Vol. XXVI, No. 19  September 16 - September 29, 2002

mailto:ClubReviews@musicconnection.com?subject=MC Club Reviews Column

These artist reviews can also be found in the current paper edition of Music Connection magazine.

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Contact: Owen Sloane, 310-821-9000

Web: www.cage9.com

The Players: Evan Rodaniche, guitar, vocals; Gustavo Aued, bass and Ivan Canton, drums.

Material: Cage9 breathes life into Nineties grunge with quality songs and a thrilling live set. Their music takes the best from Metallica, Soundgarden and Nirvana then molds it all together. Throw in a hint of Incubus to freshen up the aura and the three members of Cage9 make up a kick-ass rock band. Using soft, hard, fast and subtle meters, their songs show versatile songwriting abilities that makes this band very original.

Musicianship: Evan Rodaniche captivates the crowd not only with the music he plays, but also with the guitar he uses to bring those sounds to life. If grungy guitar playing is synonymous with the era, Rodaniche gets his point across a la Cobain and then some. Vocally, he is compelling, displaying total control over his voice. The band’s heaviness tilts towards Gustavo Aued’s direction, with any comparisons to Metallica heard in the depth of his stone cold bass playing. On drums, Ivan Canton tosses his sticks without missing a beat, while feeding off the styles of his guitar players as he mixes it up with both power and finesse.

Performance: Cage9 let themselves loose during this performance and it just doesn’t get any better from an unsigned band. Additionally, the lighting at this venue was a perfect accessory to the music Cage9 played and it made their performance even better. Cage9 brings so much energy to the stage that you could practically see the electrons pulsating into the audience.

Summary: Cage9 represent the best of grunge rock and has what it might take to resurrect the genre. Their appeal is undeniably split between their looks, live show and mainstream-ready music. Best of all, the group is from Panama and could make even louder noise in both the Spanish and English markets. The guess here is that Cage9 won’t be unsigned for much longer.

––Richard Frias

Contact: 818-990-3811

Web: www.ravenwylder.com

The Players: Raven Wylder, vocals; Chase Carpini, guitar; Mike Johnstone, pedal steel; Michael McCarthy, bass; Dan Marfisi, drums.

Material: Aggressive and versatile in their delivery, Raven Wylder and her band charge through a modernized mutation of country music. From traditional crooners about swilling liquor to funkified anti-media romps, the quintet somehow manages to maintain a rootsy sound, no matter how far they seem to stray. Whether it’s doing a punk-blast version of “Bad Moon Rising” or copping Stevie Wonder’s “Superstition” riff into a two-stepping stomp, this act revels in tearing down some of the genre’s rigidity.

Musicianship: Armed with a pedal-steel virtuoso, the band expertly weaves in and out of its barrier-bending material. Though Carpini dishes out some soulful leads over McCarthy’s and Marfisi’s unshakeable foundation, it is Johnstone that undeniably spearheads the band’s music. Johnstone fires off smoldering licks that simply must be witnessed, especially alongside the rest of the band. And to top it off, Wylder isn’t just all looks, but talented as well, possessing a deceivingly silky voice.

Performance: With a rousing opening, Wylder entered from the back of the room draped in boxing attire, an entourage and a ring girl (and that was the tame part). From there, the crowd was treated to an eye-opening set from the whiskey-pounding, bong-hitting vixen that included an onstage costume change and adult-film star cameo. Raven’s show-womanship quickly enticed all eyes; and though it all seemed a bit much, the fact that she and her bandmates are also proficient made for an engaging show.

Summary: Raven Wylder is bringing country music into the new century. Blatantly sexual, the scarlet-haired diva injects a bit of danger into the genre’s glossy image. Yes, there are heaps of schtick in Wylder’s act, but strip it all away and there remains a natural performer and skilled vocalist. Plus, she has grade-A musicians behind her worthy of attention on their own. As a whole, however, the band provides for an exciting experience indeed, crotch-references and all.

––Albert Vega

Contact: Hot Line, 323-893-0409

Web: www.5centshine.com

The Players: Roey, lead vocals; Bruno, guitar; Brian, bass, backup vocals; Johnny U, drums.

Material: Young and rebellious, 5 Cent Shine indulge in the kind of raunch-rock that launched Motley Crue. Although they forsake the glam look, they do immerse themselves in the music’s decadent air. Their songs are random blasts of swagger and bravado that don’t have specific targets, but employ a glut of energy and attitude that shows promise, almost making up for the lack of significance. If 5 Cent Shine ever grow out of this stage they could become a band with something to say; but either way, they already have the pretense down –– which may be enough for this genre.

Musicianship: Bruno and Johnny U are outstanding musicians who have what it takes to make this music work. Their flair and skill push the envelope, adding to the urgency in every song. Brian is less flashy and tends to blend in rather than stand out, but his bass lines hold steady. Roey is the ultimate hard-rock frontman, obviously into the music and intensely in-your-face, but his constant screaming buries the lyrics and does little for the songs.

