Showing posts sorted by relevance for query insubordination fest. Sort by date Show all posts
Showing posts sorted by relevance for query insubordination fest. Sort by date Show all posts

Monday, August 8, 2011

Insubordination Fest 2011


Wednesday, August 10th is the Insub '11 pre-show, hosted by Pat Termite of the Beatnik Termites. Sponsors for this year's fest are National Bohemian, Pabst Blue Ribbon, Insubordination Records, Interpunk, Knock Knock Records and Nuthin' Zine.

Insub 2011 Pre-Game:
Motorettes
Mallstars
Degenerettes
Flamingo Nosebleed
Braceface
Singleton
Lexington Arrows
Mandroids

Event Info:
Wednesday, August 10th, 2011
Doors 5 p.m.
$8
The Sidebar Tavern
218 E. Lexington St.
Baltimore, Maryland 21202
(410) 659-4130

Insub Fest Pre-Show Party:

Connie Dungs 12-12:30 a.m.
Young Hasslehoffs 11:10-11:40 p.m.
Max Levine 10:20-10:50 p.m.
Direct Hit 9:40-10 p.m.
Dead Mechanical 9-9:20 p.m.
Army Coach 8:20-8:40 p.m.
Barecat 7:40-8 p.m.
Shutouts 7-7:20 p.m.
Doors 6-7 p.m.

Event Info:
Thursday, August 11th, 2010
6 PM
$13
The Ottobar
2549 North Howard Street
Baltimore, MD 21218-4506
(410) 662-0069

Insubordination Fest Day 1:
Danny Vapid and the Cheats 12:20 a.m.
Mikey Erg 11:15-12 a.m.
Kurt Baker 10:20-10:55 p.m.
Dopamines 9:30-10 p.m.
Jetty Boys 8:40-9:10 p.m.
Mixtapes 8-8:20 p.m.
Be My Doppleganger 7:20-7:40 p.m.
Firecrackers 6:40-7:00 p.m.
Marshmallows 6-6:20 p.m.
Doors 5 p.m.

Event Info:

Friday, August 12th, 2011
Doors at 5 p.m.
Cost: $27.50
The Ottobar

2549 N. Howard Street

Baltimore, Maryland 21218


Insubordination Fest Day 2:

Chixdiggit 12:40-1:30 a.m.
Copyrights 11:40-12:20 a.m.
Kepi 10:40-11:20 p.m.
Dear Landlord 9:50-10:20 p.m.
Beatnik Termites 9-9:30 p.m.
Emily's Army 8:10-8:40 p.m.
Potatomen 7:20-7:50 p.m.
House Boat 6:40-7 p.m.
Iron Chic 6-6:20 p.m.
Fatal Flaw 5:20-5:40 p.m.
New Creases 4:40-5 p.m.
Murderburgers 4-4:20 p.m.
Karmellas Game 3:20-3:40 p.m.
Sun Puddles 2:40-3 p.m.
Quarantines 2-2:20 p.m.
Doors 1 p.m.

Event Info:

Saturday, August 13th, 2011
Doors at 1 p.m.
Cost: $38.50
The Ottobar

2549 N. Howard Street

Baltimore, Maryland 21218

(410) 662-0069

Tuesday, September 1, 2009

Thinking Back On Insubordination Fest: The Pre-Show

It's been a couple months now since the the most recent biggest annual pop punk fest of the 21st century, Insubordination Fest. I never really wrote anything about it because I put all my time into issue two and getting permission to use those songs for the comp. and all that. So it's really been bugging me. Anyway, I think a really really late and overdue review is in order before I forget altogether.

