(This is an interview I conducted for Starpulse.com)
Starpulse recently caught up with the up-and-coming band Girl in a Coma as they opened for Morrissey in Europe. Hailing from San Antonio, GIAC is Nina Diaz on vocals and guitar, sister Phanie Diaz on drums, and Jenn Alva on bass guitar. These girls in a coma took over as the opening act for the remainder of Morrissey’s U.S. tour last fall and the entire European leg after that. This coveted gig is only a dream for most bands.
The Girls describe their sound as “melodic punk.” That just about nails it. With the opening track “Clumsy Sky” - a song that starts off hushed, then builds to a punk rock crescendo - they establish a sound that’s both fresh and accomplished. Very few debuts come out of the gates with as much fervor and excitement as this one. While the guitar, bass, and drums are expertly handled, it’s Nina’s voice that will leave you craving more. She sounds much more seasoned and mature than her nineteen years should allow.
The Smiths influence is unmistakable. Nina’s rich, lilting voice makes her sound like a Morrissey progeny. Lovers of great music should check this one out.
Starpulse: Explain to the readers the origin of the band’s name. What were your other choices?
GIAC: Girl in a Coma comes from the song "Girlfriend In A Coma" by the Smiths. At the time we were coming up with band names we were Moz (Morrissey was lead singer of the Smiths) fans and wanted to pay homage to him in some way. We still are Moz fans but didn't realize how many bands are out there with Moz/Smiths names! We also were going to be "Ordinary Girls" and at one point did change it to "Sylvia's Radio." When we became Sylvia, we got a lot of mail from angry fans not wanting the name change. So here we remain.
Give us a brief history of Girl in a Coma.
We started out in 2001 when Nina was 13. Jenn and I had been in bands through most of our teenage years and went through many lineup changes. I had shown Nina a couple chords on the guitar and she kept at it. One day, she knew we were looking for new members and she played us a song she had written. We were completely blown away and knew then and there we wanted to make music with her. I was going to play guitar. Still could not find a drummer so I took up the drums.
Nina’s voice has been compared to several vocalists. Which is the most surprising? Has Chrissie Hynde ever been mentioned?
Chrissie Hynde has been mentioned, Morrissey, Dolores O'Riordan, Bjork to even Roy Orbison. To Nina, just being compared to any of these artists is a definite honor than it is surprising.
Explain to the readers the origin of the title of your new release Both Before I’m Gone.
Nina is a huge James Dean fan. He has a quote in which he says, "Being a good actor isn't easy. Being a man is even harder. I want to be both before I'm done." It’s not exactly word for word but the quote inspired "Both Before I'm Gone."
Do all three members collaborate on songs?
We definitely do. Nina writes all lyrics and her guitar melodies. We write around that or help a part become bigger etc. On the album I was able to write the music for "The Photographer." It's basically what we all agree on music wise.
How are you enjoying touring Europe with Morrissey? What’s the good, the bad, and the ugly?
It’s definitely a dream come true. It's been amazing and the fans have overall been very accepting of us. Morrissey fans are very protective and particular with who is supporting him so we were nervous about the crowd. But it's been great. Of course, you get your heckler here and there but we take it with more humor instead of offense.
Who are some of your musical influences?
It's such a mix tape. It ranges from Patsy Cline, Elvis to the Pixies and Babes in Toyland.
If you had to put a label on your music, how could you describe it?
The hard question...we never really can. Melodic Punk if there is such a thing... it's such a blend...we have rockabilly sounding songs to just straight rock. It's good time music.
When do you plan on hitting the studio again? Will you still be on Joan Jett’s Blackheart label?
Not for another year or so. We plan on touring a little more this year for the album and start getting our songs prepped for the new album towards the end of this year. As for Blackheart, we will just have to see. It’s a great label.
Do you have any opinions on the presidential campaign currently under way in the U.S.?
Always the lesser of the evil.
What other information would you like readers to know about you?
We are all vegetarians and we love San Antonio and Lone Star Beer.
