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Review: Brian Jonestown Massacre at Turner Hall



• August 20th, 2012
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• By Phillip Martinez


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The Brian Jonestown Massacre at Turner Hall Ballroom. (Photos: Erik Ljung)

The Brian Jonestown Massacre’s shoe-gazed psych-rock has led them to become one of the most influential and erratic groups of the past two decades. The engrossing documentary, Dig!, released in 2004, followed BJM’s tumultuous exploits over a seven-year span from the mid-90s through the early ’00s.

Band leader Anton Newcombe.

At the heart of these tumultuous exploits is creative genius and perceived madman, band leader Anton Newcombe. Internal problems and documented public outbursts sometimes overshadow their body of work that began in the early ‘90s, so at Turner Hall on Friday night, I wasn’t sure whether I was going to finally get to see a band I love play some of my favorite songs or witness a complete disaster. Either way, I knew it would be a memorable night.
Minneapolis band Magic Castles kicked the night off, playing jam-heavy psychedelic rock to a fairly sparse crowd, but as soon as the Minneapolis-based quintet finished their set, eager fans arrived and began to pack the historic ballroom for an evening with The Brian Jonestown Massacre.
Touring in support of their latest album, Aufheben, the band took to the stage eight members strong, including familiar faces Newcombe, the only consistent member since the band’s inception, tambourine player and mutton-chops aficionado Joel Gion and founding-member, guitarist and sometimes-vocalist Matt Hollywood. The crowd roared as BJM tuned their instruments as screams of “Joel” and “Hollywood” were heard throughout the ballroom.

Singer-guitarist Matt Hollywood.

They opened their set with “Stairway to the Best Party in the Universe,” a new, tripped-out track with “Paint It Black”-like riffs and Newcombe’s delicate delivery. This was one of only a few tracks played off of Aufheben, as the rest of the set consisted of what would be considered the band’s hit songs.

1995-1998 is arguably BJM’s musical heyday, a time when they churned out six fantastic albums in those short years, and when Friday’s set-list came largely from this period, the crowd reacted with cheers and excitement. Ripping through tracks, with an arsenal of drums, a keyboard, tambourines, and up to 5 guitars, on “Anemone,” “Wisdom,” “Super-Sonic,” “Servo,” and “This Is Why You Love Me,” Newcombe was reserved with his eye-contact but his concentration—to the craft he will literally punch you in the face for messing with—was unshakable.
The highlights and most energized tracks of the night, however, came when Matt Hollywood took the vocal lead on songs including “Oh Lord,” “Got My Eye On You,” and “Not If You Were The Last Dandy On Earth.” Considering Hollywood’s numerous band departures, it was a welcomed sight. But it wasn’t just Newcombe and Hollywood manning the vocal’s on Friday night, as Joel Gion got in on the mix, belting out a bluesy cover of Bobby Jameson’s “There’s a War Going On.”

Joel Gion.

BJM closed their set with and elongated version of “Straight Up and Down” from 1996’s Take It From the Man, a song that has enjoyed a rebirth as the theme for HBO’s Boardwalk Empire. As the song played and the crowd cheered, a different, yet familiar tune crept in, as the song morphed into the Rolling Stones’ classic “Sympathy for the Devil.”
A good two hours after they began, The Brian Jonestown Massacre waved good-bye to the applauding crowd. While at one point, Newcombe did yell at a guitarist about his pedal usage calling it a “sin city of pedals,” nobody really seemed to notice, and at this point, the band appears able to accept those outbursts as Anton being Anton.
While it seems that some things will never completely change, most notably Anton’s unbridled passion that sometimes turns confrontational, one dramatic adjustment has been the rest of the band’s ability to handle these outbursts and continue to function as a band. BJM has been making Milwaukee a standard tour-stop in recent years, and it’s comforting to know that this great band was able to resurrect itself after years of destruction…and put on a damn good show too.

tonight's concert: 

                                                       Clermont-Ferrand_______________________

with YETI LANE


 

this is the way.


 Emmené par son leader charismatique Anton Newcombe, The Brian Jonestown Massacre est actuellement en tournée en France  jusqu'au 4 juillet. Après Rennes, Toulouse, Montpellier et un passage au Rock dans tous ses états et aux Eurockéennes, ils sont en concet ce soir à Clermont-Ferrand (demain à Paris). L'occasion de voir un des groupes indés-américains les plus intéressants, très influencés par la période psychédélique du rock.





this venue is the serious homage to serge gainsbourg

love him..

nice day,nice backstage with the windows open.

