Schedule for June is up!

JUNE

1^st Tamerlane, Like A Storm, Stepback Eleven, Infinity Remains and Safeword

5^th The Goddamn Gallows

7^th Chaos presents

8^th Benefit for DUSTIN MELE featuring All For Revenge, Tyranize, Still I Burn, From Within, Here To Stay, Ematoma

12^th BLACK FLAG & Good For You

13^th AGNOSTIC FRONT, Lionheart, Brick By Brick, Aggressive Response

14^th Chaos presents

15^th KYLESA, Blood Ceremony, White Hills, Lazer Wulf, Maggotbrain, Never Odd Or Even

16^th Bermuda, Legion, Seeker, Sessions, The Conflict Theory, Realms

17^th BIOHAZARD, Sworn Enemy, Born Low, Before The Betrayer, Trife Life, Here Is My obituary, Peaks

18^th Polkadot Cadaver, Exotic Animal Petting Zoo, Breathless By Dawn, Arrest The Dreamer, Faced, Like Lions, Changing Tides

22^nd MURDER JUNKIES

24^th The Sharrows

27^th Bottles N Beats featuring DJ STRESS

Metal, Ska, Hardcore, Rock!! Jay Frost analyses a hardcore show!

The Anatomy of a Hardcore Show

By Jay Frost

Until now, I’ve brought you detailed, up close and personal accounts of performances from the myriad of acts that played Bogies in the first half of 2013. While these performance reviews are a lot of fun to write and helpful (I hope) to the musicians  whose sets I review, today I’ve decided to give you a behind the scenes look at all of the hard work and careful planning that goes in to organizing and orchestrating these events.

On Saturday, April 27^th, I worked under Upstate BnB stage manager and sound technician Dan Bushey from load-in to the final change-over for the last two acts. For the musicians, promoters and venue staff that may be reading, what I am about to recount is nothing new. The average concert-goer, on the other hand, can only venture a guess as to what happens in the hours before the doors open.

At 5 p.m., the six acts scheduled to perform began to arrive at the venue for load-in. With a door time of 7 p.m., it is of the utmost importance that all acts have their equipment inside the club, separated and ready to be placed on the stage no later than 5:15, 5:30 at the latest. In order to minimize confusion, each act chose a separate plot on the empty dance floor to stow their gear (guitars, basses, drums and amplifiers) and awaited further instruction from the stage manager.

When all the bands had loaded in, the order in which each would appear was determined. Typically, this is dictated by the amount of tickets sold, but tonight’s event was organized by Tower, the headliners, who therefore assumed this responsibility. Once the order was set, the bands and venue staff loaded the gear on the stage, guitars and basses stored in an enclosure behind the drum riser, amplification devices stacked stage left and right using a method known as “back-lining”. This process entails placing all of the amplifiers in the order that each band will appear – the openers’ equipment first, direct support and headliners last. As most of the acts on tonight’s bill featured two guitarists and a bass player, guitar amplification was stacked to the right and the left of the stage, the bass amps to the right of the drum riser. As you will see later on, this makes load-off between acts simple and free of aggravation. In order to prevent clutter, the openers and direct support shared some of the larger equipment (speaker cabinets for guitar and bass amplification).

After back-lining, drums for the openers were assembled on the riser, center stage. The bands slated to appear afterward began to assemble their drum kits in a fenced-off alcove directly behind the sound booth (left side of the room behind the dance floor). Just as back-lining eliminates unnecessary stress, partial assembly of the percussive instruments reduces the amount of time it would take to assemble them on stage, thus minimizing the set-up time between acts.

After the opening act was set up, sound-check began. Much like any other venue, Bogies has its own house P.A. system which is utilized to amplify the band and minimize the unpleasant feedback associated with the volume on stage being turned up too loud. Each instrument/amplification device is fitted with a microphone that is fed into a mixing board used by the sound technician to balance levels. As drums are essentially acoustic instruments, kits are fitted with a number of microphones – typically one for the kick-drum, one for the snare, and sever others mounted on toms. These mics also serve to amplify cymbal volume.