Wednesday, February 27, 2008
Friday, February 22, 2008
MUSIC REVIEW: Liam Finn, "I'll Be Lightning"
2008, Roundhead Music
Some things are just meant to be. For example, Liam Finn was meant to create a musical career for himself. Forget about his place in the Finn Dynasty. He can confidently stand on his own merits and talents. This is an extraordinary debut release and Finn has been called one of ten new artists to watch in 2008 by Rolling Stone magazine. And from the hundreds of new artists this year, that’s a high honor.
Now for a bit of background for the uninformed: Liam’s dad, Neil Finn, is considered one of his generation’s most talented singer/songwriters, creating music reminiscent of the Lennon/McCartney era. And the Beatles influence has always been prominent in the elder Finn’s music, focusing on exquisite, harmonizing vocals, witty and intelligent songwriting, and a wicked guitar sense, which is often overlooked and overshadowed by the music as a whole in his songs. Neil joined his big brother Tim Finn as singer with the Split Enz in the late seventies and brought a pop sensibility to the group, bringing them a broader audience with such songs as “One Step Ahead” and “I Got You.” After the Enz disbanded in the early eighties, Neil got together with late drummer Paul Hester and bassist Nick Seymour to form Crowded House. They went on to great success, releasing four gems throughout the eighties and early nineties.
Enough about the old man. The stage is now set for the next generation… Liam Finn’s I’ll Be Lightning is a folksy, melodic prize for listeners who demand top-notch songwriting, singing, and music. Besides a buddy from former group Betchadupa playing drums on a handful of songs and Dad playing bass on one, Liam plays every instrument. Maybe not such an amazing accomplishment since this son has been surrounded by great music his entire life. In concert, Liam is a one-man show, using a looping recorder to lay down guitar tracks, then frantically jumping on the drums. If you didn’t see it with your own two eyes, you would think it was a three- or four-piece rock band, sounding quite awesome. Liam opened for the reunited Crowded House world tour in 2007. After his amazing - but painfully short - opening set, he showed up for most of the CH show, playing guitar and singing back-up vocals. He was a perfect fit.
After an impressive opening song in “Better To Be,” Lightning’s first single, “Second Chance” is a softly building pop masterpiece (“Remember me…honestly I don’t remember who you are”). At about 1:45 into the song, the drums kick in high gear and the song begins to rock. Just the right touch of harmonies and hooks make this a keeper.
“Gather To The Chapel” takes you to that special place. It’s comfort food for the ears with heaping helpings of superbly crafted harmonies (all voices belonging to Liam). “Lead Balloon” hits the ground running with a great backbeat and guitars not shy on the distortion and feedback. Again, Liam pours on the vocal harmonies making this another rich selection (“It’s a sad day when it comes to this, but a free man is a happy man/Walk home and reminisce, you were the highlight of the party…”). He proves he’s got the mettle to seamlessly go from soft, beautiful melodies to downright rock and roll. On “Lullaby,” Liam sings, “try to slow your heart, try to clear your head, night is just the day giving in.” Lucky listeners can enjoy music that is on par with the intelligent lyrics. On some songs, that Beatles influence is heard again. I’ll Be Lightning is a sincere, sometimes folksy album possessing great beauty.
Track for track, this record never fails to satisfy and is an incredible debut. With a slot on Letterman and quickly gaining worldwide exposure, the new Mr. Finn is likely to grace our presence for many years to come. One can only hope.
Some things are just meant to be. For example, Liam Finn was meant to create a musical career for himself. Forget about his place in the Finn Dynasty. He can confidently stand on his own merits and talents. This is an extraordinary debut release and Finn has been called one of ten new artists to watch in 2008 by Rolling Stone magazine. And from the hundreds of new artists this year, that’s a high honor.
Now for a bit of background for the uninformed: Liam’s dad, Neil Finn, is considered one of his generation’s most talented singer/songwriters, creating music reminiscent of the Lennon/McCartney era. And the Beatles influence has always been prominent in the elder Finn’s music, focusing on exquisite, harmonizing vocals, witty and intelligent songwriting, and a wicked guitar sense, which is often overlooked and overshadowed by the music as a whole in his songs. Neil joined his big brother Tim Finn as singer with the Split Enz in the late seventies and brought a pop sensibility to the group, bringing them a broader audience with such songs as “One Step Ahead” and “I Got You.” After the Enz disbanded in the early eighties, Neil got together with late drummer Paul Hester and bassist Nick Seymour to form Crowded House. They went on to great success, releasing four gems throughout the eighties and early nineties.