I don't necessarily remember the schedule and the lineup and who played on what day and stuff, but I remember the gist of it. But in sequential order - first the pre-show. I remember it being a hell of a hot day outside and walking several miles from our hotel to the venue. When we got there, it was hot in there too and everything drinkable seemed too expensive. Pat Termite kicks ass because he hooked us up on admission for the weekend so Pat, if you're reading, thank you.
I remember particularly enjoying Deep Sleep, an amazing hardcore band out of Baltimore. I got wood for that band after seeing them play Reggie's in Chicago with Psyched To Die and Dillinger Four. They were a great band - old school hardcore with short and intense songs. Definitely more fun than a lot of other hardcore bands which I think just take themselves way too seriously.

DEEP SLEEP


Short Attention was pretty cool - I've longed to see The Steinways, The Unlovables and all those east coast pop punk band I love and have never got the chance to see in Chicago. Short Attention though was different. I thought they were funny but I ended up actually being pretty annoyed mostly by the girl in the band, who didn't even play an instrument. Unless talking incessantly is an instrument. Then Teenage Bottlerocket played last and they played some new songs, which I fell in love with. One of them being "Skate or Die," the first track off their new album, "They Came From The Shadows" due out September 15.
That CD is going to own. Anyways, the pre-show was awesome. I remember Festipals was cool, but having never heard of them, I remember being puzzled as to why they were so high up on the bill.
The Max Levine Ensemble impressed me as well. They were a trio of aggressive songs but also poppy, catchy songs, if memory serves me correctly...I remember it looked like they conveyed elements of frustration and anger as the lead singer would quickly shake his head back and forth as he played his guitar. I dunno how he managed to sing like that, but it was pretty awesome - they showed a real energy up there and it was awesome. They did a song with Delay (who were also good to see) and Delay finished their set with a cover of Argent's "God Gave Rock and Roll To You" (later covered by KISS). Playing that turned it into an all-out fucking rock show. Chicks appeared from nowhere with KISS face paint on - random people (as far as I know) came on stage to play guitar and the crowd seemed to be digging it as well. It changed the air in that place from heavy "typical semi-awkward punk show" to a "pretty relaxed show with a whole variety of shit so don't be extra awkward if you see something completely different."

Stuff that sucked: It was hot. I also wasn't too impressed with The Loblaws. I know they are a little different than the other pop punk bands out there but their songs didn't wow me at all and I didn't like the way any of their music sounded either. All the other bands I remember thinking, "meh, they're OK" about. But it was really good to see Delay, Max Levine Ensemble, Short Attention (kind of), Deep Sleep and Teenage Bottlerocket. John Walsh was pretty cool too. They were actually the most entertaining of bands at the pre-show. Never before have I witnessed a high-five pit or a hug pit before seeing these dudes. I saw them in Chicago once before, but yeah - pretty funny stuff. And they have Jon Weiner of The Dopamines in them, which is kinda cool if you like The Dopamines.

Saturday, May 14, 2011

Interview with Danny Vapid of Screeching Weasel/The Methadones/The Mopes/Sludgeworth/The Queers

By Chris Carlton

Squid Pro Quo: Thanks for taking the time to speak with Squid Pro Quo, Dan. I know you have a lot going on, so we'll get right to it. You've got a new band, Dan Vapid & The Cheats, and your first show is May 27th at Cobra Lounge. Who's playing with you, and how did you get the band started?

