18.5 Hours of My Life that I Will Never Get Back

My Day at Warped Tour ’05

As far as I am concerned, only two things in life are worth sitting in a car for 13.5 hours in mostly standstill traffic: a pet monkey or a Smiths reunion. Unfortunately, the Vans Warped Tour had only mud and bullshit waiting for me at the Three County Fairgrounds in Northampton, MA. The day labeled “a fiasco” by The Boston Herald and “a fucking mess” by me was poorly organized and unsuccessfully executed.

Punk rockers, teenyboppers and emo kids alike look forward to Warped Tour like a young child counts down to his or her birthday. Warped Tour is an annual celebration; it is where all that is fun – loud music, free stuff and great crowds – combines to create the most spectacular day of your year, assuming you avoid those bands that carry the stigma of suck (and there are always at least two). 

This particular stop of the 11th Warped Tour was not the festival that so many expect and rely on to cap off a great summer.  Few concertgoers saw all of the bands that they wanted to see and most were stuck in an average of six hours of traffic because the town could not accommodate such a large event.  And then there were those who got in car accidents, broke down on the side of the highway or were denied entrance to the town when cops decided it was at its full capacity.

First off, I would like to emphasize that I have had nothing but positive experiences with Warped Tour in the past. Without the tour giving me a shot back in 2001, I would not be able to be doing what I love (taking pictures and writing about music and stuff that pisses me off for an audience of about six, including my mother, for free).

Secondly, all of the bands that I did get to see play went out there and gave 100%. Funeral for a Friend, Motion City Soundtrack, Fall Out Boy, Thrice, and the Offspring all put on stellar, energetic shows free of the last-day-of-tour malaise that usually strikes a handful of bands in Massachusetts each year. It’s too bad that their performances were overshadowed by the fairgrounds’ non-accommodating accommodations.

Location, Location, Location

Most of the day’s problems were caused by the Northampton, MA location, which was likely booked without being researched or checked out first. The only New England stop of the tour was closer to Albany, NY than Boston, MA. As a New Hampshire native, I was not pleased. But this faux pas extends far past causing me an inconvenience. It is simply a bad idea to send excited and distracted young drivers across the state in their busted-up old Buicks to a town they’ve never heard of. On our trek alone, my friend and I spotted 13 cars involved in accidents and even more cars broken down – all of which left groups of punky looking teenagers huddling nervously in the breakdown lane.

Now obviously, shit happens. Forrest Gump said so, so it is so. But this year, auto problems were excessive and avoidable to a certain extent. Traffic and parking woes as well as safety can be improved simply by holding the concert at a venue that has access to public transportation. The MBTA has extensive commuter rail service that hits up most major Massachusetts destinations. A round trip is cheaper than a tank of gas and won’t leave you with road rage or a headache.

Additionally, the venue, the town and its police force could not handle the massive amounts of concertgoers. The one lane road to and from the site backed up traffic for 20-miles and about six hours. Leaving the town was only slightly more pleasant than arriving there. Rather than directing the traffic (which was coming from four different directions, with none of the lines moving for over an hour) from the parking lots to the highway after the show, Northampton cops thought it would be a better use of their time to pair up with flashlights and look through each car’s window for drugs. Amazingly the punk stereotype lives on, even though punk itself does not. 

And so we sat for nearly two hours waiting to leave the venue.  Meanwhile band and crew buses were cutting off concert traffic and causing more delays. Shouldn’t they have their own exit? And what ever happened to the barbeque and after-parties? I’ve never seen the bands and crew so eager to leave. W

Get the press shit together!

I arrived at the press tent remarkably late to find an impatient band member waiting to be interviewed and an alternately pissed off and understanding tour employee. Apparently, I had been automatically signed up for interviews, one of which I “missed” while stuck in traffic for hours. The Warped Tour press guy confused me with his tirades and friendly conversation, angrily telling me I should be timely and prepared then apologizing (“Sorry, I’ve had to deal with 14 year-old girls asking about My Chemical Romance all day, every day”) only to launch into the cycle again. I feel his pain, but I wasn’t exactly having an awesome day either. 