Sound-checks typically begin with setting drum levels: first, the bass, next the snare, and finally the whole kit. Once the sound man is satisfied with the drum levels on stage (and the drummer is satisfied with the levels coming through the stage monitors), one of the two guitarists plays in a few riffs in order to set their levels. After the guitars, the bass, and so on; depending on how many vocalists the band features, one to three microphones are tested and levels are set. Finally, the band as a whole plays a verse or two of a song for a final level check, then clears the stage until it’s time to perform.

As mentioned earlier, the openers and direct support shared equipment, which limited my responsibilities to assisting the acts with drum set-up and break-down. More often than not, the bands themselves are responsible for making this happen, so they were extremely grateful to have an extra pair of hands this evening. When the first of the openers completed their set, I aided the drummer in the breakdown and removal of the drums, and then offered my assistance to the next band. After their set, the first of the back-lined gear was removed from the stage as well. All of this gear is then placed in the alcove where the other acts set up their drums until it’s time to load out.

Though the technical side of orchestrating these events can be bothersome, careful planning and swift action on the part of venue staff minimizes any significant problems. Methods like “back-lining” allow for swift change-overs so that each act has ample time for adequate sound checks and enables venue staff to complete their jobs in an orderly, timely fashion. This is how the pros do it.

Bane review. Nails, Sworn Enemy, BxB!

April 4^th, 2013: Bane, Violence to Fade, Living Laser and Disconnect at Bogies

by Jay Frost

This evening’s event showcased four excellent 90’s style hardcore acts – Western Massachusetts’ Bane and Violence to Fade, Newburgh New York’s Living Laser and locals Disconnect. As per usual, gainful employment prevented me from seeing Disconnect and most of Living Laser’s set (which was especially disappointing for me, as Disconnect is one of my new favorite local acts), but the remainder of the evening was a lot of fun.

Being the first “pure hardcore” line-up since Crown of Thornz back in March – and myself being a “hardcore purist”, if you will – I wouldn’t have missed this show for the world. Arriving in the nick of time to hear Living Laser’s last two songs, I received my first dose of fast-paced hardcore punk. I use the term “punk” loosely here: though their sound relied heavily on four-on-the-floor tempos, Living Laser had more of a old-school New York Hardcore feel (heavy guitar riffing, shouted vocals, dance parts, etc.). Fans of Leeway, Quicksand, Warzone and Gorilla Biscuits would dig these guys. To sum it up in a neat little phrase: old-school.

After the customary intermission for breakdown, set-up and sound check, Violence to Fade broke the silence with a heavy instrumental intro fit for stomping your way through the pit. Upon hitting the final E-chord, VTF took Bogies by storm with “G.I. Joe Headstomp.” What a song title! With guitars at standard tuning, shouted vocals and alternating fast/slow tempos, I was reminded of Strife, Burn, Killing Time and even tonight’s headliners. Forming in 2012, Violence to Fade is a unique addition to the ever-growing underground; where most up-and-comers in the extreme music genre try to out-do each other with low-tuned guitars, syncopated drum beats and guttural vox (some even veering into the realm of “metalcore”), knowing that a certain subset of the new-school is still interested in playing good old-fashioned hardcore is refreshing. The fact that acts like Violence to Fade are few and far between make catching them live a true slice of nostalgia that’ll have you two-stepping and circle-moshing all night long. I had a lot of fun watching these guys, as any hardcore purist would.

Violence to Fade’s demo is available for free download as well. Just follow the link on their Facebook page to check it out.

Worcester, Massachusetts’ own Bane took the stage close to the ten o’clock hour. The brainchild of Aaron Dalbec (Converge), Bane has been credited with being one of the first Boston hardcore bands that developed alongside the extreme metal scene as opposed to hardcore-punk. Having gone through several line-up changes since their 1995 debut, Dalbec and vocalist Aaron Berdard are the only remaining original members. Stylistically, Bane is fast, mean, and definitely traditional.  Their message is positive and idealistic, leading many to associate them with the straight edge movement in hardcore. Though accurate, Dalbec and Berdard are the only members of the band who adhere to the tenants of this lifestyle. Therefore, it would be inaccurate to refer to them as a straight edge band. In fact, this event had a real “straight edge or not” vibe: though I saw band members and attendees with X’ed hands, there was never a clear declaration of this being an edge event. The bar was just as active as any night, and everyone was welcome, whether “straight edge or not”.