The Brian Jonestown Massacre – solidt, ikke magisk

• Anders Cold
• 24. juni 2012
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Foto: Steffen Jørgensen

Kunstner The Brian Jonestown Massacre

Spillested Voxhall

The Brian Jonestown Massacre er efterhånden en groft personlighedsspaltet kulturinstitution. En inkarnation af bandet er 'Anton Newcombe and friends', – en løs konstellation, som i ny og næ roder et album sammen – og en anden er det efterhånden virkelig velsammentømrede slæng, som turnerer verden tynd og aften efter aften fra scenen leverer, hvad der i bandets verden er at betragte som en psykedelisk hitparade. Således også denne aften på Voxhall.

Newcombes otte mand høje trup er imponerende. Halvdelen betjener oftest guitarer, og man må sige, at husets lydmand især denne aften havde kælet for lyden, så alt, trods den megen trængsel på scenen stod krystalklart i bandets lysergiske lydbillede. Dan Allaire er måske en af de mest oversete trommeslagere nogensinde, og især hans bidrag stod i Voxhalls formidable lyd ud som en mavepumpende og fysisk rock'n'roll-eksercits: Det helt rigtige underlag for bandets svirrende guitar-armada.

Rob Campanella sad troligt bag orglet og Matt Hollywood – under indspilningerne til dokumentaren 'DiG!' drabelige uvenner med Newcombe – nu hans tro væbner, stod tættest på Anton sammen med den tighte og prunkløse bassist Collin Hegna. Imponerende er også ordet, der falder lige for, når man finder ud af at Brian Jonestown Massacre bare uden videre kan gå på scenen uden fast setliste og lade Newcombe spille whatever-the-fuck han nu lyster. Resten af bandet skal nok falde ind og få PA-systemet til at græde guld.

Læs anmeldelse: The Brian Jonestown Massacre 'Who Killed Sgt. Pepper?'

Det faktum gør også, at deres koncerter står og falder med hans humør. Især en batalje med to af bandmedlemmerne gjorde sit til at så tvivl om netop Newcombes lune. Der er et par grunde til at han altid indtager positionen helt ude til venstre i scenen. En er, at han ikke rigtigt ønsker rollen som frontmand, der istedet er dedikeret til tamburin-charmøren Joel Gion. En anden er, at han, som den kontrolfreak, han er, holder øje med om hans kumpaner nu også spiller rigtigt.

»It's one fucking rhythm, not five different ones! You make it so fucking difficult – no – actually impossible to me!« udbrød han pludselig, efter at have våget som en høg over især de to rytmeguitarister i den fjerne ende af scenen – den stoiske cowboy Frankie Emerson og den ulasteligt jakkesætsklædte 12-stringer-slinger Ricky Maymi. »Yeah, you look fucking great with your sunglasses and all. Deaf people love it!« fik de lige med også.

Det forsurede de få minutter, der var tilbage af aftenen lidt, og stak måske også lidt en kæp i hjulet på håbet om en encore. Ærkefans måtte derfor kigge langt efter nogle af bandets mest hypnotiske, men desværre fraværende højdepunkter – 'Swallowtail' og 'Hide and Seek' – i en setliste, som især ellers skinnede i bandets mest poppede momenter og så Matt Hollywoods hofnumre 'Not If You Were the Last Dandy on Earth' og 'Got My Eye On You' – og omvendt var ved at gå i stå under sirupssløve leveringer af numre som '(David Bowie I Love You) Since I Was Six'.

Med en længde på næsten to timer kan ingen brokke sig over at have gået sultne fra koncerten, men The Brian Jonestown Massacre var oftest mere solide end magiske aftenen igennem, omend leveringer af numre som 'Anenome' og 'Super-Sonic' stadig transcenderede denne verden.

[Portrait] Anton Newcombe, la dernière légende du rock. Depuis plus de vingt ans, The Brian Jonestown Massacre incarne avec fougue un certain idéal rock’n’roll, grâce à l’aura destroy de son leader Anton Newcombe, devenu une petite légende underground. Les cinq raisons du culte. (Olivier Granoux/Télérama Sortir)
Lire la suite ici : http://goo.gl/LQr5w
Concert : 03/07 Clermont-Ferrand ( La Coopérative de Mai) w/ Yeti Lane 04/07 Paris (Le Trianon) w/ Yeti Lane
Album "Aufheben"

being silly

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