Danny Vapid: "The band is me on lead vocals and guitar, Simon Lamb (The Riverdales redux) on bass, Mike Byrne (The Methadones) on lead guitar and Mike Soucy (The Methadones) on drums. The idea behind performing as a solo act has been a suggested idea of sorts for a few years now. It started a few years back with a promoter in Genova, Italy who asked if I would be interested in touring over there playing my back catalog of songs from various bands I played in: Riverdales, Methadones, Mopes, Sludgeworth, Screeching Weasel etc... I thought it was a cool idea and a great chance to see Italy again, but never came into fruition because of other musical obligations. But since the unfortunate events with Screeching Weasel at SXSW, I would soon be left without a job. I got a call from Mike Byrne the following week and picked up some temp work through the company he works for. While working, he got a text message from the people at Cobra Lounge asking if I would be interested in doing a solo show on the same weekend that the Weasel anniversary fest was scheduled. At first, I wasn't very interested. I was still feeling very out of sorts and emotionally wrought from SXSW. Mike really liked the idea when we started talking about it and he offered to play guitar. Within a week, I began gravitating towards the idea of doing this show. I was getting lots of support after the SXSW fiasco from friends, bands and fans and that meant a lot to me. Not to mention all the people that booked airfare, hotels, etc... to see Weasel Fest, which is now canceled. It's a bad situation and not what most people made plans to come to Chicago to hear. But If there's a silver lining in this shit cloud, people can still stick around and get a chance to hear my back catalog of songs and get to see Kurt Baker and The Jetty Boys. So far, the response to this has been positive. As long as there are people who want to hear these songs, I'm more than happy to play them."

SPQ: In the past you've played "Make Way" and "Back To You" by The Riverdales and "Someday" by Sludgeworth during Methadones sets. Can we expect those songs this time around? Or is the set list being kept hush for the moment?

DV: "There are no secrets. We'll be playing all the songs you've mentioned and more. A whole set full of them."

SPQ: What can we expect from The Cheats this year? More shows or maybe some new recorded material?

DV: "I'm working on doing some more shows. I've already have had a few offers and will be playing Insubordination Fest in August. I have plenty of songs written for a new record so hopefully they will have a home with this project and we can generate some interest with some record labels on that front as well."

SPQ: You're a legend in the Chicago punk scene and you have been an influence on many, not just in Chicago, but around the world. Who influenced you as a musician and a songwriter?

DV: "Lots. Here are some songwriters. They range in genre, but here they are: Dee Dee Ramone, Joey Ramone, John Lennon, Paul McCartney, Brian Wilson, Elvis Costello, Kim Schattuck, Pete Shelly, Buddy Holly, Leslie Gore, Hank Williams Sr., Jeff Pezzati, Pierre Kedzy, Ben Weasel, Paul Collins, Cliff Johnson, Rick Nielson, Blake Schwarzenbach, Matt Skiba, Josh Caterer, John Samson, Ben Gibbard, Elliott Smith, Rhett Miller, Paul Westerberg, Bob Mould and many more. Also, autobiographies from musicians, books or documentaries on bands, producers or studios like Sun Records, novelists like Charles Bukowski and John Fante, comedians like George Carlin or composers of film scores like Bill Conti and Ennio Morricone; they all play a role, even if it's very subtle. I try to take what I like about something and give it my own twist or sensibility."

SPQ: You were recently involved in the Black Sheep sessions, and recorded a single. How did you get involved in the band and what was is like playing with such legends as Eric Spicer and Jake Burns?

DV: "Mike Byrne had told me about the project and how it was associated with a new restaurant opening and I thought it was cool. Many years ago, I went to culinary school and cooking has remained and interest with me ever since. I never had the opportunity to mix music and cooking; two things that I have so much interest in. So, I e-mailed James Toland (Black Sheep Restaurant) and asked if I could write a song for the project and it was done. I was really excited about the project and to work with musicians who have had such a big influence on me. Years ago, if somebody would have told me that I would write a song and Jake Burns from Stiff Little Fingers and Eric Spicer of Naked Raygun would play on it, I wouldn't have believed it. It was a bit surreal. As soon as Jake started playing guitar, I got goosebumps. Although not a S.L.F. song, it had all the nuances of his playing and I was totally eating it up."

SPQ: I heard some of the proceeds from sales of the Black Sheep single will go to charity. Is that correct?

DV: "Correct; the Children's Memorial Hospital."

SPQ: Are there any plans for another Black Sheep recording session in the near future?

DV: "It's hard to say. There are lots of people involved, all whom have projects of their own. But if everybody was down for doing it again, I'd love to.

SPQ: With all the bands you've played with, what do you feel is your greatest musical achievement thus far?

