  After I’d destroyed them, a row of enemy tanks spilled over the nearest hill as my companion screamed “I’ll take the turrets, you get the rest!”  Oh, you mean the turrets I’ve just destroyed?  Well gee, thanks for pulling your weight.  I couldn’t help but feel like I’d pulled the short deathstick.

I suppose unfair isn’t really the best way to describe games like this.  More accurately, they are games that encourage children to learn exploitation.  The sort of game you can only beat with Godmode on and infinite missiles.  Ever wonder why cheat codes have essentially disappeared from gaming in the past few years, or rather, why games 10 years ago were so saturated with them?  There are almost no games from the time that didn’t have at least one cheat code, and the reason is simple: YOU NEEDED THEM TO PLAY!

Most of the hours CW saw in my house were in the game’s multiplayer with fellow MishMash writer Jack Eardley.  Multiplayer mode is a Horde style wave survival, placing the players (one tank and one Walker) in the middle of a canyon and throwing enemies at them until they died.  It was fun, definitely more so then the single player campaign, but still had that terrible unfairness that taught us that exploitation is the best way to get on in life.

There is an invincibility power up in a cave to the left of spawn in the game’s first multiplayer map that is big enough to house both the tank and walker and dips into the wall far enough to provide cover from enemy fire.  The second we found this hole, every round became a mad dash for it with the Walker (who’s powers consisted of a regularly recharching shield and infinite lobbed bombs) sniping from the background as the tank harassed the single file line of enemies struggling to find their way over the caves ledge.  We beat the 25 rounds this way, never leaving the cave even as the mode’s final boss sluggishly floated toward the cave mouth, entered head first and became stuck with all its guns on the outside.  This is a microcosm of gameplay.  1. Exploit 2. Exploit 3.??? 4. Win the game.

All and all for its many flaws Clone Wars was a pretty decent game.  Levels were designed well.  Sound and music was straight from the films and you only played as Anakin for half of the game, and something half Anakin benefits from the awesomeness that comes from also being half Samuel L. Jackson.  It’s a fun, if not dated little game and definitely worth a play, especially for fans of the franchise.

Verdict: Good

Scale: Unplayable/Bad/Playable/Good/Great/Why Don’t You Own This?

Now, I’m a Captain America fan. I like the character, I like what he stands for, I enjoy the different versions in the different comics
yadda yadda yadda. What I don’t like, is when developers almost BLATANTLY rip off another super hero game and slap another cowl wearing do-gooder on it, and then call it a day. Don’t worry, I’ll explain in detail later.

Captain America: Super Soldier is a mildly attractive game as far as the graphics go, if you look past the awful lip synching and somewhat waxy faces of every character. I’m going to be honest, the graphics are good, but they could have been better. L.A. Noire has spoiled us all, but let’s not get lazy with visuals, people.

The sounds and voice acting are actually better than expected, with Chris Evans adding his boyish charms to America’s favorite Nazi-slugger. The music gets you in the mood for rushing into the fray, and the Hydra soldiers even have some impressive VO. Not the generic “Get him!” or arbitrary German shouting we hear in every other WWII game.

Everybody wants to know about the combat, so here goes. Cap has the ability to jump around and dodge incoming attacks, as well as counter them and grapple foes with ease. Not only this, he can toss his shield into a frenzy of ricochets that will stun up to five Hydra soldiers at a time (if you fully upgrade him, mind you) which lends itself to some hefty crowd control. It’s fairly smooth, but when you’ve fully upgraded Cap and you know how to fight all the baddies in their specific ways, there really isn’t much of a challenge anymore. I suppose that works since you’re a super soldier after all, but still, it seems almost too easy.