Enough about the old man. The stage is now set for the next generation… Liam Finn’s I’ll Be Lightning is a folksy, melodic prize for listeners who demand top-notch songwriting, singing, and music. Besides a buddy from former group Betchadupa playing drums on a handful of songs and Dad playing bass on one, Liam plays every instrument. Maybe not such an amazing accomplishment since this son has been surrounded by great music his entire life. In concert, Liam is a one-man show, using a looping recorder to lay down guitar tracks, then frantically jumping on the drums. If you didn’t see it with your own two eyes, you would think it was a three- or four-piece rock band, sounding quite awesome. Liam opened for the reunited Crowded House world tour in 2007. After his amazing - but painfully short - opening set, he showed up for most of the CH show, playing guitar and singing back-up vocals. He was a perfect fit.
After an impressive opening song in “Better To Be,” Lightning’s first single, “Second Chance” is a softly building pop masterpiece (“Remember me…honestly I don’t remember who you are”). At about 1:45 into the song, the drums kick in high gear and the song begins to rock. Just the right touch of harmonies and hooks make this a keeper.
“Gather To The Chapel” takes you to that special place. It’s comfort food for the ears with heaping helpings of superbly crafted harmonies (all voices belonging to Liam). “Lead Balloon” hits the ground running with a great backbeat and guitars not shy on the distortion and feedback. Again, Liam pours on the vocal harmonies making this another rich selection (“It’s a sad day when it comes to this, but a free man is a happy man/Walk home and reminisce, you were the highlight of the party…”). He proves he’s got the mettle to seamlessly go from soft, beautiful melodies to downright rock and roll. On “Lullaby,” Liam sings, “try to slow your heart, try to clear your head, night is just the day giving in.” Lucky listeners can enjoy music that is on par with the intelligent lyrics. On some songs, that Beatles influence is heard again. I’ll Be Lightning is a sincere, sometimes folksy album possessing great beauty.
Track for track, this record never fails to satisfy and is an incredible debut. With a slot on Letterman and quickly gaining worldwide exposure, the new Mr. Finn is likely to grace our presence for many years to come. One can only hope.
Tuesday, February 19, 2008
83. VAN HALEN, 2/10/08
Location: Philips Arena, Atlanta, GA
Supporting act: Ky-Mani Marley
In the company of: Steven W., Joe B., Lisa W., Austin W., Teia G., Amy P.
The Reunion That No One Bet On
They say all good things must pass. David Lee Roth was out. Sammy Hagar took over. Then it was Gary Cherone for an eye blink. In 2008, that guy that Eddie Van Halen couldn’t stand is now back in front. DLR in all his three-ring circus glory is back. Is this a good thing? Will it last? Will they avoid killing each other? Whatever your opinion, this was the near-original Van Halen lineup. The one asterisk would be the absence of bassist Michael Anthony. Recently fired, Anthony’s bass was picked up by 16-year old Wolfgang Van Halen, son of Eddie. The younger Van Halen did a fine job, but lacked the wild stage presence of Anthony.
The show opened with their cover of the Kinks’ “You Really Got Me.” This pretty much brought the roof down. DLR was as animated as ever and had several top-hat-and-sequined-jacket wardrobe changes. Backing vocals by Eddie and Wolfgang were right on and complemented Roth very well. The band went on to play such fan faves as “Running With The Devil,” the Roy Orbison cover, “Pretty Woman,” and “Dance The Night Away.”
Drummer Alex Van Halen was wicked on the kit. Like Eddie, brother Alex began the show shirtless. Besides the teenage boy onstage, the three middle-aged men all showed off quite the six-packs. Alex had a drum solo that probably lasted ten to fifteen minutes. The other band members took a long break, returned, and kept the music going.
With all the nostalgia, there were a few issues with sound. To begin with, technical difficulties were frequent during the evening. During the long trademark guitar solo by Eddie, the sound went totally out for what seemed like five minutes. He strummed, heard nothing, then threw his arms up looking off stage. Finally, someone figured out what was not plugged in and plugged it in. Eddie continued, unfazed. Also, Roth’s voice is not what it used to be. Maybe some of the bad notes could be blamed on the engineering, but not all of them. Roth did, however, show off his incredible gymnastic prowess, which has survived the band’s long recess. Several times, he jumped and spun, his knee nearly striking his head as his foot flew into the air. Each of these garnered a roar from the crowd.
