The Knitting Factory wasn’t too populated and even after the opening band, Daybreak Ends, started jamming on stage much of the attendees seemed unaffected by the noise emanating from the stage. Two girls ventured to get up close and sing along while the rest of the audience formed a semi-circle ten feet back.
Daybreak Ends is a dark metal rock band that seemed to be heavily influenced by H.I.M. via minor key sweeping vocals, heavy bass, and ethereal guitar riffs. Somehow, strangely enough, the vocals also remind me of Adam Pascal, “Rodger” from Rent the movie. Peppered by screaming here and there, this foursome put on a good show and were good musicians, but lacked anything interesting enough to make them memorable. [more]
Inverse strut out next sporting long, flowing hair straight out of a Guns N’ Roses video. They were a little pop/dancier than their look let on, but it was definitely enjoyable. Not a small number of hips were swaying to this heavy-bass dance rock with clean tenor vocals. Songs like “Sweat My Love” even got some real dancing going on in pockets of girl groups. Showing off their ballad skills, they played “The Last Night” which got some cell phone swaying to “This is the last night we’ll dance, the time has gone so fast so just put all your breath in me.” A pretty decent guitar solo shredded up the song and chorus resumed.
With fun and straightforward music, they were great showmen and commanded the crowd with every song, even though it seemed as though everyone was seeing them for the first time.
Polaris at Noon…Oh, man. Really, your pop-rock was pretty decent. I mean, no less enjoyable than what’s getting radio play these days. And if I had heard you first on your Myspace, I think I really could have been into you. But live, your vocals sound untrained and uncontrolled. For your age, I have to give you guys credit. Judging solely on your vocals I would say you weren’t far out of high school. And musically, what you have goin’ on is pretty great. On the intro to songs like “misfire,” although lyrically uninteresting are musically entertaining. So keep up with those vocal exercises and I’ll come see you in a year or so.
Oooo finally we get into the nitty gritty of the night!
Co-headliner National Product was up next and they blew me away. Having never listened to them before, I half expected them to be another All Time Low or The Main, but these guys really brought the heat!
“Medicated” is definitely radio single worthy with spunky pop-punk melodies and bright pop-rock vocals. But this band is not a one trick horse. They busted out some acoustic, some screamy goodness, some alt rock and some great solos. Their influence is as diverse as their list their favorite albums: AFI’s Black Sails in the Sunset, Fleetwood Mac’s Rumors, and Maroon 5’s Songs about Jane. Great performers, great musicians, great set.
Last to perform was 1997. This band I first heard on a random compilation with Driver Side Impact and their single “Garden of Eden” invoked music-tingles in all the right places. By the end of their set, I had decided that I had just entered into a little 1997 romance. This band: guitars, keys, drums, male and female vocals had just the right amount of “umph” and “awh.” This indie power-pop quintet had an undeniable chemistry that pervaded the music and all of the venue. “Waters Edge” starts with heavy distorted guitar and lightens into what sounds like a playful xylophone and then continues to dance between the two throughout the song. A battle between the airy male vocals of Kevin Thomas, bright and in-your-face vocals of bassist Nick Coleman creates a perfect balance. The song breaks down into perfectly harmonized “do dos” followed by a heavily distorted guitar solo. Many of the songs utilize this strategy of soft versus bright, heavy versus light and it’s a formula for perfection.
Arthi Meeri, temporary female vocals, was a poor substitute for former singer Alida Marroni if only because I could hardly hear her. When I could hear her, her smooth soprano falsetto blended in but didn’t add much to the balance. On the album, the sometimes airy sometimes bright and passionate vocals of Alida are the third layer of flawlessness.
Although the crowd had shrunken sizably since National Product left the stage, those who remained were awestruck and completely consumed with the music stage presents of these five (myself included). Most of the crowd seemed to know every word. That, to me, is a sign of something good.
This night at The Knitting Factory was definitely a successful one. The bands who I wasn’t completely in love with still surpassed my expectations and I came away craving at least two CDs. (I’ve yet to buy either, but I definitely will). You should too.
Many more photos available in the National Product/1997 Album