The story concept is pretty passable, but the execution is just bad. Each boss has the most limited amount of set-up possible, other than the fact that they’re Hydra elite. There’s some breakout of test subjects halfway through the game and they fight Hydra soldiers, mayhem ensuing obviously, but then twenty minutes later the test subjects are working WITH the Hydra soldiers to kill you. Like, they all just DECIDED they hated you more and wanted to get you out of the way before they killed each other. The final boss is almost a blatant rip-off of that giant Decepticon from Transformers: Revenge of the Fallen, you know the one that eats the pyramid at the end? Yeah, it’s that thing but in this game it’s called the Sleeper. Don’t get me wrong, the Sleeper is an actual Captain America villain created by Red Skull in the comics. Even so, the reveal and the look of the robot just screams, “I’m a Transformer! Rwar rwar rwar!”

Okay, we can get to the biggest problems of the game. This is almost, I repeat almost, an exact rip-off of Batman: Arkham Asylum. Seriously. Cap fights the same way Batman does, minus three or four gadgets, while still utilizing the same free-flow combat system. The map of the Zemo castle is almost like the Arkham Asylum map. You can go back to places you’ve visited and search for hidden treasures that get you the history of the castle as well as tapes that show you the background of specific baddies, just like the Legend of Arkham and the patient interviews in Arkham Asylum. I mean, when Cap knocks out a bad guy who is rolling around on the ground, it’s almost action for action the same motions Batman does when he punches them in the head.

That huge elephant in the room aside, every object in the world seems to be outside the natural realm of Earth physics, like gravity around barrels and chairs is working off of moon settings as they fly about and bounce off the walls willy-nilly. I suppose this is to give us the impression he’s a super soldier and strong, but that’s a little ridiculous.

It’s hard to give this game a verdict. There’s a lot of Marvel fan-service in here that I enjoyed, what with the background diaries and the film reels, but if I hadn’t gone out of my way to search for those, the game would have taken me 3 to 4 hours instead of the 5 hours and 48 minutes it took me to beat it. Also, this fan service is almost crucial to understand just what the hell is going on in the game, so the fact that it’s TOTALLY optional to get and find kind of makes me wonder if the devs actually wanted you to know what was happening.

The game could have used more trenches, or giant WWII battle fields to show Cap leading men into the fray and destroy tanks singlehandedly to stem the boredom of seeing the same hallway again and again and traversing the castle grounds over and over. A little more imagination in the gameplay could have gone a long way too to really make this game original. There was a lot of potential here, but it feels like the devs just pumped it out for the movie.  If you’re a die-hard Captain America fan, be warned. Everyone else, keep your wallet closed and decide later if you REALLY want to drop money for this thing. Maybe watch the playthrough on YouTube.

A single note pierces the silence, and then enters Raekwon: “I grew up on the crime side, the New York Times side / Stayin’ alive was no jive.” These words may seem déjà vu for those familiar with the Wu-Tang single “C.R.E.A.M.”, but those same listeners might be puzzled as to the disappearance of The Charmels’ piano-led riff. Instead, a sample of a different sort has uncannily filled its place – Fugazi’s “I’m So Tired”. This isn’t witchcraft by any means, but rather the concentrated efforts of Swiss Andy and Cecil Otter; or, to go by their chosen name, Wugazi.

As their moniker implies, 13 Chambers presents an auditory fusion of Wu-Tang Clan and Fugazi. The mashup follows the standard “A vs. B” formula, with each track consisting of one part a capella (as provided by ODB, Ghostface and various Clan members) mixed against one part instrumental (as performed by Ian MacKaye and company). Like all good mashups, 13 Chambers holds each and every song in such perfect synchrony that it would seem a proper rap album if not for prior knowledge. One strength particular to Wugazi, however, is the skilled arranging. “Another Chessboxin’ Argument” serves as a prime example, combining Wu-Tang’s “Da Mystery of Chessboxin’” with Fugazi’s “Argument”, but instead of merely slapping new vocals to an old track, Wugazi let’s Ian MacKaye’s chorus ring out loud and clear between  verses. This sort of selective arranging occurs frequently throughout the album, and works to further intertwine the threads of these two largely unrelated groups.