While the audience was scattered in pockets for the openers, the room had since filled up a bit and EVERYONE gathered up front for Bane. True, this was a Monday night, and Bogies wasn’t anywhere near maximum capacity, but the enthusiasm of both Bane and the audience equaled that of a packed house. There was no shortage of pile-ons, sing-a-longs and stage dives and the pit raged like riot. If there were fifty kids up front, thirty of them kept it going to the end. Bane’s set consisted of classics from their entire back catalogue, from 1998’s “Holding this Moment” up to their 2005 effort “The Note”, as well as new and unreleased material – most notably a song called “The Bold and The Beautiful”. Anthems celebrating strength, tenacity and courage in the face of adversity soared through the air, proving once again how vital positive hardcore is to the underground music scene; by recounting personal experiences and promoting constructive solutions to relevant problems, a sense of mutual respect and empathy is born. To paraphrase myself, this music could save lives.

ticketrink.com!

Jay Frost reviews Bam Margera

Monday, April 8^th: Fuckface Unstoppable at Bogies

By Jay Frost

I am currently eating a great deal of words; perhaps the biggest upset victory of Upstate Black ‘N’ Blue’s busy winter/spring concert series, Fuckface Unstoppable played a stellar set this past Monday. Consisting of former members of CKY and fronted by Bam Margera, a man that needs no introduction, the band far surpassed all of my low expectations. In light of Margera’s  film and television career (his tenure with the Jackass and CKY crews) and the reputation he has built for himself as a practical jokester and party animal, I didn’t think that I’d be able to take F.U. seriously. The fact that CKY members Jesse Margera and Matty J made up the rhythm section of the band gave me some hope, but all in all I anticipated an evening marked by immaturity and superstar pomposity.

My fears were assuaged when Bam belted out the first line of Turbonegro’s “All My Friends are Dead”. Wow. Did that bark really come from Bam? There was no denying that Margera had developed a distinctly hardcore-influenced vocal style similar to old-school acts like Killing Time. It didn’t feel forced or unauthentic, but rather sincere and downright powerful. His stage presence was impeccable as well: between shaking hands with the sweaty pile center-stage and offering the mic to those who cared to sing along, he didn’t miss a single beat or stumble over a single lyric. He was Fuckface Unstoppable. At times his banter straddled the line between toilet humor and sexual lewdness, but this is nothing new to punk rock – or rock and roll in general – and with so many acts using their art as a vehicle to deliver their ideals to the masses, it’s refreshing to see that some still do it for the fun of it. 

Musically, the band alternated between heavy punk rock and Clutch-inspired groove metal; occasionally, elements of electronic music (“Bend My Dick”) as well as hip-hop were thrown into the mix. Midway through there set, Bam had to take a potty break and passed the mic to one of his entourage, who graced us with a free-style rap, the band providing a metallic back-beat. Though merely an interlude, it smacked of Mob Deep and Sick of it All’s rendition of “Survival of the Fittest”. If Fuckface Unstoppable can do something like this on a whim, it would be interesting to see something like this developed in the studio – or even recorded candidly – for later release.

Aside from the afore-mentioned cover, Fuckface Unstoppable’s repertoire included a superb rendition of Clutch’s “Whiskey and Rye”, “Bend my Dick” - their original and hilarious take on dubstep that describes the act of fornicating with one’s self, as well as a slew of original material that  fell either into the heavy punk or groove metal categories. For me and many others, tonight was a lesson in humility: though a man may build his career on being a “jackass”, it shouldn’t define everything he does. Silly name and antics notwithstanding, Fuckface Unstoppable is one hell of a band, and I’d gladly see them again.

ticketrink.com !!!!

Punk rock review by Jay Frost also some killer shows this week!