Performance: Stalking the stage like it was a cage, Roey was perpetual motion. With his restlessness, rock star pomposity and curly golden locks, he could be Roger Daltrey’s offspring. But, with no focus to his performance, he looked more like a human pinball –– going everywhere and nowhere. Johnny U, on the other hand, was constantly compelling with flying dreads and insane drumming that held everyone’s attention. Unfortunately, though the chaos onstage fit the music, it never really gelled into a force.

Summary: 5 Cent Shine is a young band that plays like they’re from the Eighties. Regardless of the music’s appeal today and the fact that this group is not nearly ready, they show so much heart, they make it work. In another year or so, this act just might find their place in an ever-changing music scene.

––Bernard Baur

Contact: Van Petfir, 909-244-4439

Web: www.solitudehq.com

The Players: Dale Hartwell, vocals; Joe Donner, guitar; Scott Aneuber, guitar; Joe Flodman, drums; Casey Cassler, bass; Roy DiStefano, percussion.

Material: One part rock a la Creed, and two parts Eighties metal, Solitude’s sound is on the right path, but carries some heavy baggage. Though, at times, the double guitars create a tight groove, each song inevitably leads back to a Poison-inspired melody. While this band may appeal to fans of the hair-metal generation, modern day fans may be turned off by the unavoidable level of cheese that frequently accompanies this musical style.

Musicianship: The weight holding Solitude down is that they double their musicians rather than split them. Aneuber crafts some interesting solos, but both he and Donner play nearly identical riffs for the majority of each song. DiStefano also plays the same beats as the more powerful Flodman, and often becomes drowned out in the process. Cassler’s simple bass lines appear too rudimentary for what the songs call for; and, although Hartwell’s voice contains genuine enthusiasm, going from enthused to emphatic, it only boosts the energy of the material rather than making it better.

Performance: Though each member exhibited sporadic bursts of emotion, the energy level of this performance was not up to contemporary standards. Even in the midst of a revved up jam, half the band was near motionless. Exhibiting the most stage presence, Hartwell expressed a genuine connection with the audience as well as with the music. Despite the blasé stage show, Solitude was able to incite the crowd to scream and holler at the end of every song.

Summary: Although Eighties heavy metal is a toxic substance in the current music scene, there will always be plenty of throwback fans who want to see it performed. But to excel, Solitude must tap into their resources. More diversity in their drums as well as in their guitars could be just what this band needs to take their sound to a new level.

––Scott Perham

Contact: Hot Line, 818-968-0129

Web: www.carbon9.com

The Players: Stacey Quinealty, vocals; Dallan Baumgarten, guitar; Curtis Porche, bass; Jaysen Hawks, Drums; Mark Provart, backup vocals, sequencer; Danny Cistone, systemaddict, set designer; Matt & Dave Meyers, actors.

Material: Last year Carbon 9 was one of the hottest bands in L.A. Label presidents flew in to see them, they were profiled in Music Connection and they seemed to have it made. Although they weren’t signed, with new songs, a new member and an improved show, they remain one of the premier acts on the scene. Their music merges industrial, goth-metal and modern-rock with techno-loops and tribal beats, forming a sort of rave-rock that produces sensory overload. Think NIN meets Orgy, make their songs more intense, yet radio friendly, and you’ll know what to expect from C9.

Musicianship: This is a pro outfit with killer players. Led by Quinealty, all of them interact musically as well as visually. Baumgarten creates the atmosphere with spacey accents while Porche and Hawks drive home heart-pounding rhythms. Quinealty is similar to Trent Reznor, though his vocals are more melodic. And when the band kicks in, the music is so overwhelming no one is spared.

Performance: More than simply shock-rock, C9 has a concept with a message straight out of Blade Runner. Though some may think they’re witnessing The Wizard of Oz on acid, C9’s philosophy actually champions individuality. A compelling and bizarre storyline adds to the madness with Provart, Cistone and the Meyers brothers giving it flesh. Indeed, this production is as extravagant and dramatic as a Zombie, Ozzy or Manson show.

Summary: Carbon 9 is a perfect example of what’s wrong with the record industry. A band like this should have been signed. They have a huge fan base, a phenomenal live show and songs that are heavy, but accessible. The fact that they not only survived all the label attention, but have come back stronger after what must have been a major disappointment, speaks well for them –– and exposes a serious flaw within the A&R community.

––Bernard Baur

Contact: Hot Line, 323-377-9188

Web: www.silver-needle.com

The Players: Daniel Allen, vocals, guitar; Andre Paul, guitar; Johnny (99) Arakaki, bass; Jonas Mannon, drums.