Sources range from all over the couple’s storied careers, with Fugazi samples reigning from the well-known (“Waiting Room”, as heard in “Nowhere to Wait”) to the decidedly more obscure (“Afterthought”, which backs the delightful “Ghetto Afterthought”), while vocals are ripped from both Wu-Tang Clan albums (“C.R.E.A.M.”, as originally heard on 36 Chambers) and Wu-Tang solo efforts (“Shimmy Shimmy Ya” and “Brooklyn Zoo”, which both first appeared on Ol’ Dirty Bastard’s debut). This diverse and far-reaching nature of source selection, though beneficial to the album in its own right, achieves one of the greatest aspects of mashups: introducing the listener to new and different sounds. For some, Fugazi’s “I’m So Tired” may prove an unfamiliar but welcome find, just as Inspectah Deck’s “R.E.C. Room” may please a new audience.

13 Chambers certainly performs well as a mashup, but by providing a series of distinct songs (most tracks have introductions, choruses and/or a bridge) it aspires to be a legitimate album as well. In this sense, 13 Chambers still earns its over-forty-minute running time with almost no lulls or gaps; “Suicide Surprise” stands out as the only nominal cut, perhaps due to its meandering nature. It’s safe to say that every other track comes off inspired, due both to Fugazi’s intense nature and the energized performances brought by Wu-Tang. The structuring of the record feels a bit mismanaged, however, as Wugazi undoubtedly blows their wad early with “Sleep Rules Everything Around Me”, the mix mentioned in the first paragraph. Surely it would prove a better closer than the good-but-not-great “Forensic Shimmy”, but the ordering is a minor qualm at most.

As a mashup, 13 Chambers dissects the expansive discographies of its sources to great avail, creating a concept album that is both interesting (few rap albums have such exotic beats) and enjoyable (with some tracks going so far as to surpass their origins). As a free download available at Wugazi.com, who wouldn’t take a chance on it?

Godric Appears in a Dream Tempting Eric

Eric wakes with a Fang On after having the Vampire equivalent of a Wet Dream with Godric and Sookie, but does not yield  to temptation. He does, however, have a good cry and snuggles on the bed with Sookie after promising to keep his fangs and hands to himself. Our Viking was shocked to discover his past manipulation, and prepared to leave. Sookie stopped him with one word. He embraces his precious treasure and, YES, THE KISS!

Click here to view the embedded video on MishMashMagazine.com

Sam and Tommy Share a Marshmallow Moment

Daddy Mickens almost put Tommy permanently to sleep only to have the roles reversed and find he was the one put down. No more saggy underpants. Tommy sent Momma to Jesus accidentally as well and ran to Sam for help. The brothers united make a great team. V crazed Andy runs off after seeing a rather large reptile. Tommy worries about hell and forgets his Sunday School Lessons. Sam confesses this situation is the second time around the block for him and comes well prepared. Marshmallows are  great Swamp Gator appetizers and the parents are given a fitting eternal rest as entrees.

Lafayette ditches the witches leaving them to fend for themselves. He leaves Bon Temps with Goat Killer Jesus and way too much baggage in search of a shaman who, as it turns out, still has lead in his pencil.

Arlene, despite being concerned her prayers were going to voice mail, agrees with Terry. They need divine intervention which appears in the form of Rev. Daniels and Lettie Mae, the new Mrs. Daniels. The good Reverend tried his best and our hopeful couple felt so much better that Terry and Arlene’s passions were ignited. Unfortunately, thanks to Creepy Doll something else in the bedroom was on fire as well.

Jessica, Jason and Hoyt Trio. A Wild Ride In Jason's Head!

Hoyt’s best friend Jason is saved by Jessica’s wrist action, but all is not well with the young trio. Jason confesses his trauma to Hoyt, wonders if it’s all God’s fault and if Jessica raped Hoyt too. Oh Jason, your stupid is showing again!