March 23, 2013: Urban Waste, The F.U.s, Dead Aces and Aggressive Response at Bogies by Jay Frost

            This evening metal and its various sub-genres took the night off as Bogies hosted and all-punk lineup featuring “dawn of hardcore” trailblazers Urban Waste (NYC) and The F.U.s (Boston) co-headlining, as well as support from locals Dead Aces and Aggressive Response. As Upstate Black ‘N’ Blue Productions prides itself in bringing a diverse range of talent to the Capital District, an old-school hardcore-punk show was not necessarily a deviation from the norm, but rather a pleasant surprise. Another unique feature of this event was that the front stage area closest to the bar was utilized as opposed to the larger stage area in the rear of the club. This made for a much more intimate, “reach out and touch you” atmosphere

            Kicking off the show was Aggressive Response, who made their first appearance in front of an audience tonight. An angry five-piece consisting of the guitar tandem of Kurt and Joey “Soft-Hands” Berben, bassist Welf, drummer Jared and vocalist Jay Krak, Aggressive Response played a style of hardcore-punk that had more in common with early Sheer Terror than Black Flag or the Circle Jerks. In fact, that was the only comparison I could draw as I watched them play, so I wasn’t surprised when they concluded with a cover of “Just Can’t Hate Enough” – and an excellent one at that! Aggressive Response has a six-song self-titled EP out now, so make sure you pick it up. Look for them on Facebook and BandCamp as well. Hopefully we’ll get a chance to see what they can do in the back room next time.

            Up next were Dead Aces, a three-piece playing a more traditional style of punk rock that drew on influences like the Ramones, the Sex Pistols, Rancid and The Descendants. No strangers to the local club circuit, Dead Aces have been playing out for some time and have at least one full-length recording under their belt. Featuring a dual-vocal assault from their guitarist Scotty Ace and bassist John Lee, Dead Aces may lean more toward the traditional three-chord punk, but with a ferocious delivery courtesy of the percussive assault of Ryan Downey. Dead Ace’s vocalists alternated between harmonious clean vocals and angry shouts, the latter of which brought to mind bands like Kid Dynamite, “Revenge”-era Cro-Mags and The Casualties. Likely one of the hardest-working bands in the local punk scene, it isn’t difficult to catch these guys out at any number of local venues. Keep your eyes open.

            After the locals tore up the stage, the audience was treated to the first of two raw, energetic, lightning-paced doses of old-school hardcore punk beginning with Boston’s The F.U.s. Reuniting in 2010 after nearly fifteen years of marginal-to-non- activity, several line-up changes and a brief tenure as heavy metal act Straw Dogs, The F.U.s played sixteen songs in a half an hour. Stylistically, the band played a stripped-down form of thrashy punk. Though contemporaneous with Gang Green and “Dirty Rotten LP”-era DRI, The F.U.s unfortunately never gained the notoriety of these others outside of the Northeast – which is surprising, considering the originality they inject into this sometimes static genre.

            Consisting of original vocalist original vocalist John Sox, Rockin’ Bob Cenci and Jonesey Stunt (son of former member Mick Stunt) on guitars, Richie Rich on bass and Bob Furapples behind the kit, the F.U.s played material from their entire back catalogue. Upon the conclusion of their eponymous song, Sox commented with a chuckle: “I bet you never thought you’d be smiling after getting flipped the bird.” To me, this summed up the atmosphere of the entire evening: venting frustration, having a good time and simply not giving a fuck about society, your troubles or what the next man, whether next to you or on stage has to say. The F.U.s impressed me so much that I picked up a copy of their 1982 debut “Kill for Christ” from Sox at the merch table on my way out. They are still on tour with Urban Waste, and will be in Wallingford, Connecticut April 13^th. If you’re in the area or you love old-school hardcore punk enough to travel, check them out.

            NYC’s Urban Waste continued the old-school savagery. Playing an hour long set, they managed to crank out enough material to fill two full-length grindcore albums (or four seven inches, more likely). Though only active in their original incarnation from 1982 to 1984, Urban Waste’s impact on the burgeoning New York punk scene – and what became NYHC years later – is so far-reaching that they have been cited as influential by the likes of Agnostic Front’s Roger Miret. Like the F.U.s, they had also gone through a number of line-up changes, with guitarist Johnny Waste the sole surviving member from the old days.

            The crowd had remained relatively tame most of the night on account of the small space up front, but this went out the door with Urban Waste’s set. Memorable moments were “Banana Nut-cake”, “Reject”, “Police Brutality” and their eponymous tune. Stylistically similar to the F.U.s, but unique in an Agnostic Front “Cause for Alarm” manner, Urban Waste is most certainly from New York. There is no denying this; their attitude, sound and stage presence qualified this. If you couldn’t make this show and travel’s convenient, make sure you catch them on tour – not just for the novelty or nostalgia of seeing such a seminal act resurrected, but for the sheer fun of it.