Monday, October 31, 2011
Punk & Metal Seven lessons from my first GWAR show
Posted by Taylor Peters on Mon, Oct 31, 2011 at 10:15 AM
Update: On Thursday, as GWAR prepared to head to Canada for the remainder of their current tour, lead guitarist Cory Smoot (aka Flattus Maximus) was found dead. This is truly sad news, and NUVO offers our condolences to Smoot's friends, family and band mates. Metalsucks has a statement direct from GWAR's frontman, Dave Brockie, on Smoot's passing.
1. No matter how much time you spend trying to find a spot that's out of the range of GWAR’s many blood cannons, you'll probably underestimate. I didn’t count the number of times that GWAR shot fake blood into the audience, though I’m positive it was at least ten, and probably more. At one point they decided to cut through the drama of acting out a beheading or a disembowelment as a precursor to jets of fake blood, and instead they just wheeled out a cannon whose sole purpose, it seems, was to emit a concentration of fake blood into the audience.
2. A high level of acting skill is not necessary with a liberal helping of fake blood and a heavy-metal backing track. At several points in the evening, one character would simply wave his giant sword in the direction of another character, at which point that character would simply stop what he was doing and remove a layer of fake skin in order to simulate a wound. Casting directors of the world, take note.
3. GWAR are a great unifier in the heavy-metal world. Under few other circumstances would it make as much sense for a traditional death-metal band like Ghoul and a metalcore band like Every Time I Die to be playing together. In addition to this, I saw nearly every stripe of metal-head imaginable at this concert, and they all seemed either to be having the time of their life or to be frustrated that they were more soaked in fake blood than they would have liked.
4. There is probably someone, somewhere writing a lengthy academic essay on how GWAR is a reflective repository of negative cultural imagery from American society. This essay, though probably containing a valid argument, is misguided.
5. It is as bizarre as it sounds to see an effigy of Snooki from Jersey Shore disemboweled by a bunch of armored trolls. It is equally weird to see a group of armored trolls hold a bull fight with a dragon-like creature called the "Jaeger Monster," as well as to see them attack a small roundish creature with giant teeth and a feather duster for an arm because it was a custodian and it complained about the mess they were making.
6. After seeing the band for the first time, it is likely that you will spend the first 10 minutes of your drive home laughing maniacally. With a little bit of critical distance from the events that have just befallen you, it becomes quite clear how patently ridiculous and hilarious it is that a band has made a career out of live shows like the one you just saw.
7. It is possible to do basically the same thing for nearly 30 years and to maintain a consistently high level of energy and commitment to creating the most absurd live show possible. GWAR first formed in 1984. Since then they’ve played countless shows and fired countless gallons of fake bodily fluids into countless audiences. After this concert at The Vogue, it’s clear that they’ve lost none of their energy, and that they’ll probably continue doing what they’re doing into the foreseeable future. Thank heavens for that, because GWAR inject some much-needed levity into a genre that sometimes takes itself far too seriously.
Friday, October 28, 2011
Rock Review: Christian Taylor's Showcase
Posted by Grant Catton on Fri, Oct 28, 2011 at 4:30 PM
Every month or so, Indy’s own musical jack-of-all-trades Christian Taylor (of bands America Owns the Moon and Homeschool) rounds up some of his favorite local musicians for a low-profile singer-songwriter showcase at the Melody Inn. This month's roundup featured the band Psychic Feel, members of The Kemps, Shawn Woolfolk of Household Guns, Mark Harmless of Small Arms Fire, and of course, Taylor, playing with a loosely associated group he likes to call Scene Elders.
It seemed like everyone in the Melody Inn on Wednesday was either a musician or the guest of a musician, making it feel almost like a private event. In a way, it was. Taylor hardly publicizes the event, so the audience ends up being mostly fellow musicians out to support their friends. However, for anyone who is a local music junkie, this monthly event is an absolute must-see. It’s a chance to see some of the best of Indy’s musical talent in a stripped down, close-knit setting.
