You know, I had to read this blog just to remember what the hell I have been doing and where I left off. This required considerable thought. This Jury Duty thing is really fucking me up. Don't get me wrong, I enjoy it quite a bit, and there are some really goood cases, but there's just so much I need to get done and believe me, being that close to Chinatown isn't helping as I have been eating well and buying too many DVD's. The potential transit strike was (and is) a looming threat and a cause of unnecessary stress at the moment. Combine all this with Christmas shopping, releasing two remix CD's, designing aggression Tshirts for the gig, rehearsing for the gig, and all the usual work and family related stuff and you have a busy existence. As always, I don't mind, but it's hard to get a decent sleep at the moment and with the impending arrival of coolest nephew on the planet for Christmas this week (this time with his mother), rest is not in the cards. This coming week also sees MOGworld cameo appearances from Lawyer/Agent/Advisor and Original Aggression Singer turned father of 2. These are welcome visits.
Irene and I took a quick walk in the rain last night to see The Donnas at irving. I know, you're thinking "Frank, why the fuck did you go see the Donnas" and you're right. However, my dear friend, Chicago's own Paris Trout is their tour manager and he dropped a line to say hello and we wanted to steal a few minutes to catch up. So, I didn't pay for the Donnas, and I'm sure this is kinda obvious, we're favourites during THE GOLD STREET YEARS. Anyway, they are ok live, nothing great, I'm not rushing back to see them, but the guitarist, though totally unoriginal in what she plays, is a fucking superstar. A total monster on the guitar. She needs to do a solo record ASAP. Anyway, "poor" Paris has to spend most of his time on the road with these ladies, which as I'm sure anyone would agree, is a better playing job than doing sound for Acumen. Paris is a hardworking motherfucker and a genuinely nice guy living his dream. He's earned all his success and I wish him more. He's all growns up now.
I'm a Christmas present shopping machine, I'm excited to be ahead of schedule and not doing this two days before said holiday. I can rest easier knowing the kids have toys, Irene has clothing and Danny has HAVOC on DVD. Yes, asshole, I got you something.
F
17.12.05
12.12.05
Indie Cock Rock
So I'm watching "Last Laugh '05" last night on Comedy Central - mostly for the sake of catching DCFC who were scheduled to play. The vocals were real shaky and Ben's acoustic guitar was messed up, so towards the end of "Soul Meets Body", he rips off the guitar (to the screams of excited fans) and throws it to the side. After the tune, he picks it up, smashes it and then kicks it across the stage. I immediately thought of Ash...
11.12.05
Cowboys and Geishas
It's been a busy week as you've been reading. Jury duty has been robbing me of my mornings, which is usually when I get the bulk of my work done (reading, music, E-mails, etc.) So I've been cramming quite a bit. Luckily, we have been able to catch up on some movies.
First, Irene and I went to a screening of BROKEBACK MOUNTAIN, from the man who brought you the HULK (seriously). By now you have heard about this film I would think. It's the "gay cowboy" movie, but it's a lot more than that. It's a subtle and expertly told love story between two men in a time and place where men where MEN and anything else resulted in fates worse than death. While I thought the first half moved a bit slow, it was intentional, and it made the second half that much stronger. Very quickly, the "gay" thing doesn't matter because it's about two human beings who are soulmates unable to live the life they want together. It's a risky movie and in my mind, it paid off. The emotional weight of these two men trying to live "normal" lives (wives, kids, etc) is very powerful and very moving. Easily one of the best films this year and Heath Ledger, who I've never enjoyed or thought much of, is incredible in this movie and easily deserves an Oscar Nomination. The valuable lesson learned, however, is this: No man, gay or straight, can deny sex with Anne Hathaway (by the way, I'm going to try and have G do a guest review of HAVOC here soon). Anyway, Ledger at least deserves a nomination, if not the Oscar itself.