DV: "This question is always difficult for me to answer. But some of the Sludgeworth songs and my contributions to Screeching Weasel's "My Brain Hurts" were big achievements for me. They were breakthroughs as a musician. But, ultimately, I'm just happy to make a connection with the listener no matter what the song is. Being able to make music, travel the world and having people appreciate what I do is what means the most to me."

SPQ: You've been recording music for more than 20 years now. How do you feel the scene has changed from the early '90s to now?

DV: "The mid-'90s was the merging of 'punk rock' into the mainstream. There was the success of bands like Green Day and the influx of bands that followed. Some of it made for positive change and some of it was really stupid. Since about 1999-2000 and on, there have been so many sub-genres of punk rock not only in Chicago but around the world. In a populated city like Chicago, these sub-genres have grown into many scenes, some tightly knit, and spread out over the city and suburbs. It can be hard to keep track of them. I've read some of your other interviews with guys like John Haggerty, for example, who say when they started, it was much smaller and everyone knew each other. I totally agree. In my experience, it was also less fragmented. The guy who listened to Flipper and Husker Du was friends with the guy who liked Minor Threat and The Misfits. It was all kind of part of the same thing. It's not like that as much anymore. You have pop punk kids, emo kids, hardcore kids, etc... with scenes that have little or nothing to do with each other. Then, of course, technology and the Internet played a big role of changing the punk scene. There wasn't MySpace or Facebook, etc...

SPQ: When The Methadones decided to call it a day, people seemed to take a step back, kind of shocked. I know I was blown away by the news. Was it hard to say goodbye? And do you see the four of you playing together or recording ever again?

DV: "We were a band for 10 years, had internal problems for about 5 years and we still kept going. We tried to work through it, hoping there was some spark left. Even though I was a little sad about it, we were all ready to move on. We got to the point where we were going through the motions and it was getting very stale. We all went through periods of giving a shit and not giving a shit, all at different times. We're all still good friends and I'm sure we'll work together in some capacity, but likely not as the Methadones."

SPQ: Before I let you go, is there a website that you would like to plug for any of your former bands? And where can we go to find out about upcoming shows, releases or merch?

DV: "Since I'm not playing in those bands anymore, I'd rather plug who I am currently playing with. Look out for Noise By Numbers, which will have a new record on Jump Start Records titled, "Over Leavitt" out in July. Also keep an eye out for Dan Vapid & The Cheats- we'll be playing at Cobra Lounge on May 27th. Hope to see you there!"

SPQ: I would like to thank you again for taking time out to talk with us, Dan. I am excited to see the new group live, and want to wish you and the band all the best in the coming months! Thanks again, Dan.

DV: "Thanks for the interview, Chris!"

Monday, September 14, 2009

Thinking Back On Insubordination Fest: Day 1 - THE SECOND AND THIRD STAGES

Well, shit. I can't say as much about both these stages because most of my Friday was spent at the main stage, standing up, wishing there was a place in that god damn club to sit down for a minute.
Anyways, I did see The Dopamines, which was awesome. They really tore it up. The fans are almost as bad as they are, in the sense that they probably drink and party too much. All The Dopamines do is bring that out of them. Man, people were going ape shit. And as loud as it was, that band is pretty fucking awesome and definitely worthy of a crowd like that.

The Dopamines (sorry they're sideways, deal with it)




I caught the Backseat Virgins on the second stage as well. They were pretty awesome from what I can remember. I don't have any pictures of them playing though. Ah! The 20 Belows I saw though. They rocked. They're a band from Denmark, kinda like The Queers mixed with Dillinger Four I want to say...anyway, they're good, check 'em out. They also came back to the states and played the Goin' Knowhere Fest in Grand Rapids, MI. Well, that's all for Friday, folks! After that, I think we went up to my friends' hotel room with two guys from Le Volume Etait Au Maximum and partied, drank, etc...etc...then went to bed.