This is how I understand what happened. To gain passes to the tour, press must fill out a form complete with a section on which artists you would possibly like to interview.Nowadays, in the age of the Warped behemoth, press must fill out these forms in March to guarantee passes. I don’t remember what I ate for breakfast, much less what I wrote on a form five months ago. This year, they decided to take the press forms seriously, automatically signing up interviews before press arrived. This new policy defied all logic. I paired off the waiting band member with another writer and left without interviews thinking things couldn’t get worse. They did.

Unfortunately, loyal Sound the Sirens readers, I do not have many photos from the show for you to enjoy. Although I had a legitimate photo pass, main stage security did not choose to honor it. Instead, I was attacked by one of the men hired to keep me safe. One guard waved the second group of photographers into the photo pit where we were shoved several times by a 300 lb man who would not allow us to take photos. My back was turned to him as I was leaving, yet he still felt that I was enough of a threat to security that he had to twist my arm, pull my shirt and shove me twice more. Perhaps he thought my camera was a grenade, or maybe he just had a mean case of ‘roid rage. Regardless, it was simply wonderful to travel eight hours only to be refused the right to do my job in an unnecessarily violent manner. Part of me was flattered, as I stand at 5’4” and can only lift 8 lb dumbbells, but the other part of me finally snapped (how I lasted this long is beyond me). I disappeared into the crowd to do what any college-age professional would do in my situation: I proceeded to chuck plastic bottles and other garbage at the offending security.Nobody messes with me and gets away without an onslaught of criminal mischief.S

Proceed With Caution

I left that night with some shots of Motion City Soundtrack and a rage problem. It was hardly worth it. Between the time I left New Hampshire (7 am) and the time I finally got home (1:30 am), I had wasted 18 ½ hours of my life that I will never get back. I did, however, learn some valuable lessons:

Lesson 1: The Three County Fairgrounds should never, ever be used for a concert again. If you live in New England or New York, stay away from this venue at all costs.

Lesson 2: No matter where you live, make sure the venue is a logical choice for the event it is hosting and be confident that the benefits of the show will outweigh any disaster potential.

Before you pack up and go to Warped Tour or any other outdoor festival, I urge you to consider my case. It just might save 18 ½ hours of your life.

Kraftwerk – Minimum-Maximum

This is a very intimidating review to write. So, like a pansy, I have been stalling and stalling on writing this beginning paragraph. So I end up with this half-assed piece of a meta-review. But you have to understand, my reader, Kraftwerk is everything as far as modern music goes. Perhaps only they and the Velvet Underground have had such a profound effect on the state of music today. Life VU, they stretched the boundaries of what could be considered pop music. They were the first fully electronic group to be treated as a legitimate band. On top of breaking ground with electric instruments and experimentation, the music they’ve made is actually good, by almost anyone’s standards. Couple that with the far-reaching influence they still hold today and I cannot help but cower as a reviewer in the shadow of the mighty monolith Kraftwerk has become.

Then I look at the band; four awkward former computer programmers from Germany. Despite their attempts to disguise the fact, Kraftwerk is still helmed by four human beings. They just happened to have a preternatural knack for what can be done with electronic, and now digital, music, and an ear for melody to boot. It seems with many such bands, Kraftwerk was in the right place at the right time with the right sound. And damn it, it makes me jealous. Here the world sits, several decades after the formation of Kraftwerk, and they still hold sway over it. Good lord, I have to stop using hyperbole. But it seems Kraftwerk is one of the few bands to deserve it.

