Giant Robot Store and GR2 News

off1-band

Is OFF! the gnarliest band in the universe? The members’ chops came out of heavy bands like Black Flag, Circle Jerks, Redd Kross, and Rocket from the Crypt and they are complemented and pushed by each other’s unique badassness. That’s why they can tour with young, up-and-coming, and hungry punks like NASA Space Universe and Cerebral Ballzy without seeming like fossils. Instead, they’re the badass godfathers.

off2-openers

The vocals of Keith Morris are the blueprint for angry, pissed-off hardcore but they come off as brand new with the ripping guitar of Dimitri Coats, percolating bass of Steve McDonald, and massive drums of Mario Rubalcaba. The raging set was drawn pretty evenly from the essential first four EPs, bitchin’ self-titled debut, and the darker-than-crap follow-up. I loved it when Keith chided a girl for trying to take the playlist mid-set without asking by saying, “Don’t be a Republican.” And then followed, “Don’t be a Democrat, either.”

off3-point

I’ve never been to Coachella but I’ve become a fan because I like the club shows that the bands play in L.A. in-between. A couple of weeks ago I got to see Bryan Ferry at Club NOKIA. That’s a pretty small place to see a rock god play a killer survey of mostly Roxy Music songs with choice solo material. From “Re-Make/Re-Model” and “Ladytron” to “More Than This/Avalon” and “Jealous Guy,” he put on a clinic of how to be cool.

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off1-band

Is OFF! the gnarliest band in the universe? The members’ chops came out of heavy bands like Black Flag, Circle Jerks, Redd Kross, and Rocket from the Crypt and they are complemented and pushed by each other’s unique badassness. That’s why they can tour with young, up-and-coming, and hungry punks like NASA Space Universe and Cerebral Ballzy without seeming like fossils. Instead, they’re the badass godfathers.

off2-openers

The vocals of Keith Morris are the blueprint for angry, pissed-off hardcore but they come off as brand new with the ripping guitar of Dimitri Coats, percolating bass of Steve McDonald, and massive drums of Mario Rubalcaba. The raging set was drawn pretty evenly from the essential first four EPs, bitchin’ self-titled debut, and the darker-than-crap follow-up. I loved it when Keith chided a girl for trying to take the playlist mid-set without asking by saying, “Don’t be a Republican.” And then followed, “Don’t be a Democrat, either.”

off3-point

I’ve never been to Coachella but I’ve become a fan because I like the club shows that the bands play in L.A. in-between. A couple of weeks ago I got to see Bryan Ferry at Club NOKIA. That’s a pretty small place to see a rock god play a killer survey of mostly Roxy Music songs with choice solo material. From “Re-Make/Re-Model” and “Ladytron” to “More Than This/Avalon” and “Jealous Guy,” he put on a clinic of how to be cool.

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“Hi, I’m Terry and I’m manic depressive,” smiled the famously deadpan lead singer for The Specials during the spoken part of “Enjoy Yourself” at the end of Monday night’s return to Club Nokia. It was their second show there in 26 years–showing that the band didn’t just get heal up and get back together a few years ago but continue to actually enjoy themselves. Since the reformed band’s first stop in L.A. in 2010, the heavy parts during “International Jet Set,” “Stereotypes,” and “Man at C&A” got heavier and the light parts in between were just as light, with Terry Hall giving away tea bags and ginger from backstage (and making fun of American half & half) and Terry and guitarist Lynval Golding giving very conflicting reviews of Argo before playing “Concrete Jungle” (whether or not Ben Affleck is a “cunt”).

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It was a pretty big deal when that other post-class of ’77 punk, dance-influenced, experimental band that went by an acronym got back together and came through town last year. Of course, that was PiL with ex-Pistol John Lydon. (Both bands even have themes based on their names!) I missed that particular reunion tour, though, since I got to see them on the Generic Tour at the Hollywood Palladium back in 1986 and a few times after that, to boot. But when it was announced that Mick Jones was finally coming back to L.A. with B.A.D.,  I knew I couldn’t miss it. His previous band, The Clash, is one of my two favorite bands of all time (J Church is the other) and I love Big Audio Dynamite, too. Never got to see them. Wendy and I caught the end of The Chain Gang of 1974′s opening set. A pretty good mix of dreamy 4AD pop and dance-infused art rock, like Modern English meets HEALTH. Fun. But like the  crowd, we were there to see the original lineup of Big Audio Dynamite play in L.A. for the first time in ages (following Coachella and a warm-up show at the Roxy). Naturally, most of the set came from the first four albums, beginning with “Medicine Show.” On album, B.A.D.’s songs could sound like meandering pastiches but in concert it was clear that they are a band with loads of instrumental give-and-take and musical texture. There were heavy electronic, hip-hop, and reggae elements and beats–and bordered on jamming at times–but the band rocked.  “This is not cuff-links music,” Mick Jones drolly announced as he rolled up his sleeves before the band launched into “C’mon Every Beatbox.” Traces of his swagger are still visible, but he clearly has traded in his scowl for a smile. When I saw Jones play with Carbon/Silicon in 2007, and even got to interview him, I was struck by how happy he was to be playing with friends and how humble and affable he was in person. It was the same way last night. His chatting between songs sounded more appropriate for a tea than a concert setting. Alluding to the current riots in his hometown, the co-writer of “London’s Burning” thought out loud something like, “I would say something, but I don’t know anything about it.” He added that he wished he were there, though. By the time the band played the encores, either the mix got trashed or the high-end speakers were seriously blown out as the songs got louder and heavier. Jones introduced “The Bottom Line” as the first song B.A.D. wrote together, adding how nothing has changed since then. It’s true. The song’s gloomy-but-hopeful economy-related chorus is as current as its mixing of genres is ahead of its time. I’m not the most impartial judge, but I went to the show with quite high expectations that easily surpassed by the band’s ace musicianship, unmissable sense of playfulness, and (still) right-on lyrics. I was lucky...
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