Other hits included, “Hot For Teacher,” “Jamie’s Cryin,” and “Ice Cream Man.” Interspersed among the hits were song selections for true Van Halen fans. The boys dug deep for a few that never received any radio play, but were nonetheless very well received at this show.
The performance lasted an impressive two hours. After an explosive “Panama” and a rocking “Ain’t Talkin’ ‘bout Love,” the band left the stage for a very short recess until the crowd prodded them back out for one more tune. The opening keys of “Jump” blasted from the speakers and the crowd went hysterical. Confetti fell, Roth carried around a ginormous inflated microphone, and it was 1984 all over again.
Despite the sound glitches and vocal challenges, fans seemed to enjoy this reunion. Maybe as the tour progresses, Van Halen will perfect that sound that made them rich in the eighties.
Ky-Mani Marley, son of Bob, opened the show. It was a short and sweet performance by this unlikely Van Halen opener. His mix of reggae and hip-hop stylings was an interesting blend, although it seemed that few in the audience could care less. However, his cover of dad’s “No Woman No Cry” was outstanding.
Supporting act: Ky-Mani Marley
In the company of: Steven W., Joe B., Lisa W., Austin W., Teia G., Amy P.
The Reunion That No One Bet On
They say all good things must pass. David Lee Roth was out. Sammy Hagar took over. Then it was Gary Cherone for an eye blink. In 2008, that guy that Eddie Van Halen couldn’t stand is now back in front. DLR in all his three-ring circus glory is back. Is this a good thing? Will it last? Will they avoid killing each other? Whatever your opinion, this was the near-original Van Halen lineup. The one asterisk would be the absence of bassist Michael Anthony. Recently fired, Anthony’s bass was picked up by 16-year old Wolfgang Van Halen, son of Eddie. The younger Van Halen did a fine job, but lacked the wild stage presence of Anthony.
The show opened with their cover of the Kinks’ “You Really Got Me.” This pretty much brought the roof down. DLR was as animated as ever and had several top-hat-and-sequined-jacket wardrobe changes. Backing vocals by Eddie and Wolfgang were right on and complemented Roth very well. The band went on to play such fan faves as “Running With The Devil,” the Roy Orbison cover, “Pretty Woman,” and “Dance The Night Away.”
Drummer Alex Van Halen was wicked on the kit. Like Eddie, brother Alex began the show shirtless. Besides the teenage boy onstage, the three middle-aged men all showed off quite the six-packs. Alex had a drum solo that probably lasted ten to fifteen minutes. The other band members took a long break, returned, and kept the music going.
With all the nostalgia, there were a few issues with sound. To begin with, technical difficulties were frequent during the evening. During the long trademark guitar solo by Eddie, the sound went totally out for what seemed like five minutes. He strummed, heard nothing, then threw his arms up looking off stage. Finally, someone figured out what was not plugged in and plugged it in. Eddie continued, unfazed. Also, Roth’s voice is not what it used to be. Maybe some of the bad notes could be blamed on the engineering, but not all of them. Roth did, however, show off his incredible gymnastic prowess, which has survived the band’s long recess. Several times, he jumped and spun, his knee nearly striking his head as his foot flew into the air. Each of these garnered a roar from the crowd.
Other hits included, “Hot For Teacher,” “Jamie’s Cryin,” and “Ice Cream Man.” Interspersed among the hits were song selections for true Van Halen fans. The boys dug deep for a few that never received any radio play, but were nonetheless very well received at this show.
The performance lasted an impressive two hours. After an explosive “Panama” and a rocking “Ain’t Talkin’ ‘bout Love,” the band left the stage for a very short recess until the crowd prodded them back out for one more tune. The opening keys of “Jump” blasted from the speakers and the crowd went hysterical. Confetti fell, Roth carried around a ginormous inflated microphone, and it was 1984 all over again.