Later Jason finds Vampire Jessica in his bed. Is this a dream? Yes? No? Oh LOOK there’s Hoyt! Now she’s moanin’ – and so are we! Oh My Gravy Indeed!

Unregistered Alcide

Alcide needs to make a happy camper out of the Shreveport Pack Master who is seriously peeved about his unregistered status. Alcide puts me in a happy place every time I see him. Does that count?

Bill is taking charge and as he says insanity comes with the job. When the incestually unconcerned Portia was not to be denied, Bill deftly glamoured her so effectively she now screams at the sight of him! He was successful in capturing the witch, but gained no useful information, that is until someone else had a slip of the tongue.

Pam's New Look - Beekeeper.

Oh Pam! Bill said it best when remarking on her beehive status and she is PISSED! The King’s advice of extra lipstick was NOT helpful.

She gave her all and more this episode and pieces of her were left all over Area Five. Unfortunately, loosing an ear was one body part too many, Pam had a fit, fell in, and spilled the beans on Eric.

So Eric found his heart, Sookie listened to her Gran and ran, but not when it came to the Viking. Hoyt, Jessica and Jason in bed are awesome, real or imagined. Marnie is vapid and now captured. Lafayette may be right about that Pot Pie. Will Tommy be able to shift into his parents now that he killed them? Will there be enough of Beekeeper Pam left when the spell is reversed? Bill’s new found snarkyness and attitude is sexy, but if he kills Eric, I will stake him myself!

[ Y Luv at the Silverlake Lounge, 7-21-11, Los Angeles, CA ]

Last night probably constitutes as one of the strangest shows I have ever been to. Of course, that was mostly because of the crowd rather than the band. When I arrived at the venue just before the first opening band started, there must have been no more than five people there. Then, when Metal Mother played, the crowd got a little bigger (about 30 people), and that’s when the strangest thing happened. Just before Y Luv took the stage, most of the crowd left. Well, even if that crowd couldn’t appreciate good music, I’m glad I was there to enjoy the show.

The set was short, but sweet. After all, Y Luv only has one EP out. But even with the small crowd, they certainly had fun playing and they did it with as much energy as if they were playing in front of a packed venue. And don’t let the fact that the crowd was small deter you from listening to Y Luv’s music or seeing them live.

While they seemed to have some problems with the keyboards, they took on a show-must-go-on attitude and powered through the set, enjoying every minute that they were on stage. Lead singer Freddy Janney has a unique, raspy voice that gives the otherwise smooth music an interesting edge. While Y Luv still has a little ways to go before they become the seasoned live performers that I know they are capable of becoming, they have more skill and potential than a lot of world-famous bands I have seen in the past.

The set ended with “Never Touch The Ground,” my favorite song from Y Luv. It’s beautiful and infectious and was the perfect ending to the set. You can listen to the song below:

Never Touch The Ground by Y LUV

Bright Eyes' Conor Oberst

Bright Eyes, one of my favorite bands of all time and arguably one of the most talented artists in the modern music industry, just announced their West Coast tour dates for the fall.

If you like Bright Eyes and have never seen them live, go see them. No excuses. They are incredible live and I have been waiting to see them again ever since I saw them at Coachella in April.

Here are the West Coast tour dates:

You can buy tickets via Ticketfly.

The headline is not in fact a story of rock star accidental overdose but a nod to a remix making the rounds courtesy of  http://rcrdlbl.com.

Bjorn is a member of a hit Swedish band. No not Abba (thought I bet an Abba version of “Drug” would be just as great) but in fact Peter, Bjorn & John. He has taken on the mighty White Denim track ‘Drug’ from their latest album ‘D’. The standout track from ‘D’ is taken to new swirlier pop prog heights thanks to Bjorn. You can stream and download the song now over at Rcrd Lbl - DRUG (remix by Bjorn) – White Denim