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GridLink at The Roxy

When I interviewed Jon Chang for Giant Robot 56 in 2008, I was under the impression that there was no way I’d ever get to see his bands GridLink or Haiyano Daisuki. Jon was busy with his work in videogames and his family, and his bands are spread across continents. The mastermind behind the insanely technical, fast-as-shit otaku-influence brand of grindcore and thrash couldn’t guarantee a tour ever happening, so I settled for a phoner. Just like his music, Chang was intense, honest, interested in everything, and sometimes even humble. “People are lucky to make one or two great things in their life,” he told me. “The second Yamato film is amazing and the rest are good but don’t approach it. And Slayer made Reign in Blood and continue to make good music, but are they ever going to make another Reign in Blood?”

Phobia opening for GridLink at The Roxy

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It was a pretty big deal when that other post-class of ’77 punk, dance-influenced, experimental band that went by an acronym got back together and came through town last year. Of course, that was PiL with ex-Pistol John Lydon. (Both bands even have themes based on their names!) I missed that particular reunion tour, though, since I got to see them on the Generic Tour at the Hollywood Palladium back in 1986 and a few times after that, to boot. But when it was announced that Mick Jones was finally coming back to L.A. with B.A.D.,  I knew I couldn’t miss it. His previous band, The Clash, is one of my two favorite bands of all time (J Church is the other) and I love Big Audio Dynamite, too. Never got to see them. Wendy and I caught the end of The Chain Gang of 1974′s opening set. A pretty good mix of dreamy 4AD pop and dance-infused art rock, like Modern English meets HEALTH. Fun. But like the  crowd, we were there to see the original lineup of Big Audio Dynamite play in L.A. for the first time in ages (following Coachella and a warm-up show at the Roxy). Naturally, most of the set came from the first four albums, beginning with “Medicine Show.” On album, B.A.D.’s songs could sound like meandering pastiches but in concert it was clear that they are a band with loads of instrumental give-and-take and musical texture. There were heavy electronic, hip-hop, and reggae elements and beats–and bordered on jamming at times–but the band rocked.  “This is not cuff-links music,” Mick Jones drolly announced as he rolled up his sleeves before the band launched into “C’mon Every Beatbox.” Traces of his swagger are still visible, but he clearly has traded in his scowl for a smile. When I saw Jones play with Carbon/Silicon in 2007, and even got to interview him, I was struck by how happy he was to be playing with friends and how humble and affable he was in person. It was the same way last night. His chatting between songs sounded more appropriate for a tea than a concert setting. Alluding to the current riots in his hometown, the co-writer of “London’s Burning” thought out loud something like, “I would say something, but I don’t know anything about it.” He added that he wished he were there, though. By the time the band played the encores, either the mix got trashed or the high-end speakers were seriously blown out as the songs got louder and heavier. Jones introduced “The Bottom Line” as the first song B.A.D. wrote together, adding how nothing has changed since then. It’s true. The song’s gloomy-but-hopeful economy-related chorus is as current as its mixing of genres is ahead of its time. I’m not the most impartial judge, but I went to the show with quite high expectations that easily surpassed by the band’s ace musicianship, unmissable sense of playfulness, and (still) right-on lyrics. I was lucky...
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I only know seven Bloodthirsty Butchers songs: one from the split 7″ with fellow Japanese band named after a horror movie Copass Grinderz, three from the double 7″ from with Rocket From The Crypt, and three more from the split EP with +/- (all pictured below). But damn, those songs are great and so is the quality of pairings. And what about the top-notch labels (K Records, Bacteria Sour, Teen Beat) and even artists (Tae Won Yu, Pushead, Yoshitomo Nara) they’ve worked with? With so much quality and so little quantity of information about the band from Sapporo, I was stoked to see the documentary about them directed by Jun Kawaguchi.

It turns out the Butchers’ story resembles that of many bands. They came from a small town and moved to the big city to grow their local success. After 20 years of playing medium paced and ultra melodic but gritty punk rock with everyman vocals, they are grouped with Husking Bee, Eastern Youth, and other heavyweights of Japanese punk yet struggle to survive. The members have to deal with singer Hideki Yoshimura’s controlling attitude and rude demeanor and will most likely never break through, but keep plowing on because the music is all that they have going for them at this point in their lives.

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It was revealed that the latest member of huge pop sensation AKB48 was actually computer generated. Eguchi Aimi is her name and you can get a look at her and how she was composited through this video. This isn’t exactly new, but the fun part is that the quality is high. But one step further. Why not make your own version? [youtube]aIpYpRobez4[/youtube]   Click on the Glico sponsored page and you can take parts of all and seriously make your own. Click here. Use the upper right corner for eyes, nose, mouth, and you can adjust the positioning later. You can’t create a wacko monster woman, but you can make her look weird if you’re game. We made her!   And her!     Of course you can use their social networking widget to send your creation to your friends.
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