The gamecock. (Columbia, S.C.) 1908-2006, October 06, 2004, Page 10, Image 10
CONCERT REVIEW
• \
Incubus delivers in Atlanta
INCUBUS
The Gwinnett Center
Atlanta, Ga.
Oct. 2
★★★★ out of ☆☆☆☆☆
By chas McCarthy
THE GAMECOCK
After losing a bass player of Dirk
Lance’s caliber and cutting a new album
that drew mixed reviews from fans, I
wondered if Incubus was still capable of
the type of live performance they
delivered at Fallout in Columbia a few
years back. An evening on the northwest
side of Atlanta left me with no doubt
that they are still a powerful live act and
a formidable force in rock ‘n’ roll.
When Brandon Boyd and company
strolled onto the dimly lit stage at the
Gwinnett Center, they did so with the
theme chant from Halo backing them
up. It was good to know the guys still
had a collective sense of humor in the
last leg of a long tour.
But when guitarist Mike Einziger
launched into “Pistola,” the time for
jokes had passed. As an opener, this song
carried a lot of energy, and the crowd
definitely felt it. Boyd belted out the
chorus, “My Pen is a Pistola,” with fury
that was matched only by the thousands
of fists being pumped in the air.
Especially satisfying were selections
from “Morning View” and
“S.C.I.E.N.C.E.” that followed. “Nice to
Know You” and “Idiot Box” were
performed with a power and precision
that set the harder tone the band would
sustain all night long.
As to what happened in between,
Incubus mixed up their set list so much
that the audience got to hear songs from
each of their albums, including a very
funky “Azwethinkweiz” from “Fungus
Among Us” and a rendition of “Drive”
that saw Einziger on keyboard. Personal
highlights were Jose PasiUas’ uncanny
ability to create tension with his
drumming on “Just a Phase” and
Einziger’s guitar work on “Nowhere Fast.”
As expected, a considerable amount
of material from “A Crow Left of the
Murder” was played, including
“Priceless,” “Sick Sad Litde World,” a
blistering version of “Made for TV
Movie” and a “Megalomaniac” that
made the building shake.
“Maniac” was supposed to close out
the concert, but the crowd was persistent
and cheered the band back on stage. It
was a good thing, too, because the encore
ended the night on an even higher note.
Boyd came on stage alone, picked up a
guitar and proceeded to play a captivating
version of “Pantomime,” a song that
remains to be recorded and was written, it
seems, for this tour. The other band
members joined him halfway through and
built the song to a melodic climax before
jumping right into a solid “Southern
Girl.” The pinnacle of the show for me,
though, was a thundering performance of
“Under My Umbrella” to officially end an
already awesome night of music.
Comments on this story ? E-mail
gamecockfeatures@gwm.sc. edu
■ SHARK TALE
Continued from page 9
somewhat confusing plot. The
audience feels no connection to any
character because of the complicated
and numerous plot lines.
“Shark Tale” doesn’t have the wit of
“Shrek" nor the heart of “Finding
Nemo,” but it’s sufficient in what it
attempts to be: a simple, animated film
with a few good laughs.
Comments on this story? E-mail
gamecockfeatures@gwm.sc.edu
F;;:: WUSC DESK
There are many misconceptions about folk
music. Folk is not simply a bunch of
straight-laced Peter, Paul and Mary’s
making oatmeal-flavored acoustic music. Folk is more
than just a Minnesotan with a harmonica decrying
political injustice. Folk is not just limited to a guitar
and a stool. Brooklyn’s Jukeboxer is a project that
rockets folk off into new and exciting directions. “In
the Food Chain” is a masterful album that establishes
an earthy, pastoral feeling by combining the
traditional idea of vocals/guitars with electronic
experimentation. Mastermind Noah Wall pastiches
“found sounds” of the ocean, crickets and other
natural elements amongst plucked guitar, skittering
electronic drum beats and unexpected instruments
such as harpsichord and tablas. Jukeboxer’s debut is a
glorious headphone listen that will leave you awash in
sound, a harmonious pairing of natural and
mechanical beauty that exemplifies a new conception
of folk music.