I never read the book MEMOIRS OF A GEISHA (for the record, I don't read books), so I have nothing to compare the movie against, but I thought it was a bit slow, sometimes too slow, and never really build momentum. It just sorta plods on and it's a shame cause there are SO many good actors in this movie. Let's face it, Zang Ziyi is going to be the biggest female Asian star on the planet soon. Her English has improved tremedously and she commands a screen like few actresses can. Danny is now in love with Gong Li cause he loves dominating bitches and she too is excellent in this film. Unfortunately, like in BATMAN, The Watanabe is underused cause here is another Asian star who reaches out from the screen and grabs you by the lapels and commands you to give your total focus. He's amazing but sadly not in the film enough. I walked out of the film and never really thought of it again other than I was excited all of these great actors (including Michelle Yoeh) were getting work in Hollywood films and being treated with respect.
I'm sorry these reviews aren't too in depth, but thats what Lurch is for.
F
First, Irene and I went to a screening of BROKEBACK MOUNTAIN, from the man who brought you the HULK (seriously). By now you have heard about this film I would think. It's the "gay cowboy" movie, but it's a lot more than that. It's a subtle and expertly told love story between two men in a time and place where men where MEN and anything else resulted in fates worse than death. While I thought the first half moved a bit slow, it was intentional, and it made the second half that much stronger. Very quickly, the "gay" thing doesn't matter because it's about two human beings who are soulmates unable to live the life they want together. It's a risky movie and in my mind, it paid off. The emotional weight of these two men trying to live "normal" lives (wives, kids, etc) is very powerful and very moving. Easily one of the best films this year and Heath Ledger, who I've never enjoyed or thought much of, is incredible in this movie and easily deserves an Oscar Nomination. The valuable lesson learned, however, is this: No man, gay or straight, can deny sex with Anne Hathaway (by the way, I'm going to try and have G do a guest review of HAVOC here soon). Anyway, Ledger at least deserves a nomination, if not the Oscar itself.
I never read the book MEMOIRS OF A GEISHA (for the record, I don't read books), so I have nothing to compare the movie against, but I thought it was a bit slow, sometimes too slow, and never really build momentum. It just sorta plods on and it's a shame cause there are SO many good actors in this movie. Let's face it, Zang Ziyi is going to be the biggest female Asian star on the planet soon. Her English has improved tremedously and she commands a screen like few actresses can. Danny is now in love with Gong Li cause he loves dominating bitches and she too is excellent in this film. Unfortunately, like in BATMAN, The Watanabe is underused cause here is another Asian star who reaches out from the screen and grabs you by the lapels and commands you to give your total focus. He's amazing but sadly not in the film enough. I walked out of the film and never really thought of it again other than I was excited all of these great actors (including Michelle Yoeh) were getting work in Hollywood films and being treated with respect.
I'm sorry these reviews aren't too in depth, but thats what Lurch is for.
F
8.12.05
A Musical Journey
Depeche Mode. Legends. There's no doubt of this. How many times have we seen them? 5 times? 10 times? They're just awesome. Their catalogue stands the test of time and by all convention, they should be long gone. There is no logical explanation for their selling out every arena on this planet (literally) still let alone two nights at Madison Square Garden other than they are simply fucking awesome.˙So this time with a good, upbeat, solid album called PLAYING THE ANGEL, the excitment for DM was at a fever pitch morseo this year than previous tours. For the record, unlike every other tour I go to see, I successfully avoided hearing anything of the setlist before the gig so I could go into it spoiler free (a miracle). Special thanks to my LA friends who saw them a few weeks ago for staying true to the gag order.
Things started off well. I liked the 50's kitchy sci-fi set. Only Anton Corbijn could get me to like that kinda shit. Their video displays also were super. DM had great intro music, which many of you know I'm a sucker for. It set the tone and they busted out the first two songs from the new album. Ash immediately pointed out that A PAIN THAT I'M USED TO came across like VIOLATOR era DM, which is obviously a good thing. You gotta do the new songs, thats the business. They thin went into JOHN THE REVELATOR, which is a decent song with the energy the previous few DM albums had been lacking. However, the lack of backup singers beyond Gore and that annoying fucking keyboard player (more on him in a bit) took away from this song (All of the new songs, musically, came across much better live than on the album. I attribute a lot of this to the fact that biggest drawback to the new album was the lack of live drums, something I believe both Brandt and Michael Ex-Saintface agree with me on)
The first obvious thing is that Dave is so insanely on that it's shocking. He's a million times better a singer and frontman now than he was during their heyday. He's got his confidence back in a big way. On the hits tour he seemed hesitant, on the Exciter tour the material seemed to slow him down. This time they have it right. Dave is a beast and a handsome one at that. He's got, as Danny Boy would say, IT. Unlike other stars with drug problems, Dave is MUCH better clean than he ever was on drugs. Kudos.
