100 Shows of 2010 - #86: The Black Angels @ Theatre of Living Arts, 11/6/10

Those of you that pay even the slightest bit of attention to my concert-going are well aware that I am in no way averse to putting some serious mileage on my car in the name of rock and roll. And when serious rock and roll beckons, such as, say, the undeniable psych rock revivalists The Black Angels, well, I feel totally and utterly powerless against their tractorbeam and subsequently get behind the wheel. So to Philly I went, for a wild and wonderful weekend that was pretty dang awesome, thanks in no small part to the live display of sheer magnificence that was The Black Angels. I was totally in love with this band before this show, and was even more enamored, if that's even possible, afterwards. I was also definitely more deaf than before the show, but that's not really here nor there.

MINI RECAP: The Black Angels = Gravity Defying! Overall Score: A

Beneath a brain-bending backdrop of aural hallucination-inducing red and blue (basically, a giant blowup of their Phosphene Dream cover), the Angels began to play. I had, of course, been tremendously excited to see them again, but I didn't realize until they strolled onto the stage just how very excited I in fact was. Their monumental set began with the sinister strains of "You On The Run", from the most excellent Directions To See A Ghost. It took me about 3 seconds to get goosebumps. Once again unable to find my earplugs, I stood at the very back of the room, against the soundboard. And I still felt the bass go through me, head to toe. It was just raw enough, while still maintaining that epic scale on the record. Hot damn, hot damn, hot damn.

A menacing rendition of another favorite, "The Sniper At The Gates Of Heaven", was another early inclusion in the set. The metallic, slightly unhinged vocals of Alex Maas were in full bloom, adding infinitely to the glorious disquiet. In perhaps a moment of silliness, they followed that with new song "The Sniper", much less growling but still very dark. I must confess, I heard these new songs live in my head a dozen times, but they never managed to sound this good. The fierceness of the guitar, the unbridled aggression of it all. Sensational. I'd have to say, I had one gripe with their set. During "Yellow Elevator #2", the band omitted my favorite part of the song, and launched immediately into "Black Grease". Now, this would be fine, but I do so love that unexpectedly, transcendentally ephemeral floating of the vocals in the midst of what kinda sorta sounds almost like a pop song (or as close, perhaps, as The Black Angels get to a pop song). Actually, I had two gripes. The other being that they stopped playing.

The band did a great job of mixing up the set and including greatness from each and every record. "Bad Vibrations" has rapidly turned into one of my most favorite Black Angels songs, so hearing the overpowering noise yet tightness of that song was a delight. The lull of the beginning gave way to an explosion of sonic savagery, and I hung on every note. The haunting swirl of "Phosphene Dream" filled every corner of the TLA. Maas once more proved himself a one of a kind singer, with that unholy howl of his creeping in among the controlled monotone. Another near-pop song, "Telephone", was next, its eerie dance vibe sending shivers up my spine. And while I hated to see their set end, they shut it down in the best, baddest, loudest way possible: A torturously noisy version of "Young Men Dead". With the sonic cadence akin to a forced march, it's no wonder that video game company picked this song to soundtrack their ad.

Now, it's no secret that my love for this band probably colors my opinion of them. But dangit, if you were at this show and didn't feel the earth move, even just a little, well I have no clue what the heckadoo is wrong with you. Maybe it's the sting of $7 PRB tallboys (really, Philly?!). Bottom line, my friends, is that this band is one of the best live bands around. Period. End of discussion.

mp3: Telephone (The Black Angels from Phosphene Dream)

100 Shows of 2010 - #32: The Brian Jonestown Massacre @ Theatre of Living Arts, 6/8/10

I can’t lie about it, my little darlings, the Theatre of Living Arts isn’t one of my favorite venues. It’s the only place I’ve ever almost been ticketed for loitering, and something about the place itself just doesn’t work for me. But be that as it may, when my beloved Brian Jonestown Massacre announced their 2010 tour, I knew I had no choice but to suck it up and head to the TLA for the show. And of course, I’m so very glad I did. Any chance to see the BJM is a chance worth taking.

MINI RECAP: The Brian Jonestown Massacre = Still Better Than Just About Everyone! Overall score: A-.

Truth be told, it kinda felt like an off-night for the BJM. Not musically, just in terms of energy levels. That being said, even on an off-night, this is a band that is miles and miles better than the vast majority of bands out there. They could have played two songs and it probably would have been worth the four hour drive. Thankfully, I got the added bonus of quite a few songs more than just two. And they were all pretty darned well played. But of course, I’m preprogrammed to love this band. And not just because of my little crush on Matt Hollywood, mind you. But also because to my mind, as a collective they’ve got more talent onstage together than should be legal. And don’t get me started on the awesomeness that is Joel Gion.

Things got going with a really, really fine version of the most excellent “Super-Sonic”, off the most excellent album Give It Back!. The layers of sound in that one song…incredible. Most of the set, to my delight, was comprised of favorite Brian Jonestown Massacre songs, which given the size of the band’s back catalog is a pretty impressive thing to accomplish. “Vacuum Boots”, one of my all-time favorites, was second in the set, and was simply gorgeous. It nearly took my breath away. Not quite as much, though, as did “Got My Eye On You”, quite possibly my favorite BJM song, with that kicky, sassy little beat and the adorable, bespectacled Hollywood taking lead vocal duties. I dare anyone to listen to that song and not become immediately infatuated with its creators.

The fantastic “Here It Comes” was also included in the set, after some in-set tuning. Gion, ever the source of amusement, advised the crowd to “say hi to your neighbor,” while the strings were tweaked. The song itself was full and haunting, as one might expect. “Anemone”, another of my most favorite of the BJM catalog, added to my joy. The seductiveness of that song cannot be underestimated. It was one of the finest moments of the entire night, hands down. After steamrolling through a snappy little version of “Jennifer”, the band began breaking the rules by lighting up some smokes onstage. O, those naughty boys.

Still more favorites were to come, not least of which was “Wisdom”, which was so bloody good I wrote it in my notes as “WIS FUCKING DOM”. Methodrone is at the moment my favorite BJM record, so hearing this beautiful piece of psychgaze made me quite possibly the happiest girl in the room. They could have ended it there and I would have driven home with a huge smile on my face, but the set just kept going. “Going To Hell”, “Not If You Were The Last Dandy On Earth”, “That Girl Suicide”, “Whoever You Are”, “This Is Why You Love Me”, “Oh Lord”, and “Satellite” all were played, and all were varying degrees of goodness and greatness.

The Philly crowd was actually rather receptive and appreciative, and though the band themselves seemed at times not completely tuned in, the show was pretty amazing. It’s always a treat to get to see this band live, and my third time was about as much as I could have hoped for. I might not love the TLA, but if the BJM goes back there next year, I’ll be at that show in a hot second. If you’re anything like me, you feel the exact same way.

mp3: Wisdom (The Brian Jonestown Massacre from Methodrone)