I admit that I expected big things on Friday night. I purposely skipped out on the Roman Numerals show at Czar Bar a week before. I feel claustrophobic in there when bands are playing, especially those with large local draws. I knew that I could better judge the performance of a band in a venue with lower ceilings and a larger stage. The Record Bar seems to be more inviting and accommodating to non-locals. Drinks are cheaper there, too.
First up was Radio City, a semi-radio-ready four piece who played with the Roman Numerals recently at a bar called Beer:30 in Emporia, the band's home base. My partner for the evening thought they sounded like Old 97's. They sounded more like a rough version of the Gin Blossoms without the harmonica, not very country. They were all right, though, and it seemed to me like they were excited to be playing. I think that makes up for a lot, even if the set was rather long. Fortunately, there was a Rock of Love Bus marathon on a nearby flat screen. Radio City provided decent background music for the onscreen shenanigans of Brittaney, Brittanya, Bret and the steady stream of those entering the Record Bar.
Up next, The Monitor, a dark combination of locals Cody Wyoming (Magfuckingnificent, the Afterparty) and John Ferguson (Federation of Horsepower, Bacon Shoe) delivered their brand of post-industrial synth to the building crowd. Using just a bass and synthesizer, they produced some not-obnoxious uhn-tiss-uhn-tiss action. Had it not been so early in the night, the Monitor's pulsing beats and Wyoming's Ian Curtis-style vocals might've turned the place into a virtual western-European discotech, sans actual quaaludes.
The Monitor has been around since the end of 2005. Perhaps we'll see more of them in 2009?
At the last minute, Numerals Steve Tulipana, Billy Smith, Shawn Sherrill and new-to-the-mix drummer, Ryan Shank (Be/Non, ex-Golden Republic) made it to the stage. Honestly, I haven't seen too many performances that equaled that first time that I saw them onstage at the Beaumont Club at the 2006 Pitch Music Showcase. I knew beforehand that they would be laying out some new material that promised a refreshing change from their '06 self-titled release. No matter how many times that I have seen these guys play (drunk, sober, sick, etc.) though, they still get people moving.
Opening with a new song, the Nooms assailed the converging crowd with a sense of renewed energy. Sharing vocal duties were Tulipana and Smith, with the band producing sounds that pounded harder and heavier than the old tuneage. It was harder, more heated, like angry-fuck music, but not necessarily fucking angry music. One would have thought Shank had been bringin' the beats from day one with these guys, but no, only for the four previous band practice sessions.
The crowd, thick with younger dancing women, ate it up. An excited female jumped up on stage and finished the ending lyrics of "Msr. Control" for Billy Smith, live action karaoke style. It happened at the same time that Shank blew out the kick drum. Needless to say, the energy was palpable.
Click on photo for slide show.
The Nooms finished with three new songs, the last one still untitled. Tulipana suggested the crowd send them ideas for a name. Later on I was told that the song is about bass fishing.
I am fresh out of ideas on that subject.
Set List:
Arpeggiotomy
Occupado
Rule of V
My Life After Death (parts I & II)
Msr. Control
Glow Train
Consent to Dissent
This Monkey
Ayanne
Untitled
Photos by Forester Michael
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Thanks for the kind words. I just want to clarify the set list though.
This Monkey is actually called THIS MOTION. Ayaan is a working title for the song inspired by Ayaan Hirsi Ali. Probably won't actually be titled w/ her name. The final song's working title is Bass Fishing with a long A is in bass guitar. Probably going to be titled What What Want
Cheers
ST
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