Wisely, they then busted out a few classics (QUESTION OF TIME and POLICY OF TRUTH) before going into a slowed down version of PRECIOUS. I actually liked this because it made sense as they went into an awesome version of WALKING IN MY SHOES from there. After, the new track SUFFER WELL (one of Dave's tunes, all of which I'm a fan of on the new CD) came across much better than it did on CD with better programming and live drums. Let me state here that DM's drummer, Christian Eigner, is excellent (and also Dave's co-writer) and really kept things together.
They had momentum, they had the crowd and then they let Martin take centerstage. I have no other way to say this other than the two songs Martin did here sucked the life out of me. His gimmick is old, he just looks tired and his solo songs on this new album, and I HATE to say this, blow. Between that solo album last year and his solo songs on the DM album this year, the guy just lost it. I hate typing this but its true. Dave's songs have a life and energy and if I have said this once I sad this a dozen times, Dave should have been allowed to write half the record.
Here's where I have my biggest complaint, and it's the same complaint from the last few tours. This keyboardist they have, Peter Gordeno, is quite frankly, the worst. There were noticably missed parts, technical errors etc. and this wasn't the first time I've heard of this problem with him (friends of ours from Seattle said the same thing). Unlike this awesome drummer, the shit he plays is weak, the embellishments he tries take away from the songs, and worst of all, he acts like he's "in" the band. And none of this was more obvious during the solo stuff with Martin. He looks like the love child of Yanni and Peter Gallagher.
Dave came back to do an super version of his tune I WANT IT ALL, but it was the wrong tune for that spot, they needed something to get the momentum back. Happily the remaining third of the set were the hits, which I am grateful for, but it seems to be the same hits they play every year. Again, not a complaint, but busting out stuff like STRANGELOVE or IN YOUR ROOM or ITS NO GOOD would have been a bit more diverse than the same exacty versions of WORLD IN MY EYES and I FEEL YOU. Don't get me wrong, all of this was fun, but I wanted a bit of a changeup. However give them props for throwing PERSONAL JESUS and ENJOY THE SILENCE in the main set. And again, Dave carried this like a general going into war. He focused on his singing and shook his ass like a man. This man is a rock star and has the talent to back it up. I'd also like to add that Fletch, who has done little to none musically for the last 20 years to the point where he makes Mike Hess seem musically prolific, was fucking awesome with his new "listening to my headphones" gimmick as if he were a DJ. Hilarious. I respect that.
The encore started off poorly with a GREAT song SOMEBODY, ruined by the Elton John treatment of this douche keyboard player and Martin. I never saw Matt so mad in my life. Seriously. Well, at least in this country. Anyhow, the big "surprise" older than old song was JUST CANT GET ENOUGH was short, sweet and fun, but and I think this photo sums up Ash's reaction
The remaining encore songs were EVERYTHING COUNTS and NEVER LET ME DOWN AGAIN were solid, fun, but again, reliable and the same versions we've heard since Alan Wilder left. Then, inexplicably, they stayed on and did the closing track from EXCITER, which is called GOODNIGHT LOVERS. I dig this song, but they should have done it second to last instead.
And that was it. I know this sounds like a lot of complaining but its not. Do I love Depeche Mode? You bet. Will I got back when they supposedly tour again next year? You bet. But I would have preferred a riskier set (delving further into BLACK CELEBRATION and some of the older singles would not have killed them) because they have a fucking amazing frontman who can carry this band another decade or two just based on his talent. They will now tour the next year plus and make tons of cash and they deserve every penny of it. The new album is good, the show is good, but what is next? Honestly guys, it's time to either get Alan Wilder or Flood back and give Dave more control. It's time to take some risks. They have what it takes. And when they do come back, I'll be there.