Despite the sound glitches and vocal challenges, fans seemed to enjoy this reunion. Maybe as the tour progresses, Van Halen will perfect that sound that made them rich in the eighties.
Ky-Mani Marley, son of Bob, opened the show. It was a short and sweet performance by this unlikely Van Halen opener. His mix of reggae and hip-hop stylings was an interesting blend, although it seemed that few in the audience could care less. However, his cover of dad’s “No Woman No Cry” was outstanding.
Friday, February 8, 2008
MOVIE REVIEW: U23D
Location: Mall of Georgia IMAX Theater
With: Ethan
Turn It Up Loud, Captain!
What could possibly be considered innovative for the band that’s done it all? A 3D IMAX film? Yes, that would do it. Since their first album, Boy, was released in 1980, Irish rock group and BBITW (Biggest Band In The World) U2 has pushed the limits of celebrity, musical experimentation, and how to look at the world.
With Bono (born Paul Hewson) at the helm, anything seems possible. It has been said that U2 release albums in series of threes: Boy (1980), October (1981), and War (1983) were all straight-ahead rockers with enough hooks to catch a school of piranha; Then came The Unforgettable Fire (1984), The Joshua Tree (1987), and Rattle and Hum (1988) all possessing themes from their newly adopted home, America; followed by Achtung, Baby (1991), Zooropa (1993), and Pop (1997), considered their experimental period; and finally All That You Can’t Leave Behind (2000) and How To Dismantle An Atomic Bomb (2004), a return to what they did best: great rock (fans anxiously await the third installment in that last series).
One theme consistent throughout all of U2’s releases is a sense of spirituality not attempted by most bands. With Bono, who was raised Irish Catholic in the war-torn streets of Dublin, Ireland, no one can miss the connection with God. Even while many do not consider that to be a cool thing to do, U2 stay close to their religious roots. With this history, Bono and the boys showcase their views on non-violence and human rights through sound and vision. Before "Pride (In The Name Of Love)" – an ode to Dr. Martin Luther King, Jr. – was played, the Universal Declaration of Human Rights http://www.un.org/Overview/rights.html scrolled up a screen in Spanish while being read in English. Very powerful.
And so it goes, U23D seemed like a religious experience for the throngs of fans viewing it on that big screen. Culled from several shows in South America from U2’s 2005 Vertigo tour supporting the album How To Dismantle An Atomic Bomb, the opening scene shows a female concertgoer running through the corridor as you overhear the crowd cheering and music beginning. Missing the opening of a U2 concert rivals the college-years nightmare of oversleeping through a big final exam.
“Unos, Dos, Tres, Catorce!” …the opening of "Vertigo" and a power guitar riff now known to millions. The concert/movie was a visual explosion. Bono reached towards the camera several times as viewers in the IMAX theater reached back in an attempt to touch his hand. At one point he was playing a guitar and it seemed as if one could reach out and tune it for him. Not only was the visual show astonishing, but of course, the music was captivating. Playing some of their greatest songs, this could have gone twice the length of its 85 minutes and not bored the crowd.
All four members had their moments in the spotlight. The Edge (born Dave Evans) made music with his guitar that experts still can’t figure out, while bassist Adam Clayton kept the rhythm on the down low. On "Love And Peace Or Else," drummer and U2 founder Larry Mullen, Jr. stood isolated on the walkway that extended out into the crowd. His instrument was a single drum that he pounded throughout the song. When he made his way back to the drum kit on stage, Bono took over pounding that drum in what must be one of the most dramatic moments of the show. The singer wears his heart on his sleeve and never shies away from showing it. The only possible complaint about U23D would be that the movie did not have the volume of a true U2 concert. Turn it up loud, captain!
Fans of U2 will love this thing. Those somewhat familiar with the band may become the newest fans. And those who couldn’t care less will – at the very least – say “not bad.” In 1984, Talking Heads’ Stop Making Sense did wondrous things for the rock concert film as a true art form. U23D has raised the stakes in 2008.
U2 closed out the show with a beautiful acoustic version of "Yahweh." Back to their spiritual roots and hopefully, back to the studio to, once again, reinvent themselves as well as rock music.