Material: Hardcore punk-fueled pop-rock fills Silver Needle’s syringe. Playing at what seems like the speed of sound, this has to be the fastest band in town. Their songs are melodic, yet hyper in the extreme. In fact, it’s hard to tell if it’s simply adrenaline coursing through their veins, or if their songs are designed to be comets.

Silver Needle’s pop-rock snippets are a good start for a band with this kind of talent, but need more development to be fully realized. It’s as if they are teasing the audience before bringing on the real thing. On the plus side, they clearly leave the crowd wanting more. But, the question inevitably becomes –– Is there any more?

Musicianship: You have to be a pretty good player to play this fast. These players not only manage to keep it together, they lock in tight as a knot. Arakaki leads the charge with demonic bass lines while Mannon smokes the skins.

Andre Paul is a manic guitarist whose rhythms and leads seem to merge and pulsate. Allen’s vocals blend well in this mix, though they’re not particularly outstanding. He does, however, bring emotion to all the hyper-activity.

Performance: Maniacally insane, this group knew no bounds when they hit the stage. Their interactions gave the impression that each player knew what the other would do at a given moment; and, their obvious thrill with their songs and music was infectious. Indeed, this is a band that other acts could take a page from when it comes to stage presence.

Summary: Silver Needle is a highly charged young band that has a bright future ahead of them. Although their songs could use more development, their energy will sustain them for quite a while. With their dynamic stage show and overwhelming enthusiasm, they can hold a room. Now, if they pay just as much attention to their songwriting, they could have a killer combination.

––Bernard Baur

Contact: Handheld Management, Kevin Held, 323-434-9833

Web: www.garyjules.com

The Players: Gary Jules, guitar, vocals; Adam Sgro, drums; Adam Grace, piano; Brian Simmons, bass; Heather Brown, backup vocals.

Material: Gary Jules is an idealist songwriter who uses poetic imagery to speak of the human condition. Focusing his songs on general truths rather than self-absorbed longings, Jules conveys the same lighthearted optimism that is found in old Cat Stevens songs. And like the Cat, Jules is a lyricist of enormous depth, able to create deceptively simple songs out of complex human issues. His backing band, “The Group Rules,” is equally impressive, placing a lonely, country backdrop against his evocative lyrics.

Musicianship: Gary Jules has surrounded himself with a quartet of impressive musicians. The Group Rules seem to understand the dynamics of Jules’ songwriting. The band never tries to overpower him, but instead, aims to capture a mood that will guide the stories forward, and ultimately, the music fits perfectly with the lyrics. Credit must be given to the band’s natural rapport and ability to realize that subtlety is sometimes more effective than virtuosity.

Performance: During his set, Jules played nearly a dozen tunes, including a beautifully mournful rendition of Tears for Fears’, “Mad World,” accompanied solely by an upright bass. His hour-long performance was very loose and, at times, spontaneous, which created a sense of intimacy between the audience and performer. And, his ability to create this connection made Jules’ music even more engaging and turned his unpolished set into a consummate performance.

Summary: Already a staple on KCRW, Jules is quickly becoming one of the top independent songwriters on the L.A. scene. Along with Ryan Adams, Jules is ushering in a new era of alt-country singer/songwriters. With an engaging performance and beautiful songs, he should have no trouble broadening his already growing fan base.

—Scott Dudelson

Contact: Nick Schutz, 818-506-6955, thekrisspecial@hotmail.com

The Players: Anne Pointer, guitar, vocals; John Panlener, bass; Nick Schutz, drums.

Material: Unlike many local upstart bands, the Kris Special has already developed their own sound. And although they haven’t found “their song” yet, their ability to innovate makes them intriguing members of the music community. Their music is a warped blend that falls somewhere between the assorted styles of Neil Young and the reckless abandon of the Pixies. Additionally, the Kris Special write songs that are as unconventional as they are melodic. In fact, everything from Pointer’s languid singing voice to Schutz’s propulsive rhythms, seems out of sync with what is conventional in today’s world of rock.

Musicianship: Singer/guitarist Anne Pointer is the focal point of the band, and her voice, which is raggedy and lethargic, is the key to the Kris Special’s sound. Like other ragged-voiced singers, Pointer does not seem to fit the music that accompanies her. Nevertheless, she is able to convey a level of emotion with which other, more conventional singers would have trouble putting across.

The rhythm section of Nick Schulz and John Panlener is very good, but sometimes seems to overpower Pointer’s emotive vocals.

Performance: The Kris Special appear careful not to let their songs become pigeonholed into any particular category. They started their set off mellow and gradually found themselves rocking a little harder with each subsequent song. Their slower material was generally hit and miss, as many of their alt country tunes sounded alike. But, the band hit its peak when they began their garage rock excursions that included a rocking cover of Beck’s “Rowboat.”

Summary: The Kris Special is on the right track in the unique development of their sound. Even though the band is still a little rough around the edges, they do take a fresh approach with their material. In time, they will surely develop key songs that will complement their already solid footing.

—Scott Dudelson

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