Among a talented and varied lineup, Psychic Feel definitely stole the show. This trio brought a really powerful, psychedelic-alternative sound full of thick, slow basslines, fat chords, distortion, and torturously winding solos. I found it impossible to sit still while watching these guys play and succumbed to that instinctive desire you occasionally feel at a good show to get closer to the music. Their songs seem to simmer for a while in a kind of depressed, low-slung, grungy zone before breaking into guitar explorations that take off into another dimension of time and space.
Opening up the night was Mark Harmless, the drummer for Small Arms Fire, and Shawn Woolfolk of Household Guns. Harmless played a cover of Bob Dylan’s “My Back Pages,” and John Prine’s “Paradise,” (“Daddy, won’t you take me back to Muhlenberg County…”) as well as a number of his own compositions. Woolfolk, who usually rocks a fast-paced alternative groove, stripped things down and went completely acoustic. Accompanied by his drummer, Dave Hall, Woolfolk broke out a smoother, more soulful collection of his own compositions, including one called “Burgundy” (“When I met you/the day the world stopped/something’s got to give in”) that he wrote during a trip to Indy from his native Los Angeles.
Local favorite The Kemps had two representatives to play solo sets. Lead guitarist and singer Jared Birden plugged in with his big green Epiphone strapped high up on his chest and opened with a cover of Van Morrison’s “Gloria,” the ultimate garage rock song and exactly the kind of thing Birden was born to play. Birden has a totally cool stage presence and is always fun to watch; with his head hung low, hair hanging down over his guitar, which is tucked almost up into his armpit, he shakes and jerks frenetically to the rhythm of whatever he’s playing. He seems so lost in the music that he almost isn’t even aware of the crowd. After "Gloria," he busted out a cover of a Beach Boys song, as well as a few of his own.
Fellow Kemp Tyler Bowman, who plays drums in the band, took a different tack with his set. Sitting atop a barstool with his acoustic and crossed legs, he seemed much more a '50s beatnik than a '60s garage rocker. He sang his own compositions with a smooth, high-pitched timbre to his voice. He was using his voice as an instrument at times, and at others busting out some arrestingly deep lyrics, such as on the song “This Town” (“I’m too young to belong to anyone/and too old to be taken”).
Taylor wrapped things up, taking the stage at about 1:30 a.m. to the applause of the somewhat weary handful of folks who had remained for the whole show. Taylor opened with one of his classics, “Rain Falls Up.” Curly-haired and wiry, he rocks the beats a little harder, his high-pitched voice coming out as a whine as he croons his poetic but accessible lyrics; Taylor channels Neil Young at times. (“I felt the chill in the air/so I fed my chair to the fire/were those tears real that I cried/or did I just get smoke in my eyes?”). Sadly, it seemed like Taylor’s performance suffered due to the time (2:00 am) and the little life left in the room. Even his drummer and trumpet player/bassist seemed a little less than enthused as the set wore on.
Special Events Slideshow: More from Zombie Walk 2011
Posted by Paul F. P. Pogue on Fri, Oct 28, 2011 at 1:55 PM
We had two photographers on call to catch the rumbling, bumbling, stumbling zombies shambling through the streets of Broad Ripple Saturday night. Catch the first set of Zombie Walk photos here and take two below.
According to event organizer IndyMojo's Jason King, more than 1,000 zombies raised 5,349 lbs. of canned food for Gleaners Food Bank, which - as far as we know - doesn't yet offer brains as nourishment to the undead.
Slideshow
Review: Ben Folds with the ISO
Posted by Scott Shoger on Fri, Oct 28, 2011 at 12:00 PM
Ben Folds with the ISO
Wednesday, Oct. 26 at the Hilbert Circle Theater
Sure, Ben Folds has kind of grown up. He's 45, though he could pass for 10 years younger on a good day. His last record, Lonely Avenue, was a collaboration with British author Nick Hornby, who's had a lot to say about the belated coming-of-age of man-children in the past (About a Boy, High Fidelity). And he's been performing with symphony orchestras for eight years. His first date with the Indianapolis Symphony Orchestra was Wednesday night, before a sold-out crowd at the Hilbert Circle Theatre.