Monday, June 13, 2011

Interview with Luke McNeill of The Copyrights/Hospital Job


Photo by Patrick Houdek
By Chris Carlton

Squid Pro Quo: Thanks for taking the time to talk with Squid Pro Quo, Luke. The new Copyrights album, North Sentinel Island is set to be released August 9th via Red Scare/It's Alive Records. This will be the band's first full length in three years. Why so long of a wait?

Luke McNeill: "It was sort of planned to wait a while between records just because we felt like we were always rushed in some way or the other on past records and we wanted no time constraints with this one. It kinda got out of hand though and each step took forever. We forgot how lazy we are."

SPQ: The band's last album, 2008's Learn The Hard Way, was a really strong album. What can fans expect from the new album?

LM: "Well, this new one is definitely our poppiest and weirdest album. That's relative though, of course. It's still a punk rock album after all; kind of, anyway. It was produced by Matt Allison who did Make Sound and the Methadones split. It's definitely our best-sounding record in terms of production. It's also my favorite in terms of lyrics/themes."

SPQ: Can you give us a little history on the band? How did you guys get together?

LM: "Me and Adam have been playing together since we were 15 years old. We decided to start a heavily Screeching Weasel-influenced band at first, then we've tried to at least put our own influences and spin on the tried-and-true formula of melodic punk rock."

SPQ: What are your personal musical influences? And do those influences show up in your songwriting and playing?

LM: "I like tons of stuff, and I'm sure I rip off everyone I like equally. I'm a big fan of '90s alt-country like Uncle Tupelo, Son Volt, Wilco, Whiskeytown; old-people stuff like that. I'm also pretty into hip-hop lately, at least the Wu-Tang family and east coast stuff. As far as contemporary punk rock bands, I still really love Dillinger Four obviously. The Dopamines, Dear Landlord, House Boat and Iron Chic are all great but everybody knows that. I'm pretty obsessed with Fucked Up too."

SPQ: The band has been a non-stop touring machine for the last few years. Are there plans for more European dates as well as state side dates for this album?

LM: "I think we're actually planning on touring Europe next year again. This year, we're gonna do the west coast in early September, and then do the eastern U.S. in late September/October."

SPQ: You're also a producer and engineer, and worked at Sonic Iguana Studios. Can you name some bands and albums you've worked on throughout your career?

LM: "The only band I've produced besides my own in the past five years or so has been House Boat. They're all my friends and it's a blast getting together with them every once in a while to do a record. Back when I worked there full-time, I worked on records by The Riverdales, The Groovie Ghoulies, Common Rider, Squirtgun, The Lillingtons, Teen Idols, Beatnik Termites and a bunch of other ones. It was really fun and Mass taught me a ton of shit about producing and engineering both."

SPQ: Do you find it just as enjoyable working on other albums as working on a Copyrights album?

LM: "Hmm, I think it's more fun working on our albums just because they're my songs and I'm more 'emotionally attached' or whatever. But it's also a ton more stressful and you second guess every possible thing. For the House Boat records, I don't even care if the tracks get recorded. I think there's a song on their new record that doesn't have a lead vocal. Whatever, people won't even notice."

SPQ: The Copyrights released an LP of all its past albums. Will the new album be released on vinyl as well?

LM: "Yeah, we were really adamant about vinyl being released the same time as the digital formats. Adam Alive is taking care of the vinyl on the new record so we're not worried, it'll be out when the digital comes out."

SPQ: With the new album coming, are there any big festivals that you guys have signed on for that you can confirm?
LM: "We're doing the usual Insubordination Fest in Baltimore and The Fest 10 in Gainesville, Florida. I think we're also doing Red Oktoberfest in Chicago in October."

SPQ: Is there a website you would like to plug where fans can get news updates, tour dates and merch?

