The Faint

October 19, 2008

The Blue Note, Columbia MO

I have only been recently introduced to The Faint, but I now understand why this group has such an extensive discography (13 albums).  The Faint was fresh from a European tour - Columbia was actually to be the first stop on the U.S. tour.

After the first couple of songs, vocalist Todd Fink exclaimed "this is our first time trying some of this stuff out."

FInk was outfitted in what seemed to be WWII era flying goggles and a long white blazer, which looked like it could have been a lab coat from an asylum in the 1960's.  His entire look was that of a mad musical scientist - mixing beats, voice mods and somewhat bizarre movements.

What Fink was talking about with his previous remark was not clear because to the audience the entire show was seamless.  If you have never been to a Faint show, go to the nearest show during their current tour!  You will not regret it.

The flashing lights were sometimes slightly dissying, but mostly they helped to set the scene as that of an other-worldly experience.  It is slightly rave-like, yet futuristic and dance-driven.  

The unbelievable thing was that they not only played but presented an entire production of creative lights, multi-media projections on a large screen behind the group, an extensive set and unstoppable energy.  The Faint progressed into each song with such fervor, there was little time left for anyone to give any social or political commentary to the crowd (something rare so close to the elections.)  The only sign of political angst included the track "paranoiaatack" and a closing statement by one of the group's members leaving the stage quickly passing the main mic, "vote for Obama!"

When the Faint left the stage for the first time - the crowd was in a stunned daze - especially me.  I couldn't believe their raw talent, musicianship and polish.  Most of the members during at least one point in the show switched instruments.  Even Fink played the synth for a few songs while still managing to sing and put on an entertaining show.

While the Faint has been on the international music scene since 1995, the group has a long future if they keep doing live shows with such power and intensity and continue releasing albums like their most recent "Faciinatiion."

Forever the Sickest Kids (The Sassy Back tour with Cobra Starship, Hit the Lights and Sing it Loud)

October 18, 2008
Ok, so this venue, which up until this point I have not yet has the chance to see a show at is not the kinda place a girl goes by herself - hence why I went with a couple of The Makeshift Gentlemen, Louis Brown and Joe Swigunski.  "Pop's" across the river from St. Louis and technically in Sauget, IL is literally between two neon strip clubs.

We made our way into the venue, which looks much like a metal barn.  But the place is actually really well suited to show, the state is roomy (several full drum kits, guitar stands, etc. fit comfortably along with the performing act and their equipment.)  However, drinking became much less desirable when we questioned the bartender on prices.  Anyway, bottled water in hand we made our way towards to stage.  We were just in tome to see Forever the Sickest Kids.  Perfect.

Ironically, as we were elbowing our way through the sea of mainly 13-year-olds and their parents, one of these kids yells right into my ear:  

"POSER!"

It kinda funny because the only thing that might have made me stand out from the crowd may have been my age.  I was wearing the required "uniform", black chucks slightly dirty (like they have been in a couple mosh pits, which actually happened at The Used show in July - a fat guy came out of nowhere and stomped on my foot and I wasn't sure if it was broken or not for awhile), black skinny jeans and slightly teased hair.

So, by this time FTSK is about to hit the stage.  Now I had never seen them live before this show so I was kinda wondering how they were going to sound live.  For those of you not familiar, FTSK has 6 members.  This is a lot of sound that has the potential to sound undefined.  Unfortunately, this proved to be true that night probably due to the fact that their sound was most likely from a secondary sound system.  Or they could have had someone mixing their sound that didn't know exactly what they were doing.  For me it was not a deal-breaker, but it was a show that I walked away with severely buzzing ears from.  

Despite any sound issues, FTSK put on a real show.  They broke onto the stage bringing with them a sense of youthful excitement, which mirrored the feeling of the crowd well.  You could have literally put any member on stage by himself with whatever he plays and you would have a show.  FTSK engaged the fans with ferocious intensity.  They held the kids in the palm of their hands, the kids responded to any request by FTSK to clap, jump, mosh or just go crazy.