But even in an ostensibly refined setting, a playfulness remained, as evidenced by the second encore of the night, which saw Folds roaming through the rhythm section, playing a brief riff on, in order, cymbals, snare drum, tambourine, marimba, tubular bells, drum set, tympani and celesta. (Folds was a percussion student before he became known for playing piano on the college level; earlier in the show, he recalled fondly his time spent in the orchestra counting out 90 measures to play a single note on the triangle.)
And then he sat down to play the closing number, "Rockin' the Suburbs," which ended with a call-and-response with the audience. Folds: "Better watch out because I'm gonna say..." Audience: (gleefully) "Fuck!" I was reminded of the segment from Zappa's 200 Motels that saw the Royal Philharmonic Orchestra recording "Penis Dimension"; the ISO wasn't on the stage for Folds's encores, but the vibe was similar.
But really, isn't that the way things should be? Sure, Folds talked about his respect for the tradition of the symphony orchestra and the importance of music education in schools (suggesting that those in the college a cappella ensembles he judges on TV have taken matters into their own hands by teaching themselves music in the absence of robust music programs in secondary schools).
And, meanwhile, he still plays his playful smart-ass routine to the hilt. His more recent work continues to marry romantic sappiness with college humor (say, "Cologne," a conventionally pretty song that includes a verse about a jilted astronaut who drove 18 hours, while wearing an adult diaper, to murder an ex-boyfriend).
It's no wonder that Folds has made his piano-with-orchestra concerts central to his touring schedule. His songs, even those that originally lacked strings, lend themselves easily to an orchestra setting, with their big, sometimes schmaltzy melodies and chord progressions. And Folds, who, while making his case for music education, mentioned that he put in hours in the practice room during his early years, has both impressive technical chops (no surprise there) as well as the ability to tone down the piano gymnastics a notch in order to let the orchestra do the heavy lifting.
His setlist drew as far back as the second Ben Folds Five album, including a vibrant, energetic arrangement of "Steven's Last Night in Town" (which was written about, as Folds explained, the producer Stephen Short, who said he couldn't love a woman with "cauliflower legs," or, as the song has it, cellulite). And there was plenty of solo material, including a convincing reading of "Picture Window" from his Hornby collaboration.
The first encore offered another glimpse at a younger Ben via "Emaline," the only request Folds took during the show and what he described as the first song that he ever really saw through to completion. Though it dates from before his Ben Folds Five days, it still holds up, and he managed to dress it up with a faux-classical section and other accoutrements.
Jazz & Blues Cyndi Lauper and Dr. John at The Palladium
Posted by Micah Ling on Fri, Oct 28, 2011 at 10:00 AM
Cyndi Lauper, Dr. John
Thursday, Oct. 27
The Palladium
The Palladium in Carmel was rocking Thursday night...sort of.
A crowd of about 1,000 made the 1,600-capacity theatre seem full but not packed. But the venue is something to see, no matter who's playing or how many people are in the room.
Decked out in a purple suit and golden shirt, Dr. John opened with classics, including "Right Place Wrong Time." He wore his age well; he even did a little dancing across stage. There were skulls on the piano, and not because of Halloween; he gave the crowd a straight-up shot of New Orleans/Mississippi Delta Voodoo blues.
Cyndi Lauper joined Dr. John on stage for a not-so-rehearsed rendition of "Wang Dang Doodle," but they pulled it off.
The set break took more than 30 minutes, which made the crowd a little anxious.
Things didn't start well for Lauper when she took center stage. She seemed awkward and had some costume and sound glitches. After a song or two, she acted confused, so people shouted out requests. She replied, "Uh, let's see...I don't take requests...zip it...shove it...if you want to hear that go take a walk and come back."