LM: "www.itsrainingtwoandahalfmen.com"

SPQ: I want to thank you again for taking the time to talk with Squid Pro Quo, Luke. I'm looking forward to the new album and catching you guys live again. Always fun seeing you guys live. Thanks again.

Tuesday, September 6, 2011

'The Other Side of Darkness' by Night Birds



By Jason Duarte
9/13/2011
Grave Mistake Records
Rating: 4/5

New Jersey's Night Birds will release its first studio full-length titled The Other Side of Darkness on September 13. I've been following Night Birds since the band's early days in 2009 (by obtaining a couple copies of the demo CD-R at Insubordination Fest 2009), and I've been waiting around for a proper full-length release of this band for two years. The 7''s held me over, but finally, The Other Side of Darkness is here.
In keeping with Night Birds tradition, the album opens with a horror theme, "Demon Haunted World." The song, along with most on the album, doesn't even make the two-minute mark, but it's OK. Its flow into "Neon Gray" makes a seamless transition. "Born of Man and Woman" is a song about Jamie Lee Curtis. OK, it's really not. But it's a really catchy song about a hermaphrodite as a sideshow freak, and not fitting in with society.
"Landfill Land" is written by Joe Keller, the Night Birds' bassist. Immediately, the band's Dead Kennedys influence shines through with a song about living in a landfill.
The album slows down briefly at the start of the title track, but only for 30 seconds before the band's back in full swing, churning out fast, upbeat, surfy punk. In keeping with tradition on a couple of its 7''s, the band has an instrumental track titled "Day After Trinity."
"Hoffman Lens" is based off the movie, They Live. The Hoffman Lens were a pair of glasses used in the movie. For example, the main character sees a Coca Cola ad, but through the Hoffman Lens, it says "Believe the Goverment." They glasses are attributed to Albert Hoffman, the creator of LSD and they lenses are supposed to let you see the true meaning behind messages. It's an interesting but hopeless wake-up call to 'the masses,' which are implied to have always been blind to government and businesses' control, and inevitably always will.
I was excited to see two of the band's first four songs re-recorded toward the end of the album. "Can't Get Clean" and "Paranoid Times" play back to back, and it's nice to hear the re-vamped, but still familiar tunes. The album closes with "Oblivious," a song about wanting to be oblivious to the end of the world. It's also the longest track on the album with a playing time of 2:51. I recommend this for anyone who's a fan of the band members' previous bands: The Ergs!, Hunchback, Psyched To Die as well as fans of the Dead Kennedys, The Misfits and early punk and hardcore.

The Other Side of Darkness track listing:
1. Demon Haunted World
2. Neon Gray
3. Born of Man and Woman
4. Landfill Land
5. One Eye
6. The Other Side of Darkness
7. Day After Trinity
8. Hoffman Lens
9. Sex Tape
10. Failed Species
11. Can't Get Clean
12. Paranoid Times
13. Oblivious

Monday, May 14, 2012

'Gates of Home' by Sick Sick Birds


By Jason Duarte
3/31/2012
Rating: 4/5

If you're reading this, chances are you're familiar with the annual Insubordination Fest in Baltimore and if you've been, you've probably eaten Sick Sick Burgers in the alley at some point. My hungry, wandering belly was how I first heard about these guys, and now they grace my turntable with their second full-length, Gates of Home.
"Pick and Choose" is a strong opener. Immediately, there's recognizable influence by Joe Strummer. The song is particularly catchy, and sticks out like a sore thumb on the album as one of its best tracks.
A little deeper into the album, "Marietta" speeds its vibe. It's reminiscent of early Cure songs (as is the bass line of "New Shoe Leather"), particularly when it comes to the clean bass and vocal tracks.
Sick Sick Birds take the melancholy, slightly-gothy and progressive characteristics of bands like The Cure and The Smiths and add a punk rock/garage touch, making something new.
The songs on this album tease the listener a bit, keeping the vibe steady and bringing it up in the chorus with catchy leads, but they don't let it go on too long, thus creating an awesome ebb and flow effect.
This is a strong album that brings new stuff to the scene, and I can feel it's already rooting itself into "Best of 2012" lists.