F
Things started off well. I liked the 50's kitchy sci-fi set. Only Anton Corbijn could get me to like that kinda shit. Their video displays also were super. DM had great intro music, which many of you know I'm a sucker for. It set the tone and they busted out the first two songs from the new album. Ash immediately pointed out that A PAIN THAT I'M USED TO came across like VIOLATOR era DM, which is obviously a good thing. You gotta do the new songs, thats the business. They thin went into JOHN THE REVELATOR, which is a decent song with the energy the previous few DM albums had been lacking. However, the lack of backup singers beyond Gore and that annoying fucking keyboard player (more on him in a bit) took away from this song (All of the new songs, musically, came across much better live than on the album. I attribute a lot of this to the fact that biggest drawback to the new album was the lack of live drums, something I believe both Brandt and Michael Ex-Saintface agree with me on)
The first obvious thing is that Dave is so insanely on that it's shocking. He's a million times better a singer and frontman now than he was during their heyday. He's got his confidence back in a big way. On the hits tour he seemed hesitant, on the Exciter tour the material seemed to slow him down. This time they have it right. Dave is a beast and a handsome one at that. He's got, as Danny Boy would say, IT. Unlike other stars with drug problems, Dave is MUCH better clean than he ever was on drugs. Kudos.
Wisely, they then busted out a few classics (QUESTION OF TIME and POLICY OF TRUTH) before going into a slowed down version of PRECIOUS. I actually liked this because it made sense as they went into an awesome version of WALKING IN MY SHOES from there. After, the new track SUFFER WELL (one of Dave's tunes, all of which I'm a fan of on the new CD) came across much better than it did on CD with better programming and live drums. Let me state here that DM's drummer, Christian Eigner, is excellent (and also Dave's co-writer) and really kept things together.
They had momentum, they had the crowd and then they let Martin take centerstage. I have no other way to say this other than the two songs Martin did here sucked the life out of me. His gimmick is old, he just looks tired and his solo songs on this new album, and I HATE to say this, blow. Between that solo album last year and his solo songs on the DM album this year, the guy just lost it. I hate typing this but its true. Dave's songs have a life and energy and if I have said this once I sad this a dozen times, Dave should have been allowed to write half the record.
Here's where I have my biggest complaint, and it's the same complaint from the last few tours. This keyboardist they have, Peter Gordeno, is quite frankly, the worst. There were noticably missed parts, technical errors etc. and this wasn't the first time I've heard of this problem with him (friends of ours from Seattle said the same thing). Unlike this awesome drummer, the shit he plays is weak, the embellishments he tries take away from the songs, and worst of all, he acts like he's "in" the band. And none of this was more obvious during the solo stuff with Martin. He looks like the love child of Yanni and Peter Gallagher.
Dave came back to do an super version of his tune I WANT IT ALL, but it was the wrong tune for that spot, they needed something to get the momentum back. Happily the remaining third of the set were the hits, which I am grateful for, but it seems to be the same hits they play every year. Again, not a complaint, but busting out stuff like STRANGELOVE or IN YOUR ROOM or ITS NO GOOD would have been a bit more diverse than the same exacty versions of WORLD IN MY EYES and I FEEL YOU. Don't get me wrong, all of this was fun, but I wanted a bit of a changeup. However give them props for throwing PERSONAL JESUS and ENJOY THE SILENCE in the main set. And again, Dave carried this like a general going into war. He focused on his singing and shook his ass like a man. This man is a rock star and has the talent to back it up. I'd also like to add that Fletch, who has done little to none musically for the last 20 years to the point where he makes Mike Hess seem musically prolific, was fucking awesome with his new "listening to my headphones" gimmick as if he were a DJ. Hilarious. I respect that.