Here’s the set list:
Vertigo
Beautiful Day
New Year’s Day
Sometimes You Can’t Make It On Your Own
Love And Peace
Sunday Bloody Sunday
Bullet The Blue Sky
Miss Sarajevo
Pride (In The Name Of Love)
Where The Streets Have No Name
One
The Fly
With Or Without You
Yahweh
With: Ethan
Turn It Up Loud, Captain!
What could possibly be considered innovative for the band that’s done it all? A 3D IMAX film? Yes, that would do it. Since their first album, Boy, was released in 1980, Irish rock group and BBITW (Biggest Band In The World) U2 has pushed the limits of celebrity, musical experimentation, and how to look at the world.
With Bono (born Paul Hewson) at the helm, anything seems possible. It has been said that U2 release albums in series of threes: Boy (1980), October (1981), and War (1983) were all straight-ahead rockers with enough hooks to catch a school of piranha; Then came The Unforgettable Fire (1984), The Joshua Tree (1987), and Rattle and Hum (1988) all possessing themes from their newly adopted home, America; followed by Achtung, Baby (1991), Zooropa (1993), and Pop (1997), considered their experimental period; and finally All That You Can’t Leave Behind (2000) and How To Dismantle An Atomic Bomb (2004), a return to what they did best: great rock (fans anxiously await the third installment in that last series).
One theme consistent throughout all of U2’s releases is a sense of spirituality not attempted by most bands. With Bono, who was raised Irish Catholic in the war-torn streets of Dublin, Ireland, no one can miss the connection with God. Even while many do not consider that to be a cool thing to do, U2 stay close to their religious roots. With this history, Bono and the boys showcase their views on non-violence and human rights through sound and vision. Before "Pride (In The Name Of Love)" – an ode to Dr. Martin Luther King, Jr. – was played, the Universal Declaration of Human Rights http://www.un.org/Overview/rights.html scrolled up a screen in Spanish while being read in English. Very powerful.
And so it goes, U23D seemed like a religious experience for the throngs of fans viewing it on that big screen. Culled from several shows in South America from U2’s 2005 Vertigo tour supporting the album How To Dismantle An Atomic Bomb, the opening scene shows a female concertgoer running through the corridor as you overhear the crowd cheering and music beginning. Missing the opening of a U2 concert rivals the college-years nightmare of oversleeping through a big final exam.
“Unos, Dos, Tres, Catorce!” …the opening of "Vertigo" and a power guitar riff now known to millions. The concert/movie was a visual explosion. Bono reached towards the camera several times as viewers in the IMAX theater reached back in an attempt to touch his hand. At one point he was playing a guitar and it seemed as if one could reach out and tune it for him. Not only was the visual show astonishing, but of course, the music was captivating. Playing some of their greatest songs, this could have gone twice the length of its 85 minutes and not bored the crowd.
All four members had their moments in the spotlight. The Edge (born Dave Evans) made music with his guitar that experts still can’t figure out, while bassist Adam Clayton kept the rhythm on the down low. On "Love And Peace Or Else," drummer and U2 founder Larry Mullen, Jr. stood isolated on the walkway that extended out into the crowd. His instrument was a single drum that he pounded throughout the song. When he made his way back to the drum kit on stage, Bono took over pounding that drum in what must be one of the most dramatic moments of the show. The singer wears his heart on his sleeve and never shies away from showing it. The only possible complaint about U23D would be that the movie did not have the volume of a true U2 concert. Turn it up loud, captain!
Fans of U2 will love this thing. Those somewhat familiar with the band may become the newest fans. And those who couldn’t care less will – at the very least – say “not bad.” In 1984, Talking Heads’ Stop Making Sense did wondrous things for the rock concert film as a true art form. U23D has raised the stakes in 2008.
U2 closed out the show with a beautiful acoustic version of "Yahweh." Back to their spiritual roots and hopefully, back to the studio to, once again, reinvent themselves as well as rock music.
Here’s the set list:
Vertigo
Beautiful Day
New Year’s Day
Sometimes You Can’t Make It On Your Own
Love And Peace
Sunday Bloody Sunday
Bullet The Blue Sky
Miss Sarajevo
Pride (In The Name Of Love)
Where The Streets Have No Name
One
The Fly
With Or Without You
Yahweh
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