One of the ways FTSK did was was with a rhinestone encrusted mic stand with "FTSK" glittering down the front (much like Steven Tylers scarved mic stands this has become a well known aspect to their shows).  The top of the stand was bendable enough to be sung towards the fans by Jonathan Cook during choruses.  This of course got the kids jumping and screaming the lyrics off both of their albums, the newest, "Underdog Alma Matter" and "Television Off, Party On".  

FSTK is Jonathan Cook (vocals), Caleb Turman (Guitar, vocals), Marc Stewart (guitar), Austin Bello (bass), Kent Garrison (keyboards), Kyle Burns (drums).

note: this photo was taken from FTSK's myspace page.  

CD review of The Makeshift Gentlemen's "Casanova"

This photo was taken at the CD release party for the Makeshift Gentlemen at The Bluebird in Saint Louis.  I am pictured here talking with bassist John Henselmeier after the show.

Casanova, the first major release of The Makeshift Gentlemen, will have you intrigued with the "Introduction."  With a synthetic Dracula-like organ tune, increasing in intensity the listener is brought into the sinister night world sound the album creates.

The track order seems to be purposively chosen in order to bring the listener into the industrial lyrically demented world of "Casanova."  Songwriter, lead singer and guitarist Joe Swigunski's emblematic lyrics drive the purpose of the album, that is, to get everyone moving.  The lyrics are richly symbolic when not taken for face value; the listener must wonder what was was going through Swigunski's mind when he penned the words.  "Casanova" remains mysteriously dark without being overtly satanic.

"Nighttime Projections" remains the most relatable and human track as it refers to the images the moonlight casts on objects in a child's room.  While a frightening image is painted, the brightly toned lyrics remind us that "everything's gonna be fine."  It could be a motivational tool as well, instructing listeners to "face your fears."

Synth and backup vocalist Jake Ferre's emo-like screams add urgency to the tale of Frankenstein being constructed in the title track "Casanova."  Ferree's instantly mind catching hooks give some tracks a slight 1980s throwback feel without taking away from the shadowy feel established by the whole album.

Bassist John Henselmeier gives depth to the sound of the album, without being overly flashly.  His depth of sound provides an excellent accompaniment to Swigunski's intense vocals.  Henselmeier's creative mind lends itself also to the album artwork.

Appropriately titles "Intermission" gives listeners a chance to see the amusing side of the Gentlemen.  You will not be able to listen to this track without moving - it serves as a mental break from the stories told through the intricate worlds invented in each song.  It also gives Swigunski a chance to showcase his inspired guitar riffs.  It's almost as the word 'dance' serves as a thesis statement and "Intermission" serves as a reminder about halfway through the album.  The playful laughs of the gents are included as an end to this enjoyable track.

Louis Brown's drums are a driving force throughout.  With technical skills abound, Brown adds stylistic additions.  The sweet but brief drum solo by Brown in "Juggernaut" seems to present the listener with only a taste of Brown's originality and powerful sound.  Brown's solid base provides the full sound that is necessary for a dance-track hit.  "Marathon Paving Machine" also provides Brown with the opportunity to demonstrate his organic sound, that is, effective fills that don't sound like a show-off addition.  

The album's ingenuity is also aided by some finishing touches, which came about during the recording process.  The most notable of the creative additions include the siren intro to "Giant Mechanical Spider," which serves as a warning to the listener to beware of the need to dance they might feel in the coming three minutes and 41 seconds.  The sound is evocative of a huge sci-fi metal spider marching down mainstreet, mashing everything in its way.

Parents too will enjoy this album, as there is only one indecipherable instance of an objectionable-to-some word.

Purchase "Casanova"on itunes or at The Makeshift Gentlemen's myspace page at www.myspace/themakeshiftgentlemen.com

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Thanks for visiting!  Please come back soon to read reviews, coverage, interviews with bands and view photos of the upcoming shows coming to mid-missouri.

xo Erika