The encore started off poorly with a GREAT song SOMEBODY, ruined by the Elton John treatment of this douche keyboard player and Martin. I never saw Matt so mad in my life. Seriously. Well, at least in this country. Anyhow, the big "surprise" older than old song was JUST CANT GET ENOUGH was short, sweet and fun, but and I think this photo sums up Ash's reaction
The remaining encore songs were EVERYTHING COUNTS and NEVER LET ME DOWN AGAIN were solid, fun, but again, reliable and the same versions we've heard since Alan Wilder left. Then, inexplicably, they stayed on and did the closing track from EXCITER, which is called GOODNIGHT LOVERS. I dig this song, but they should have done it second to last instead.And that was it. I know this sounds like a lot of complaining but its not. Do I love Depeche Mode? You bet. Will I got back when they supposedly tour again next year? You bet. But I would have preferred a riskier set (delving further into BLACK CELEBRATION and some of the older singles would not have killed them) because they have a fucking amazing frontman who can carry this band another decade or two just based on his talent. They will now tour the next year plus and make tons of cash and they deserve every penny of it. The new album is good, the show is good, but what is next? Honestly guys, it's time to either get Alan Wilder or Flood back and give Dave more control. It's time to take some risks. They have what it takes. And when they do come back, I'll be there.
F
Ho-mode
If anyone runs into the members of Depeche Mode sometime soon, please give them this message: "Phone Alan."
The Alan in question is, of course, Alan Wilder, the band's former keyboardist and in-house virtuoso whose departure in 1995 precipitated Depeche's slide into stadium-sized mediocrity. But while his former bandmates have had a decade to acclimate themselves to Life After Wilder, it appears to have been a futile exercise: His absence was as tangible as ever at Madison Square Garden last night, when the 2005 incarnation of Depeche played the first of two sold out shows promoting their new album, "Playing The Angel."
True to form, a large contingent of the MOGpac — F, Irene, Matt, Ash, Lurch and myself — shelled out obscene amounts of money for this show, hoping that the band might have finally found its way out of the musical wilderness. Our expectations were buoyed by the fact that the album isn't bad. Sure, it never had a chance of living up to the marketing hype — billed as a return to the "Violator"-era sound that elevated the group to iconic status — but it was a marked improvement over 2001's fabulously dull "Exciter." Adding to the excitement was singer Dave Gahan's renewed passion for the group, no doubt partly driven by his new role as a songwriter, a first in the band's 25-year-history.
And Gahan, to one's surprise, has lost none of his vigor as a performer, despite the best efforts of middle age, comfort and sobriety. His stage presence is so intense and commanding that the big screen projections — a staple of stadium shows for the poor saps in the nosebleed seats — are practically rendered moot. More importantly, Gahan can actually can sing, and when he does he fucking means it. The man is justifiably a star.
But not even Dave's persona was enough to elevate Wednesday's show beyond passable, a problem that comes right back to Wilder. It's not only that Depeche is musically adrift without his musicianship, his stoic professionalism or his acute sense of production values. It's that while Wilder was in the band, he provided a vital counterweight to the group's prima donna, songwriter and guitarist Martin Gore.
Everything wrong with Depeche's latest show smacks of Gore's aesthetic: every conceit, every outrageous costume change, every schlocky visual. He walked onstage Wednesday evening in an outfit that resembled a Roman warrior crossed with a Chelsea rent boy on club night. Never one for subtlety, Gore's costume included a pair of diminutive black angel wings. You know, like the album? Nevermind.
Compounding the embarrassing visual spectacle was the set, a cartoonish amalgam of curved steel and blinking lights that could have been plucked directly from a sci-fi b-movie or the production lot of Star Trek. The coup de grace was the giant silver "space egg" hanging behind Gore, replete with neon lights that flashed words like "sex," "love" and — in case you missed the first reference — "angel." Having seen U2's "lemon" gimmick in person, I was afraid it would hatch at any moment. And I am ashamed to add that the blame for this design probably lies at the feet of Anton Corbijn, the band's longtime artistic director and a favorite of mine.
