4 • THE UNIVERSITY DAILY KANSAN
MUSIC
THURSDAY, SEPTEMBER 12, 2002
REVIEW
Girls Against Boys revives '80s club scene
By Amy Kelly Jayplay writer
If performers' live shows were rated by audience movement, the Girls Against Boys show Monday at The Bottleneck, 737 New Hampshire St., would be pronounced a head-bobbing winner.
Although most of the audience were not alive during the heyday of CBGB's, they resurrected the famed New York club's vibrancy. On Monday night, the early '80s new wave dance scene was alive and kicking—no leg warmers required.
For most of the crowd, the moody and thick melodies of GAB not only translated well from the studio recording, but actually managed to sound better.
Now 14 years old and signed to a major label, GAB was left with the duty of living up to years of underground hype. Age can undoubtedly have an impact on a band, especially when the "it" factor has been passed on to newer bands like The Strokes and The White Stripes.
GAB took that reality in stride as it strolled onstage like unassuming sound check roadies. The refreshing quartet immediately led into "Sharkmeat" with a quiet intensity that would set the tone for much of its playlist.
This group did not need to start off with a bang. It was more apt to slowly hypnotize listeners.
Vocalist and guitarist Scott McLoud's
gruff yet gentle vocals never ceased to melt nicely into the distorted echo of the rhythm section. What McLoud may lack in vocal depth, he more than makes up for in musical ability. As the lead guitarist, McLoud created riffs that were both intricate and melodic.
With drummer Alexis Fleisig, guitarist and keyboardist Eli Janney and bassist Johnny Temple rounding out the ensemble, GAB was able to create the same feeling one might receive when attending a live orchestral concert.
Each song seems to have been mapped out with careful precision. In fact, GAB's sound picks up where Soundgarden left off in its "Louder
Than Love" days — minus Chris Cornell's trademark scream.
Subtlety works for the band, as was apparent from the audience that rapidly multiplied through the hour and a half set. When every head in the crowd bobs in unison, you know something good is happening
GAB kept a solid rock energy going,but frontman McLoud rarely moved from center stage.
Despite most of the crowd donning modern-day apparel, with closed eyes it seemed that Frankie had indeed returned to Hollywood.
Contact Kelly at akelly@kansan.com. This story was edited by Kristi Henderson.
Radio 4 receives critical success but waits for big payoff
By Amy Kelly
Jayplaywriter
Even when a band receives accolades in magazines such as Rolling Stone and Spin , a trip to easy street is not a guarantee. New York's Radio 4 recently has been the critics' darling, but it is not quite ready to sip champagne with Axl and Slash.
Radio 4 has received nods of approval for its blend of punk rock and dance music, while transforming mosh pits into discotheques.
"I think from the beginning we were looking to do sort of a dance-rock hybrid kind of thing." drummer Greg Collins said.
With its latest, Gotham, Radio 4 added
keyboardist Gerard Garone, who put the finishing touches on the progressive, new wave sound.
"We went from three, to four, to five," Anthony Roman, vocalist and bassist, said about the number of musicians. "In order to duplicate this live properly, we had to get a keyboard player."
mate irony."
Although the unique show, which resurrects late '70s punk and '80s new wave, has garnered national exposure, Roman says success is not as sweet as it could be.
"I was walking with my wife by a newsstand in New York, and we were in like five magazines," Roman said. "Between the two of us, we didn't have enough money to buy them. It is the ulti-
Now that they are back from a European tour to promote their new deal with City Slang Records, the musicians' thoughts linger close to home, especially with the anniversary of the World Trade Center attacks.
Because of a tight schedule, Roman said he and his band mates have not found time to check on their hometown.
With life on the road still top on the band's agenda, the simple things in life are its focus — with little splurges here and there.
"We spent money on the van," Collins said. "Comfort is key.I own a van,but it's too small and too old."
Contributed art
Radio 4 may be approaching stardom, but keyboardist Garone is still waiting for the big payoff.
"We thrive for the forty minutes on stage, but other than that it's pretty miserable," he said.
Contact Kelly at akelley@kansan.com.
Spin City
KJHK top 30 9-01-02 through 9-08-02
ARTIST Recording
1 SPOON Kill The Moonlight
2 BECK Sea Change Sampler
3 INTERPOL Turn
On The Bright Lights
4 QUEENS OF THE STONE
AGE Songs For The Deaf
5 HEFNERS Through The Night
6 BRIGHT EYES
LIFTED Or The Story Is In The Soil,
Keep Your Ear To The Ground
7 LOW Trust
8 SLEATER-KINNEY One Beat
9 COLDPLAY A Rush Of
Blood To The Head
10 OK GO OK GO
Getaway CONTINUED FROM PAGE 3
Drummer Tom Brantman agreed. "Bunch of sweaty kids in a small house is the best thing ever," Brantman said.
Getaway Driver, whose name is an allusion to the cult movie Bottle Rocket, has been together since Jan. 1, 2001. In the time it's been making music, the band has toured an entire summer, traveling from Alabama to Atlanta to Texas and back to the Midwest. The songs range from emo-esque tranquility to gut-wrenching hardcore.
If you haven't caught Getaway Driver's sound yet, it might be because the band tries to play in Lawrence only occasionally, worried that it might "oversaturate the scene,"
guitarist and vocalist Stephen Wolfe said.
But the group hopes to break big within the next few years and find a small record label to distribute its music.
"It's a good time, just playing like we do now, but it would be nice if we could concentrate on this 24/7," Wolfe said.
Guitarist Brad Lewis said the group had a shot at success "because the next song's always better than the last."
The evolution of Getaway Driver is apparent at live shows. After opening with a simple four-chord progression and standard pop-punk beat, the band leaves its audience anticipating another cliché local band with a seven-song set-list and too many high hopes. Then Wolfe's growling vocals pierce the steadily building intro, and
by the time the second chorus has been screamed, everyone in the room has been blasted with post-punk breakdowns and catchy harmonies.
Standard material at the band's shows includes "The River In Question," an energetic anthem that builds up until the final chord; "Breakdown Script," which holds a subtle At-The-Drive-In influence and an impressive harmony between the two singers over a drum solo; and "Uno Mas," which David sings with passion that makes it difficult to stay seated.
Getaway Driver is slated to play tomorrow at El Torreon, an all-ages venue, at 3101 Gillham Plaza in Kansas City, Mo.
Contact Heinen at bheinen@kansan.com.