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HEDWIG & the ANGRY INCH
11/22/08, 12/4/08 Vortex Theater
I was pumped for a month after hearing that a production of punk/glam/trash/off-Broadway
/schmaltz Hedwig and the was on the way. The host stage this time was the
Vortex Theater where I’m ashamed to say I’ve never been before despite living
here for longer than the twenty-five years its been in existence. Not purposefully
(as with, say, the Balloon Fiesta for which I have less than zero interest)
but from pure slack. Mea culpa.
In many ways the Vortex was a better choice than the Kimo --which was where
the last NM production played -- because the concept is a show within a play,
a show at a crummy dive rather than an opulent theater. In the story, the
Angry Inch aren’t exactly reduced to playing dives. They just never had a
chance anywhere else, their thunder stolen by rock idol Tommy Gnosis, Hedwig’s
young protégé who rejected his botched-tranny mentor’s ardor
but not before appropriating her/his powerful songs of love and (genital)
loss and redemption. Enough backstory: rent the movie if you want details.
I’m a shitty enough music journalist, you don’t even wanna hear my half-cocked
theater critiques.
Not that the Vortex is crummy but its decidedly (and gloriously) low-rent,
easily made over into a cheap seafood joint complete with waitresses
jostling one another, dropping dinnerware during the Inch’s performance.
Tables & chairs, cozy (very cozy) booths and creaking kitchen
doors provided the ideal ambiance.
Brian Lucero as Hedwig did an admirable job although he has a lot to live
up to considering John Cameron Mitchell’s original stage and film versions.
Lucero’s not quite as slight as the “slip of a girlyboy” Hedwig is supposed
to be nor did his voice reach the high range of a few songs but that’s minor
quibbling. I don’t know anything about past stage band members but props
go to the casting director for hiring local “synthpunks” Vertigo Venus in
toto as the Angry Inch.
Any band can play covers but since the songs are integral to the tone of
the play, there’s no room for interpretation or that matter, an off-night.
The band has to “act” just as much as the lead. I suppose that’s somewhat
true of any musical but I suspect its a bigger concern here where much of
the musical weight is carried by the entire group and not, say, a Liza Minelli
(who would’ve made a bitchin’ Hedwig in her day). Most shocking though
was bassist Ken (Alchemical Burn) Cornell dressed in white ! I swear
it was like seeing Pat Boone in a Slayer tee. Despite that visual setback,
VV did a terrific job (it is terrific material but credit where its due
please) and I’d guess (this is no dis) they spent many more hours rehearsing
for this gig over any other they’ve had before.
Throughout, though, I couldn’t help but wonder just how Venus frontman Jeffie
Cannon would’ve been in the role of Hedwig. I think he would’ve stolen the
show.
*****
The third week in and I figured it was time to catch the play again. Its
sorta like seeing your favorite band a few times a month. With various cast
members fighting off the flu crud that’s been going around, things seemed
a little off like missed aural cues. Not from the actors or band but whoever
was punching the buttons for the offstage voices and effects. Nothing serious
but a half second delay can break the suspension of disbelief (to use
a hightone term I first learned in a wretched theater arts class in high
school. With a frustrated actor as teacher and a couple of affected teenage
“actresses” in the room, it was grim).
Lucero seemed like he was rushing his lines a bit but he made up for it showing
rock n’ fucking roll spirit during the tomato-smashing floor-flailing finale.
When he threw himself to the stage he tore a good-sized gash between left
temple and eye on a protruding screw or something. The audience thought the
blood slowly making a track down his chest was well-timed make-up. I did
too. At first. But it looked a little too real. Despite a wound that will
likely require a few stitches, Lucero carried on. Talk about method acting
! No little cut it looked painful as hell and certainly added to his emotional
intensity and that of the band in the most moving scene of the production.
Vertigo Venus used their real-life concern for their cast mate to really
amp things up for musical finale.
Outside afterwards a couple of Vertigos talked about whose turn it was next
to draw blood for the sake of the production.
a new band
11/23/08 house party
I don’t wanna use any names since these guys haven’t even landed a gig yet.
This wasn’t a show but some kids playing for their friends and hangers-on
at their manager’s house during a party where everyone was waiting on Kevin
fucking Spacey to show. He did around midnight. Meh. I soon bailed
since I really had nothing to say to the guy anyway. I’m holding out for
Gary Oldman.