I’m not even going to get into the argument of “electronic music isn’t music” so many people have lobbed at me over the years. In my mind, Kraftwerk’s discography makes this a moot point. This live album, Minimum-Maximum, captures that essence of the band’s history on two disks. One could almost consider it a greatest hits, but it not only documents the band’s past, but how they have changed. Classics like “Autobahn” remain the same in essence, but show the evolution of not only the group but of the equipment they use. For Kraftwerk, the instruments are an important part of the music itself. With the advances of digital technology, Kraftwerk is now able to produce a live show with the audio quality of a studio recording. This is evident in the album, as the only thing hinting at this being a live recording is the occasional burst of noise from the crowd (which the band could certainly have fixed had they wanted to). The music is crisp and perfectly synchronized.

In an almost ironic way, the music Kraftwerk has spawned is now reflected back again in the band. It is like some strange space-time bending funhouse mirror, as hints of various new electronic sub-genres are reappearing in the very thing that spawned them. For instance, the version of “Metal on Metal” recorded here could easily be imagined playing in the waning hours of a rave (Kraftwerk would never pound hard enough to fuel the beginning of one). And “The Robots” seems akin to the pop industrial that NIN has been producing lately (sorry Mr. Reznor for calling you pop). For me, that reflection coupled with the insane crowd reaction captured at the beginnings and endings of songs are enough to show how much of an influence Kraftwerk has had. After all, this crowd is screaming over the sight of four aging German men standing at consoles. But what amazing men they are.

(Astralwerks)

Somerset: Box Full of Sharp Objects

What started out as a side project has evolved into something much greater for Minnesota’s Somerset. After several line-up changes, they have finally found the right members to get things moving. On August 9th, the band released their debut full-length album, Pandora on Punknews Records, an up-start label that believed in the band from the beginning. The band recently took some time to answer some questions about the friendship they forged with Punknews Records, their politically inspired lyrics, and what is next in line for a band just getting their feet wet.

In being the first band signed to Punknews Records, do you guys feel you are setting any type of standard for their label?

Claudio Rivera: Well, we’re just extremely grateful that they picked us to be their first release and whatever standards there are, that’s for the label to determine. We’re excited for papa Punknews to birth us some siblings real soon.

How did the band form a relationship with Punknews Records [Punknews.org]?

JT Viele: Claudio met Scott [Heisel] when their bands played a show together. We’ve all been fans of the site for a long time and we just kept in contact with Scott and formed a really close bond, especially after he gave us a super nice review of our first EP. We’ve spent Thanksgiving and Easter with his family and it’s just really sweet that he’s cared for us like family, from the start. When they [Punknews.org] told us that Epitaph wanted them to start a label that they would distribute, we were super stoked for them, and when they followed it with “and they want Somerset to be our first release” we could hardly believe it. We’re happy to be a part of something new, yet aligned with such an established powerhouse, like Epitaph.

Was having Punknews distributed by Epitaph a huge selling point in you guys signing with them?

JT Viele: It wasn’t so much that we had to be sold on them, as it was that they were the only label that stuck with us after we went through some rough stuff with band member changes. Distro by Epitaph is just a shitload of icing on an already tasty cake!

So with your debut full-length, Pandora, out in-stores, what should those unfamiliar with your music be excited about?

Matt Broadbent: We’re always excited to hear about new music. Hopefully, there are others out there that have an equally open mind. Lyrically and musically, we feel like we stand out from the pack.

Speaking of the lyrics, I personally think a lot of Pandora has a very political and even religious undertone to it; a fair assessment?

Forrest Olsen: We’re not a religious band, but I use religious archetypes metaphorically and satirically. We are strongly opposed to the Bush agenda and we hope that the lyrics will stir political thought and conversation and raise awareness to the real problems in the world.

So when your not pulling inspiration from politics and religion, where else does the inspiration come from?

Forrest Olsen: Inspiration for the lyrics comes from personal and global struggle and the desire and frustration of trying to remedy them. Musically, there are thousands of bands that give us advice, through their sound.

Is there an underlying theme to Pandora?

Forrest Olsen: I wrote the lyrics to be open to the interpretation of the listener, so that they could finish the art themselves. However, there are definitely recurring themes that were laid out intentionally so.