Stream Gates of Home:    

Monday, June 14, 2010

The Old Wives - "See You In Hell" review:


Rating: 4/5

25 minutes is about the length of your standard TV show. It's not a lot of time, but it's just enough to tell a good story. If a record could be the analogy to that, this one is. 25 minutes is just enough time for a great pop punk album. Alberta, Canada's Old Wives utilized that amount of time for its debut album, "See You In Hell" earlier this year. The band previously self-released a 7'' featuring "Shut Up" (which appears on the album) and b-side, "Losing All Control."

At the album's start, you're immersed up to your eyeballs in a very Queers-style fast, oddly-timed intro where everything sounds like it's already been going for about 10 seconds. After 10 seconds of rocking, lead singer/guitarist Liam Copeland starts "I Don't Wanna Be Lazy," a very Ramones-influenced tune with a little more pop thrown in there and a catchy little solo. The fourth track, "Teen Commandments," was featured on a soundtrack to a movie. I should know what movie. But I don't. And I can't find it online. Liam will tell me later.
"Old & Moldy" rests in the middle of the album and features a sweet guitar solo by Phillip Hill of the Teen Idols, who also recorded this album at Sonic Iguana Studios in Lafayette, IN. Copeland's vocals emulate Ben Weasel's in the sense that they're gritty, snotty and a little bit preachy at times but the album is a straight-up good time. The songs are pure rock n' roll, with none exceeding 3 minutes and they're all upbeat and fast, with no breaks in the album.

Check out the Old Wives at this year's Insubordination Fest in Baltimore, MD on June 2. They'll be playing the second "Canada" stage from 6 to 6:20 p.m.

TOP TRACK: "Bullshit"

Tuesday, May 19, 2009

Deep Sleep - "Three Things At Once" review



The first time I heard of Deep Sleep was when I saw them play at Reggie's in March with Psyched To Die and Dillinger Four. Like most people, I automatically hold all opening bands I've never heard or heard of to a higher standard because of that thing in the back of your mind that says, "You'd better be good cause I'm standing around here waiting to see ____."
Not that I'd boo 'em even if they were bad. But after their set, I was a fan.
Their energy combined with the speed and length (or lack thereof) of their songs were catchy, but rather than being "pop punk catchy," they had just the perfect amount of a hardcore touch.
I thought "Three Things At Once" was going to be about being born with three schlongs. Instead, it's a collection of three 7 inches. Heh. Heh heh heh.
So uh...this 21-incher rocks. There's also 21 songs. One inch a track? Anyway, the 21 tunes on here equal out to be 25 minutes and 6 seconds total, so that gives you an idea of the length of this CD.
The music itself was reminiscent of the Decendents actually, but faster and harder-edged.
I don't want a bunch of Descendents fans e-mailing me saying how they are nothing like the Descendents, I'm just saying they remind me of a fast Descendents with a twist of hardcore.
The lead singer was a great part of why I thought the band ruled because of how he would stand one foot on the monitors and lean into/above the crowd with the microphone and sing and jump around. His activity and passion about the music made it a lot of fun to not only watch, but listen to.
It sucks watching what's supposed to be a hardcore band or a punk band just stand there and do nothing and act like they're better than everything/everyone. Well, fuck that shit. Unless you're landlocked to a drum kit or a microphone while playing guitar, I think there's no reason why guitar players/singers (just singers) shouldn't move around and get shit a little bit exciting.
OK, OK, if you have a physical retardation, I'll accept that too.
Check out Deep Sleep on Grave Mistake Records and on MySpace. They'll be playing the Insubordination Fest pre-show this year too with Teenage Bottlerocket, so be sure to catch them then!