Anyway the band wasn’t so much playing as practicing and jamming.. The mix
of heavy guitars, the occasional funk bassline and what passes for soul these
days didn’t work for me. Is it fair to even report on this since I only listened
a few minutes? Not at all. But my anal nature compels me since (unfortunate
you) there’s only a handful of shows I’ve inadvertently omitted from
a decade of this beastly rag.
I was grouped with a bunch of --ahem --adults in the smoking section trying
to come up with a better band name. No word on if the group received this
report. Maybe better if they didn’t.
The funk flourishes caught my ear but I can’t say the vocals-- although powerful--
did. I lay the blame at the pedicured feet of Whitney Houston and Mariah
Carey who command multi-octave voices and have made young girls worldwide
think that warbling a little is the same thing. Sorry. It isn’t.
Me, I can’t wait for this trend in female vocals to blow over.
VENUS BOGARDUS, SATELLITE DECODER
11/28/08 Burt’s
I was remiss in not listening to Satellite Decoder since they impressed
me the first time I caught them in September. Instead I was talking shit
at the bar with the usual suspects and shit-talkers, one of whom said, referring
to Satellite, something like “I’m glad the Gin Blossoms are still around.”
I didn’t take this as a dis and I hope they don’t either. Melodically and
stylistically speaking there are some similarities but I always thought the
Blossoms were one of the better of the crop of bands that got lumped into
that whole “alternative rock” thing ten years ago. I’m a sucker for good
melody and crunchy guitars which is Decoder’s starting point. Too bad that
made-up alt.rock category also included crud like Soundgarden and Sponge.
I’m very happy to report the Decoders have nothing at all in common with
that ilk.
From Bath, England Venus Bogardus are almost a local band in that
they are soon moving to Satan Fe. I wish them all the luck (they’re gonna
need it) up in that market that holds little attention for anyone who
likes intelligent and challenging music. Still I’m betting we can talk
James & Hannah into playing down here more often than not.
Good guitar crunch like Sonic Youth at their most accessible, melodic bassfuzz
with riffs sorta like Elastica’s Annie Holland and overall a nice full sound
for a three-piece with male/ female (husband/wife) vocals. Toss in
a little No Wave, Eno & Cale flavors with a deep & solid groove and
it adds up to an impressive package. I’d say we’re fortunate since no one
around here plays anything like it.
I didn’t catch the full story but somewhere along the tour they lost their
drummer. Nothing new there, drummers are as notoriously short-lived as a
drunken grope on a beer-y summer night. But glory of glories, the duo met
a drummer the very morning of the show.
Holy hell! I didn’t catch his name but the man slam-bammed his way through
the set adding an urgency only hinted at on their continental 2008 release
Tourist. The guy was fuckin’ incredible. He sounded like he
knew the band’s catalogue and attitude backwards and forwards. No word on
if he will take the seat permanently when Venus Bogardus settles in the City
Indifferent but I’m hoping and praying.
the OLD MAIN
11/29/08 Atomic
The Old Main are an ol’ rock and roll band. “Rock and roll”
has been a loaded term for decades now that everything from Fats Domino through
Static X qualifies on some level, god help us. I mean, just ‘cause
the Kingston Trio and early Dylan played folk music doesn’t mean they had
anything in common.
The Main aren’t hard rock or garage rock and certainly not punk rock but
sorta southern riff rock which never ever punched my buttons, maybe ‘cause
I’m a yankee and an effete eastern intellectual or something. Sure I had
a brief fling with the Allman Brothers back in their Live at The Fillmore
East days but that was on the strength of Duane Allman and Dickie Betts
and that cheap Mexican weed we huffed endlessly but I haven’t cared to relisten
since high school and even less so since I got religion in the form of Johnny
Thunders and Radio Birdman.
Prejudice aside, I enjoyed the Old Main more than I wanted to, especially
the drums and bass (which is telling in itself since that’s usually what
I listen to in music I don’t otherwise care for). There’s no doubt frontman
Rob Lacy knows his way around the frets but I don’t want to be reminded of
it every twenty seconds. Maybe that’s just the punk hangover talking. Either
way, I didn’t hear much rhythm in his work but pretty much all leads all
the time. That tires me. I love a good piece of pie but I don’t want it breakfast
lunch and dinner.