And she kept talking. She told stories about Halloween, dressing up dogs and dancing. She got the crowd back a bit with "She Bop," during which she climbed off stage and entered the audience. That was fun, but it got old when she did it a third and fourth time.
The rest of Lauper's set included blues covers and songs that made her famous. Drummer Steve Potts owned his kit, playing like he was alone on stage and taking the spotlight a few times.
Lauper probably would have been run out of Indy by an angry mob if she hadn't ended with her trio of classics, "Girls Just Want to Have Fun," "Time After Time" and "True Colors." Despite the glitches, the awkwardness of an aging star and all the filler commentary, this music made people move. It made them feel happy and maybe a little younger than they looked, and really, that's good enough.
Thursday, October 27, 2011
Rock / Roots The Elms announce DVD retrospective
Posted by Rob Nichols on Thu, Oct 27, 2011 at 3:26 PM
After seeing some new posts about final mixing and video editing for The Last Band On Earth, the DVD retrospective project they're working on, I talked to singer Owen Thomas about the piece that should serve as both a memento for fans and and an opportunity to wrap their run as a band into a self-produced, worthwhile package.
The details include a generous amount of music and even some documentary stuff. They are getting ready to start making announcements about the project through Twitter and other social media outlets. When I caught up with Thomas, he was able to give NUVO some of the scoop early.
"Details will go live at TheElms.net about all this stuff on about November 1,' Thomas said. "We're finalizing things now, in the final mix & edit stages of the film. The DVD will be out on Black Friday (November 25). People can follow The Elms on Twitter for the latest."
NUVO: How many songs will the DVD contain?
Owen Thomas: The DVD will contain 20 songs from The Elms' final performance. It'll be about 120 minutes long, with a couple never-before-released tracks, and about 12 songs that have never been offered live.
NUVO: DVD and CD/audio or a DVD only?
OT: There will be a deluxe package which contains the DVD and 30 high-quality downloadable tracks from the final show, plus a commemorative movie poster.
NUVO: How has the project been to work on? Highlights? Lowlights?
OT: We've all been super busy traveling and doing work with other artists. So, some time opened up over the summer and we dove into working on the film. We've been working on this from the road as we travel, too. (Elms' guitarist) Thom (Daugherty) is actually sending me mixes from Minneapolis right now. It's been an extraordinary amount of work. I mean, it's a feature-length film. It's been as much, or more work, than any record I've ever made. But I'm extremely proud of it.
OT: The film will be exclusively available at TheElms.net, possibly iTunes soon. We've got people talking to Netflix about possibilities.
NUVO: Artwork? Being worked on?
OT: We're doing it all ourselves. Artwork, editing, mixing, everything. My creative house, Absorb, is doing the heavy visual lifting. Thom is mixing the audio. It sounds really fantastic. The film is going to be really wild, really cool. We're calling it a "documentary concert film". It's raw, really visceral.
Hear The Elms - Sneak Preview
She's Cold (Sneak Pique) by Thom Daugherty
Local Business Verizon Wireless becomes Klipsch Music Center
Posted by Katherine Coplen on Thu, Oct 27, 2011 at 1:38 PM
As of today, Verizon Wireless Music Center will be known by a new name: The Klipsch Music Center.
The name change for the largest amphitheater in Central Indiana (which was originally named Deer Creek Music Center) was announced today at a press conference that brought together Klipsch employees, the Indianapolis Live Nation team and various press outlets.
This is not the first time Klipsch has partnered with Live Nation, which owns the legendary Indiana amphitheater. They also have partnerships in Miami and New York City.
Though Indianapolis-headquartered Klipsch is a global speaker manufacturer now owned by Audiovox, the new name feels slightly more home-grown: The company has been headquartered in Indianapolis for over 20 years.
"Live shows and their memorable, emotional impact have defined us as a company," said Klipsch CEO Paul Jacobs, voicing a thought he hopes will resonate with live-music fans.