You worked with acclaimed producer Chris Fudurich on Pandora.

Claudio Rivera: Chris is a great engineer and he got us the exact sounds that we wanted for this album. He’s super easy to work with and doesn’t mind letting you literally take control of the session. However, he won’t hesitate to call you on mediocrity that might slip in there.

What kind of touring plans do you guys have lined up for the rest of the year?

JT Viele: We have a pretty long tour coming up from August 12th until October 2nd, if our van can make it, that is. Basically, we love to play any kind of show and our motto has always kind of been if you book it, we will play it. There are a couple really cool, bigger possibilities for the winter, but it is way up in the air.

If you could tour with any band right now, what band would that be and why?

Matt Broadbent: I think we’d all pick a different band. Anything from Bad Religion to Jimmy Eat World, but there are so many great bands from the past that would be incredible to reincarnate in full rock glory.

Are there any areas where you feel that band needs to improve on to get exactly where you guys want the band to be?

Claudio Rivera: We will always try to be better in any way we can. We also want huge pectoral muscles.

So besides building up those muscles, what are the long-term goals for Somerset?

Claudio Rivera: The long-term goal is to not have to come home to regular jobs, when we go broke from touring. Ideally, we’d be on the road for as long as we possibly could. The only way to get there is to continue to let ourselves be heard and keep our fingers crossed.

Longwave – There’s A Fire

I’m trying as hard as I can to make this review brief, lacking the rambling (read: boring) style that my reviews can often delve into. I’m going to try extra hard to make this one a curt little piece so I can drive home exactly how good an album There’s a Fire is. The album is a leap forward from Longwave’s last full length, The Strangest Things, and miles ahead of the bands formerly used as comparison points (Strokes, etc.) This is an album filled with rock songs so anthemic, (I refuse to use U2 in reference to anthemic- when was the last time you felt a rush listening to “Vertigo”?) your ears might give out. Longwave have turned in a complex, heartfelt, experimental rock album that just feels massive, but never clumsy.

The album begins with a mission statement of sorts with its title track. A tense keyboard line, powerful drumming and an uplifting guitar melody buoy poetic, slightly existential lyrics, like “in the end it’s all the same / when there’s no one left to blame whether your dancing in the light, or crawling on all fours.” This is one hell of an extraordinary opener.  If there is one word that might seems foreign in the above, it is certainly “poetic” in reference to the lyrics. Longwave, while always being able to craft impeccable rock songs, were never extraordinary or especially effective wordsmiths (“I am everything you wanted, I am everything you need” was the refrain from the hit, “Tidal Wave” off their last album). On There’s A Fire, they stretch themselves while also acknowledging their flaw- the songs’ lyrics are often brief, natural realizations- Bright Eyes they ain’t.

Track two, “Underworld,” is just as jarring, sounding as though it were recorded underwater (rumor has it the album was originally a concept piece about a sea creature) with distant, muffled drums, and singer Steve Schiltz providing a delicate falsetto. Halfway through the track, however, the song abruptly changes into a psychedelic freakout. A similar progression occurs in first single, “River (Depot Song),” where the song’s moody aggravation surrenders to an extraordinary two minute guitar solo at its end. I could gush this much over every track on the album, save two, both of which suffer lousy production at the hands of the normally great John Leckie (who has produced albums by The Stone Roses and Radiohead). “The Flood” could be a great track, were it not for the pretentious, ineffective echo attached to Schiltz’s voice, and “Tell Me I’m Wrong” sounds like pop-punk made by robots, with blips and beeps all over an otherwise adequate rock track.

For every flaw on the album, there are three or four successful experiments, like the reworked “We’re Not Gonna Crack,” (originally appearing on last year’s Life of the Party EP) a straight ahead mosh worthy agro-rocker, or the bossonova percussion on “Down in Here.” However, just like The Strangest Things, the band has saved its real gems for the albums conclusion. “Fall on Every Whim” is a touching, sprawling ballad most bands wish they could write. “Underneath You Know the Names” a plodding, victory lap of a song, closes the album in high style.