By Jordan Redmond
WUSC MUSIC DIRECTOR
tlM'.UT
** *
Uncut
‘Those Who Were Hung Hang Here” (Paper Bag)
For those not familiar with Toronto quartet
Uncut, it’s helpful to compare and contrast
their music through the black-tinted lenses of
indie rock megastars, Interpol. Each band gives a
somber take on ‘80s-influenced rock and then expands
the boundaries of that formula. Whereas Interpol dons
a gothic aesthetic, Uncut leans toward a more balanced
world outlook. But that’s not to say Uncut is a gleaming
ray of sunshine; indeed, their music effectively conveys
a deep intimacy. Those familiar with Sofia Coppola’s
film “Lost In Translation” should understand the
cepain feeling of gut-wrenching desolation that Uncut
radiates so well. As compared to Interpol’s Paul Banks
and his permeating moan, Uncut’s Ian Worang has a
more understated vocal style that is content to sit
behind the guitars, a production choice that lends itself
to warm atmospherics. Like Interpol, Uncut is not
content to be another band bowing at the darkened
shrine of Joy Division. Uncut’s versatile songwriting
includes elements of smart modern rock like Idlewild,
Snow Patrol and even a hint of The Strokes. Unlike
Interpol, Uncut has yet to gain any real recognition in
the United States.
■ TIDE
Continued from page 9
their newly remodeled 1966 GMC bus.
And that has allowed them to do what
they love most. Jason Munning pointed
out that Ten Mile Tide simply loves
“playing for people who love our
music.”
The band has also received national
publicity concerning their public
support of file-sharing super-engine
Kazaa. More than 10 million copies of
the band’s songs have been downloaded
by Kazaa users. According to Jason
Munning “the response to our music
has been phenomenal.” Kazaa has
allowed the band win over fans as far
away as Bangladesh.
At the moment, Ten Mile Tide is
pleased with their success.
“We’ve smashed every goal we’ve set
... and now that the ball is rolling,
opportunities are springing up
everywhere,” Jason Munning said.
For now, the band is intent on getting
as many people out to see them live as
possible. “Everybody can use a night of
carefree, reckless abandon ... that’s what
we do,” Jason Munning said, adding, “If
you’re not careful, we’ll end up doing an
acoustic jam at your house afterwards.”
Ten Mile Tide will play at
Minglewood, 800 Harden St., Thursday
beginning at 9 p.m.
Comments on this story ? E-mail
gamecockfeattires@gwm.se. edu
■ PRODIGY
Continued from page 9
Michael Jackson’s “Thriller.” Howlett
has openly acknowledged his dislike
for the Beastie Boys, but yet falls
short (very short) of producing the
sampling and cohesion that makes the
threesome one of the best hip-hop
acts worldwide.
However, one of the best features of
the album is the contribution of
Gallagher brothers, Liam and Noel,
who provide vocals and bass for the
track, “Shoot Down.”
To keep your fans waiting seven years
might not be the best strategy for retaining
a zealous fen base. On the other hand, it is
possible only the ardent fens are willing to
await a comeback. The Prodigy began
their tour in Greece on Friday.
Comments on this story? E-mail
gamecockfeatnreMpvm.se. edu
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From all of us at
Palmetto Health
Children’s Hospital
Thank You
Dance Marathon
for your outstanding 2004
fundraising efforts!
Best of luck as you kick off
your 2005 event!
Want to get involved with Dance Marathon?
Attend one of the informational meetings
on Oct. 19 and Oct. 20, 8pm
at the Blatt P.E. Center
For more information, visit
www.sa.sc.edu/dancemarathon
USC Dance Marathon is a nationally recognized Children’s
Miracle Network event, raising funds locally for Palmetto
Health Children’s Hospital. Since its start 6 years ago, Dance
Marathon has raised over $280,000 for Children’s Hospital.
A
Children's palmettoThealth
Miracle mi Network I foundation