Local Business The Vollrath is silent
Posted by Katherine Coplen on Thu, Oct 27, 2011 at 11:40 AM
The Vollrath Tavern, home of shows local, regional and national, closed its doors as a venue for the last time this past Sunday. Owner Brian Alvey sold the historic building to make way for a catering business.
First opening its doors in 1926, The Vollrath originally served as a speakeasy during Prohibition. It later became a storied local watering hole known to host John Dillinger, among other historic celebrities (including some ghosts). In the years following, the tavern was used as a music venue for underrepresented artists and was part of the still-growing Fountain Square music scene.
The Vollrath Tavern was a great original venue for local artists and will be missed.
UPDATE: According to the venue's Facebook page, another location may be opening soon. "Attention all bands with upcoming shows scheduled at The Vollrath: we are doing everything within our power to get all upcoming shows moved to a new location. Info regarding the new location will be posted in the next few days. Stay tuned. Bob Fouts Vollrath Booking & Event Manager."
Soundcheck: Cyndi Lauper, GWAR and more
Posted by Katherine Coplen on Thu, Oct 27, 2011 at 8:00 AM
Thursday
Cyndi Lauper and Dr. John
Just want to have fun? Join two musical greats with long-reaching careers for a night of jazz, blues, and rock at the Palladium. After giving Girl Rock multiple anthems throughout the '80s and early '90s, Lauper diversified her career, earning acclaim as a musician, actor, writer, and voice talent. In later years, Lauper has solidified her status as a gay icon, writing in The Advocate regarding LGBT rights, We need to speak loudly. We need to raise our voice and vote. Rock & Roll Hall of Famer Dr. John showcases the best of New Orleans' musical history, intertwining voodoo culture, boogie woogie, Zydeco, blues, and jazz. His album Desitively Bonnaroo inspired the Manchester, TN festival of the same name. These musical juggernauts have a combined eleven Grammy Awards between them.
Here Come The Mummies
You read our interview with these funky dudes. Now go join their eternal dance party. Here Come the Mummies will also be at the Vogue Friday, but tickets for that performance are sold out.
Friday
Sebadoh
Now is your chance to hear just-reissued Harmacy and Bakesale along with other tracks from this seminal '90s indie band.
Saturday
Punk Rock Night Halloween Rip Off
Featuring covers of The Ramones, Dead Kennedys, Bad Religion, Metallica, Fear, and Meat Loaf, Punk Rock Night at the historic Melody Inn will be the most hit-filled night in town. Local performers have worked tirelessly through the fall to perfect their tribute sets so you can dance the night away to “Paradise by the Dashboard Light.” Attendees are encouraged to come in costume.
Benefit Show for Eric Hamm
This afternoon event is co-headlined by NUVO Best Of winner Max Allen Band, Souls of Mischief, Tyrae Tala, C-Rayz Walz, and Son of Thought. The event will sponsor a young man suffering from a large brain tumor. D.A.M.P Productions, the event's organizer, writes, “Whenever anyone needs something, Eric has always been there to help his friends and family; whether it’s helping clean up a fallen tree, helping you move, or bailing your butt out of jail, you can always count on him. Eric Hamm has no doubt paid forward any amount that is donated to help him and his family.”
Kenny "Babyface" Edmonds
Indianapolis welcomes back one of its own as Circle City native Kenny "Babyface" Edmonds returns to the stage at the Palladium Theatre for a night of pop and R&B that you'll never forget. After getting his start playing guitar for a few local bands, Edmonds found commercial success in the latest music fad of that time: new jack swing. After writing popular songs for Bobby Brown, Karyn White and Paula Abdul, Edmonds took off on a successful career all his own. Few creative forces have impacted the contemporary pop and urban genres as much as Indianapolis-native and international icon Kenny “Babyface” Edmonds. The ten time Grammy Award winner with 11 solo albums of his own, his charisma, charm, and poignant musical talent continue to delight audiences. The incredibly prolific Edmonds has cranked out 26 number one R&B hits and is currently in the studio working on his ninth studio album.