Longwave recorded There’s a Fire in an old house in upstate New York, away from their stomping grounds of Brooklyn, and save a short EP, it was the first material from the band in nearly three years. Leave it to a band like Longwave to wait for all hype to die down before they actually deserve it again. 

(RCA Records)

Glass & Ashes – Aesthetic Arrest

Glass & Ashes “debut” Aesthetic Arrest was released last October and even though it’s been quite a few months, the disc deserves a couple words because if you haven’t heard it yet—you need to. It is a damn solid release. I call it their “debut” because Glass & Ashes were formerly known as Kenji and it just seems unfair to pretend this heavily experienced band is something brand new. I think after hearing the release, the skill and concentrated harmony of the guys speaks for itself.

The music is intense and melodic; harsh and beautiful, making Aesthetic Arrest an appropriate title. “Black Beneath the Eyes,” “Eighty-Six,” and “Off the Piranha” are a few notable tracks to mention if you are the iTunes type and want to hear a little before you fork over the whole 15 dollars. The band combines straight musical talent with an emotional and powerful vocalist. I am a fan of the vocal stylings of MewithoutYou and I don’t hesitate to make comparisons here. Albeit, Glass & Ashes is a bit more screamo than MewithoutYou, but I swear that these guys have identical vocal chords and I think we all agree that’s a good thing.

The band tours a lot and if they are as intense live as they are in a boring studio, then you better bring some earplugs if you plan on hearing anything for a while afterwards—and don’t say I didn’t warn you. This band’s live show comes with high recommendations in the hardcore crowd for its severity and raw vigor. If they show up around here—I will be there. Aesthetic Arrest isn’t one of those albums that will leave you embarrassed when, in a couple of years, someone is listening to your collection and making fun of your Simple Plan and Eighteen Visions CDs—nope, Glass & Ashes will make the cut.

(No Idea Records)

Umbrellas – Umbrellas

From the blurred promotional photos to the cleverly constructed story-like biography, Umbrellas seem to enjoy the mystifying deceptions behind them. What is more surprising is how Umbrellas stray away from most of the Militia Group roster and offer a more indie rock quality with a melodic folksy touch to their music. For the most part, the album is very relaxed and peaceful with a few bubbly moments that are thrown in to spruce things up a bit. Most of the songs are accompanied by the piano and vintage keyboards with easy-on-the-ears guitars with subtle tones and placid drumming. With the vocals of Scott Windsor added on top of all the music you really get some pleasant sounding tunes.

Now the music isn’t all that catchy but with this style of indie rock, it isn’t such a negative quality. The assumption is that most bands would try to sugar coat the music by adding in some catchy hooks and choruses, but Umbrellas go back to that intrigue and air of mystery by keeping their music away from the typical trappings of generic pop music. Instead, they fill their time by making the songs somewhat complex but not overly constructed. Now this might not appeal to the mainstream, but for those who would rather experience their music with a tad of inventiveness, Umbrellas are sure to appeal to you. The majority of the songs on the release are really solid and enduring- mostly due to the strong instrumentation. Hearing a rhythm section so stark on a release is a breath of fresh air.

The lyrics are also above average and really help fill in with the whole indie rock backdrop. On the track “June, Summer, Rose” the lyrics, while prosaic, hold its own little story while fitting into the overall tone of the album:

“I once knew a girl named June / and one July she waved goodbye / I remember finding her curled up on an old box spring / she said / I’m gonna make mistakes, I just hope you notice / I once spoke to a girl named summer / and one fall she stood so tall/ she found some confidence and some wings / and she flew away / she sang / you can’t hold me down any longer / what a beautiful song it was.”

Coming into this album without much anticipation or information does the listener good. Having been intrigued by Umbrellas and then listening to the album, it’s clear that sometimes, it’s a good thing to leave some of those details behind.

(The Militia Group)