But it was the music itself where Gore's bombastic presence inflicted the most damage. The two hour set included three songs where Gore sang lead, much to the delight of many screaming girls who were overcome with memories of prom circa 1989. And while he belted out the slow dance numbers, he crippled the show by relentlessly chipping away at its momentum. No doubt, the good songs were great: "Everything Counts," "Walking In My Shoes," "Never Let Me Down Again" and "A Question Of Time" packed as much punch as ever, although Gore fucked up another classic — "Enjoy The Silence" — by adding a terrible Chic funk guitar to a jam during the song's bridge. In the interest if candor, I will be the first to admit that I never liked Gore or the fey persona that his fans adore. But Wednesday's show confirmed what I always suspected: Martin is an insufferable putz, and when he isn't kept in check, the band he founded suffers for it.
The Alan in question is, of course, Alan Wilder, the band's former keyboardist and in-house virtuoso whose departure in 1995 precipitated Depeche's slide into stadium-sized mediocrity. But while his former bandmates have had a decade to acclimate themselves to Life After Wilder, it appears to have been a futile exercise: His absence was as tangible as ever at Madison Square Garden last night, when the 2005 incarnation of Depeche played the first of two sold out shows promoting their new album, "Playing The Angel."
True to form, a large contingent of the MOGpac — F, Irene, Matt, Ash, Lurch and myself — shelled out obscene amounts of money for this show, hoping that the band might have finally found its way out of the musical wilderness. Our expectations were buoyed by the fact that the album isn't bad. Sure, it never had a chance of living up to the marketing hype — billed as a return to the "Violator"-era sound that elevated the group to iconic status — but it was a marked improvement over 2001's fabulously dull "Exciter." Adding to the excitement was singer Dave Gahan's renewed passion for the group, no doubt partly driven by his new role as a songwriter, a first in the band's 25-year-history.
And Gahan, to one's surprise, has lost none of his vigor as a performer, despite the best efforts of middle age, comfort and sobriety. His stage presence is so intense and commanding that the big screen projections — a staple of stadium shows for the poor saps in the nosebleed seats — are practically rendered moot. More importantly, Gahan can actually can sing, and when he does he fucking means it. The man is justifiably a star.
But not even Dave's persona was enough to elevate Wednesday's show beyond passable, a problem that comes right back to Wilder. It's not only that Depeche is musically adrift without his musicianship, his stoic professionalism or his acute sense of production values. It's that while Wilder was in the band, he provided a vital counterweight to the group's prima donna, songwriter and guitarist Martin Gore.
Everything wrong with Depeche's latest show smacks of Gore's aesthetic: every conceit, every outrageous costume change, every schlocky visual. He walked onstage Wednesday evening in an outfit that resembled a Roman warrior crossed with a Chelsea rent boy on club night. Never one for subtlety, Gore's costume included a pair of diminutive black angel wings. You know, like the album? Nevermind.
Compounding the embarrassing visual spectacle was the set, a cartoonish amalgam of curved steel and blinking lights that could have been plucked directly from a sci-fi b-movie or the production lot of Star Trek. The coup de grace was the giant silver "space egg" hanging behind Gore, replete with neon lights that flashed words like "sex," "love" and — in case you missed the first reference — "angel." Having seen U2's "lemon" gimmick in person, I was afraid it would hatch at any moment. And I am ashamed to add that the blame for this design probably lies at the feet of Anton Corbijn, the band's longtime artistic director and a favorite of mine.
But it was the music itself where Gore's bombastic presence inflicted the most damage. The two hour set included three songs where Gore sang lead, much to the delight of many screaming girls who were overcome with memories of prom circa 1989. And while he belted out the slow dance numbers, he crippled the show by relentlessly chipping away at its momentum. No doubt, the good songs were great: "Everything Counts," "Walking In My Shoes," "Never Let Me Down Again" and "A Question Of Time" packed as much punch as ever, although Gore fucked up another classic — "Enjoy The Silence" — by adding a terrible Chic funk guitar to a jam during the song's bridge. In the interest if candor, I will be the first to admit that I never liked Gore or the fey persona that his fans adore. But Wednesday's show confirmed what I always suspected: Martin is an insufferable putz, and when he isn't kept in check, the band he founded suffers for it.