Sunday
Never Shout Never
Tweens will scream for Never Shout Never, MySpace superhit and former Hellogoodbye tour partner. Three albums into a rapidly escalating career, Never Shout Never follows in the mega popular pop-punk tradition of bands like The Cab, We the Kings, and Forever the Sickest Kids. Expect lots of screaming young girls at this show, supported by Carter Husley, Fake Problems, and A Rocket to the Moon. Never Shout Never is a sugary-sweet alt-teen favorite in the style of Hellogoodbye and The Plain White T’s, referencing text messages, Waffle House, and your mom’s house in their lyrics. The band, a vehicle for lead singer Cristofer Drew’s piercing voice and silver-tongued lyrics, will act like a magnet for every lovelorn teen in town this Sunday.
GWAR
GWAR defies exact description, but this obscenely over-the-top heavy metal band always promises to create an entertaining show. The members, clad always in large foam and rubber costumes and prone to spraying gook into the audience, are part of an elaborate mythology that creates an almost entirely unique show experience. GWAR has been playing together since the early ‘80s, and includes Oderus Urungus, Flattus Maximus, Balsac the Jaws of Death, Beefcake the Mighty, and Jizmak Da Gusha. This show will be heavy (oh, will it be heavy); opening acts include Ghoul, a thrash metal band from Oakland, Calif., and Every Time I Die, a metalcore outfit from Buffalo, N.Y. (Incidentally, Ghoul’s members conceal their identities as well.) GWAR will take over The Vogue this Halloween Eve, and the audience will be at their mercy to participate in the absurdity they choose to create. Or, as the band themselves command “Hark to the hideous majesty of your Masters, rulers of Earth, the Mighty GWAR!”
Insane Clown Posse
8 p.m., $25.50 advance, $30 door, all-ages
Insane Clown Posse brings their Dark Carnival to the Verizon Wireless Music Center this Sunday. ICP, who crowned their entire fanbase Juggalos, has earned two platinum and five gold albums in their twenty year horrorcore hip-hop career. The duo is made of two Josephs (Bruce and Utsler), better known as Violent J and Shaggy 2 Dope. Known for their famous feud with Eminem, various arrests, and sporadic professional wrestling careers, Violent J and Shaggy 2 Dope have created a world all their own. Their fans, the Juggalos, revel in a self-contained subculture, rife with Faygo, face-paint, and a rapidly expanding annual festival. ICP, who typically revolve mostly within their own admittedly large fan base, recently became viral video stars with their God-worshipping, awestruck “Miracles” video. The crazed clowns will play undoubtably play to a packed house.
Wednesday, October 26, 2011
Jazz & Blues Jazz Notes: Poncho Sanchez, Holiday Showcase
Posted by Chuck Workman on Wed, Oct 26, 2011 at 2:00 PM
On November 11, the PAC will bring in the U.S. Army Blues Jazz Ensemble, featuring guest drummers Steve Fidyk, Peter Erskine, Keith Carlock, Simon Phillips, John Riley and Ed Soph and vibist Emil Richards. Tickets are available on a limited basis on a first-come, first-serve basis at the Indiana Convention Center Box Office the day of the 8 p.m. concert.
November 12 brings legendary conguero Poncho Sanchez to town to pay tribute to Latin Jazz legends. Sanchez is touring in support of his newly released 25th recording as a bandleader, Chano Y Dizzy, which features trumpeter Terrence Blanchard (who won't be making the trip for this show). Sanchez will also be celebrating his 60th birthday. Concert time is 8 p.m. Tickets are available also available on a first-come, first-serve basis on the day of the show.
December will mark the Indianapolis Jazz Foundation's annual Holiday Showcase at the Jazz Kitchen. A highlight of this event is the induction of nominees into the IJF's Jazz Hall of Fame. This year's inductees are pianists Alan Burke, Carl Hines and Gary Walters and drummer Gene Markiewicz.