Lacy’s voice has moments with a nice soulful growl and his songwriting talent’s
pretty damn good on the quiet stuff with downhome storytelling (tonight
wasn’t quiet at all). I guess I’d sum the Old Main up as Kiss covering
Waylon Jennings.
Me, I don’t own records by either one.
ORION WALSH, ARIANNA SOLARE
12/1/08 Burt’s
I got the last minute call from Midnight Penny Wolpo that she was opening
this show. Hmmm…three solo acoustic acts in one night? Eeep! Who was responsible
for booking this? And on a Tuesday no less. Venue suicide I call it.
As it turned out, all us Peninah fans were disappointed since she got bumped
to the closing slot. We sucked since we left during the second act. Fickle
fans. One day you’re on top hobnobbing with shitheels like Paris Hilton,
the next your friends desert you. Being the sweetheart she is, Penny still
loves us anyway. Awww…!
I didn’t love the other acts though. Sure its tough playing to a nearly empty
bar but Solare’s voice, material and timid delivery didn’t impress. Walsh
was louder, slapped his acoustic guitar around, played a harp and foot-stomped
a tambourine but didn’t make me want to stick around either since nothing
really stood out.
Before we bailed on our friend, me and Amy X-Rated spent the eve talking
shit in general but mostly getting ourselves pumped over next spring’s Gories
reunion tour.
Sorry, Pen!
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BELLEMAH
low end hum [self release CD 2008]
http://www.myspace.com/bellemah
Any project with either Billy Bellmont or Noelan Ramirez is worth hearing
but combine the two and you have an auditory treat. Its been so long since
I’ve heard Ramirez play in any band that’s not catapulting you through the
roof I forgot what a gentle touch the man has when its called for but he
can even run some placid fills that most drummers aren’t capable of doing
on slow paced songs. Anybody can practice until their fingers bleed and get
passably good in one mode but to take your entire aesthetic and slide it
perfectly into any style is a measure of musicianship.
Speaking of which Billy Belmont’s got that musicianship down in spades. His
writing --lyrics, melody and arrangement --is always superb. I’ll never forget
the night years ago he played at the first Acoustic Showcase at Ed Foma’s
house and blew all the indie kids/rock n’ rollers away. Billy had recently
relocated from eastern NM. Who the fuck is this guy, we all were asking.
I forget who followed him but I do remember they were nervous as hell.
This CD is mostly the two already mentioned with Daniel Dilling on sweet
guitar plus some sit-in’s by Erin Phillips on violin, keys by Sean McCullough
and bass by Terry Burch.
Its emotional but not emo, sighing but not in exasperation, gentle but not
wimpy. Thoughtful, intelligent, nice, nice.
Live, they amp things up a bit but the songs are strong enough to take either
treatment not always an easy switch. Bellemah does it with nary a seam showing.
Not even a crooked seam like some dame with her nylons askew.
ROÑOSO
[self release s/t, CD 2008]
http://www.myspace.com/fukrot
http://www.fukrot-ronoso.com
Yeah well I’m a fuckin’ piker since I got stacks
of CDs laying around that locals have laid on me for the past few years and
do I do show ‘em the courtesy of even giving my worthless two cents? Eventually.
Sometimes. This one’s been in the stack for longer than it deserves.
Its a keeper even though I’m not one to often toss much grind on my player.
Live Roñoso is always preferred when you can get up close to be sprayed
with all manner of bodily fluids. Not a pretty picture I admit and neither
are “the boys” but there’s a beauty in their music that isn’t readily apparent
except that they’re just fucking good. Best of all their words (lyric sheet
a must to decipher any) --despite that demon in pain quality --don’t feature
devilish fetuses or piss-pants cripples but real shit like politics expressed
in the personal. But if you’re not down for that (fuck ya) just let the heavy
auditory backwash rip like a gale force over your body. Its somehow refreshing
as a summer breeze. A pissed off (and rightly so) summer breeze.
For what its worth, Roñoso is the only band that makes me wanna headbang.
That’s about as high praise as I can give.
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