Tuesday, September 1, 2009

Thinking Back On Insubordination Fest: Day 1, Friday - MAIN STAGE

I FUCKIN' MISSED HOUSE BOAT. One of the bands that I really really wanted to see that weekend, I missed because I was still at my hotel and lost track of time. I wanted to get a shirt but then would feel like a moron cause it's like "hey, I'm wearing a shirt of a band that I like but have never seen or heard their music before (except for a couple of MySpace songs." But there were many more awesome bands to see that day - I felt better pretty quickly.
The Unlovables were amazing - I had never really heard anything by them before I saw them, so I was just kind of in awe during their whole set. Since then, I they are one of those bands you listen to for like a month straight. And I rarely do that with bands anymore. They struck me as amazing though, so I was really glad I was introduced to them live.

The Unlovables


Le Volume Etait Au Maximum played the main stage - they are a French band from Canada, eh? They were awesome though, even though I couldn't understand a goddamn word they were saying. Really good synth-pop punk. Kinda simiar to The Epoxies and stuff like that only a dude sings and not a chick.

Le Volume Etait Au Maximum


Underground Railroad To Candyland has also been growing on me since Insub. It's Todd C. from Toys That Kill/F.Y.P and another guy from Toys That Kill basically playing a little more obscure music with a couple of different dudes. They're really catchy though (in a non-pop punk way even!) and are really entertaining. I always am amused by the backup vocalist guy when I see them. His face reminds me of John Belushi's and all he does is jump up and down and sing stretched out vowels to the ends of lines in the song. In sunglasses. It's pretty awesome but they all fit together and make something really good.

Underground Railroad To Candyland


The Copyrights played really well. It was weird seeing them with a shitload of people going nuts for them cause they play Chicago like every other weekend and it's great but people don't go ape shit for their set all the time. But they did play really really well and it was cool seeing them somewhere else for once.

The Copyrights


Pansy Division was an experience. Never saw them before. Joel from MTX plays with them as the only straight guy in the band. Man, were they flamboyant. But they were good, I liked their stuff. A little more preachy and out there than stuff I like, but it wasn't bad.

Pansy Division


The Steinways were one of the few bands I basically came to see. I had heard it was supposedly their last show before calling it quits and I wanted to see them at least once. And I did! And it was fuckin' awesome! They did a big finish with "Carrie Goldberg" and that was that. They played amazingly and to me, they are one of those bands that every song on their album is a "hit," so to speak. All catchy, all fun and all good in my book. I was really happy that I got to see them.

The Steinways


Boris The Sprinkler was fucking weird. I liked them, but damn. I think Reverend Norb is a little fixated on anal sex. I don't know too much about the guy or his band, but I kind of wish I did so I knew what they were all about, so to speak. At one point, he was holding a sign that read, "UFO UFO." I ended up getting that sign after the threw it out into the crowd. It currently sits pinned to my wall - a nice souvenir from the fest. They were entertaining as fuck though. They also must have gotten a sweet discount on toilet paper because they brought shitloads of it to throw into the crowd, which the crowd then reciprocated (nooooo, really?) and it was pretty awesome.

Boris The Sprinkler




The Dead Milkmen. They were the biggest reason for me to attend this festival. Moreso than probably all the other bands combined. The Dead Milkmen were a band I grew up listening to in high school with my best friend while we cruised around, singing along to songs like "Taking Retards To The Zoo" and "Bitchin' Camaro" while we fucked up people's cars, mailboxes and garbage cans in the wee hours of morn." The Dead Milkmen were not only an awesome band, but a band I thought was hilarious. Especially during a time when the "music to listen to" was all this over-serious bullshit (has it ever changed?). Seeing The Dead Milkmen made me feel like I was 16 again, driving around subdivisions and neighborhoods being a moron. Which felt really good, actually. Really liberating. Anyways, I got right up there and got to sing along with Rodney at one point just for a split second, which made my night. Man, was it awesome.

The Dead Milkmen