Tag Archives: Motörhead


Dinosaur Jr. Celebrate New Album’s Release at Rough Trade NYC

August 8th, 2016

Dinosaur Jr. – Rough Trade NYC – August 5, 2016

Dinosaur Jr. – Rough Trade NYC – August 5, 2016
Forget about the Olympics. Anyone looking for a classic example of people getting together to produce greatness despite their differences need look no further than J Mascis and Lou Barlow of Dinosaur Jr. Their historic infighting dissolved the band in the late ’90s in what was bound to remain a tale of what could have been. Yet against the odds, they reunited in 2005 sounding as good as ever, putting out album after album like nothing had changed. And in a way, things haven’t: They still don’t get along. Barlow recently admitted that he’s hardly on speaking terms with frontman Mascis. They’re like an indie-rock Fleetwood Mac minus the mountains of cocaine and intraband romances.

Friday night at Brooklyn’s Rough Trade NYC marked the release and celebration of Dinosaur Jr.’s fourth post-reunion full-length, Give a Glimpse of What Yer Notanother ear-splitting album to add to the band’s canon. The humbly introverted Mascis nestled into his stack of Marshall amps while sporting a giant blue Cookie Monster T-shirt. They kicked off the set with the muddy classic “The Lung,” with Barlow’s heavy slaps of bass crashing down like his Muppet mop of hair. The new album’s first track, “Goin’ Down,” followed with Mascis providing buzzsaw riffs reminiscent of Motörhead’s “Ace of Spades.” “I don’t think we’ve made it through this song one time,” said Barlow, introducing “Love Is….” And if not for the squelching Mascis guitar solo in the middle of it, the tune could have easily been mistaken for one by Barlow’s other band, Sebadoh.

Mascis’ noodling appeared as effortless as ever—no one shreds as nonchalantly as he does, and it’s not even close. The soloing outro of “I Walk for Miles” was enough to burn down the venue, and even if it had, Mascis would’ve probably just stood there like the This Is Fine dog. The set closed with a tear through the classics, “Start Choppin’,” “Freak Scene” and a massive “Gargoyle” jam, plus a two-song encore of “The Wagon” and “Out There.” Some people believe God scattered dinosaur bones around the planet to confuse us about evolution, to test our faith. Those people are fucking crazy, but not as crazy as the fact that after all these years, Dinosaur Jr. are still together, and not just together but still insanely good. —Dan Rickershauser | @D4nricks

Photos courtesy of Pat Tabb | pattabb.com


King Gizzard & the Lizard Wizard Are Categorically Fun on Saturday

May 16th, 2016

King Gizzard & the Lizard Wizard – The Bowery Ballroom – May 14, 2016

It wasn’t even two minutes into King Gizzard & the Lizard Wizard’s latest headlining show in New York City, and you were already pogoing, maybe even head-banging, as if your body didn’t know any other reaction. That’s the thrall—and the thrill—of the Gizz, only a handful of years from buzzed-about Australian psych-rock curiosity to legitimate headliner, selling out The Bowery Ballroom well in advance and owning the tightly packed crowd from the second they stepped onstage (fittingly, to Motörhead). Gizzard are a seven-piece, a multifarious rock band, and that’s about where a suitably tight description ends. They’re a psychedelic band, for sure, and they’re also a raging punk band, or maybe a pop group with razor-sharp edges but also a jam band, or maybe just a bash-it-out garage band with a love of swirling keyboard effects, purple-shitstorm guitars, and unexpected snatches of harmonica and flute that can push their music toward more of a roadhouse-blues feel or a prog excursion when the current mood calls for it.

In roughly 75 minutes at Bowery, the focus was on the band’s new album, Nonagon Infinity—the latest evidence that they’re as prolific as they are adventurous, having released new music at least once a year since 2011. Songs like “Robot Stop,” “People-Vultures,” “Big Fig Wasp,” “Gamma Knife,” “Trapdoor,” “Evil Death Roll” were roared through rather than neatly packaged and placed, sounding remarkably like their titles suggest: a journey through a Spielbergian universe of space and jungles and deserts and past and future and love and death. The point is that you’re invested, that you’re self-aware, but not self-conscious. You’re in the cockpit with them through every set of lines, like “I distort the notion of the place, the universe’s other face/ The speed of light has slowed apace, the universe’s other face,” and they’re training you to respond to every swerve, hairpin turn and meltdown, whether it’s a harmonica break, an anthemic fist-pumping chorus or a slowed roll into something quieter, more folkie.

Nonagon is King Gizzard’s most ambitious work yet. It’s the one where the Australian rockers are finally sure they can pack all of this cultured madness into a coherent statement without it feeling too eclectic. Remarkably, their live show has evolved in kind, putting infectious energy behind that complex sound and turbo-charging it to where you’re scarcely aware an hour’s gone by but you’ve been bopping along—moshing, maybe, and on Saturday, possibly even surfing the crowd as more than a few revelers did—the whole time. —Chad Berndtson | @Cberndtson