
Whose kids are these, anyway?

Weezer
Oct. 7
E-Center
The new and improved Weezer definitely got the party started at the E Center last night. The band has always been fun on their records, but has been known to be a bit ornery on stage. On this tour, the foursome has gone out of their way to make things fun for the fans and themselves.
Clad in matching white old man jumpsuits the band opened with the revved up version of "My Name is Jonas." After just a few tracks they unzipped, only to reveal matching red old man jumpsuits. Sweet.
The stage was packed with microphones, allowing the normally reserved Rivers Cuomo to sing anywhere he wanted. At one point, he even donned a Britney Spears-style headset mic so he could play guitar, hop and sing at the same time. (When he needed to do additional jumping, he bounced on the mini trampoline stage right.)
Also very uncharacteristic was Cuomo's delightful stage banter. He recounted spending yesterday in Salt Lake at the Children's Museum with his wife and 17-month-old daughter, buying fake food in the fake grocery store. Though he looked like a junior high school janitor in his jumpsuit and moustache, he was certainly a lovable janitor.
Much like on "The Red Album," each band member took turns on lead vocals on several tunes. Bassist Scott Shriner was surprisingly good on "Perfect Situation" and Brian Bell pleasantly squeaked through "El Scorcho." Though none of the other Weezers have nearly as a good a voice as Cuomo, it was cool to see how much they all enjoyed changing roles. Cuomo banged away on the drums for a few numbers, drummer Pat Wilson shredded the guitar, and there was even a keyboard cameo by the band's webmaster.
The crowd also able to get into the instrument-switching fun. For an encore, 30 or so fans were invited to bring their instruments—ranging from a penny whistle to an accordions to a tuba—on stage to accompany Weezer on "Island in the Sun." The result was delightfully horrible.
Though longtime Weezer fans may have been hoping to hear more early material—the majority came from "The Red Album"--the atmosphere and performance more than made up for it. No one left disappointed.
Metallica
Jack's Mannequin
Ra Ra Riot
Weezer
Oct. 7
E Center
w/ Tokyo Police Club, Angels and Airwaves
The past year has been a strange one for Weezer. The band's normally reclusive and dictatorial leader, Rivers Cuomo, not only released an album of intimate home recordings but also relinquished some of his Weezer power, allowing each of his band mates to take a shot in the lead singer role on the band's new record. And the guys have never been happier.
Weezer guitarist, (and big brother of local artist extraordinaire Leia Bell) Brian Bell, put up with Cuomo's constant chiding and a bad cell phone connection to talk about their current Troublemaker Tour.
"We're definitely the most entertaining we've ever been in our career," Bell says. "The shows are getting progressively better, so I predict by the time we hit Salt Lake we'll be in full swing."
Bell says that the quality of recent shows results from the band feeling more comfortable with each other on stage than ever before. "Everybody's taking more responsibility in the show," Bell says. "Rivers is really performing. I don't want to give away too much of the show, but it's absolutely entertaining. People that have seen our shows for years and years say this is by far the best show they've seen."
Weezer has made a conscious effort as of late to push themselves out of their comfort zone, both onstage and in the studio. The most notable change on the "The Red Album" was Bell, bassist Scott Shriner and drummer Pat Wilson each taking a turn on lead vocals.
"That's what we went for on this album—what would be thrilling for us," Bell explains. "One of the things I mentioned was I'd like to sing and even write a Weezer song for this new album and we made it happen."
Cuomo also pushed himself in the songwriting. The album's centerpiece, "The Greatest Man that Ever Lived (Variations on a Shaker Hymn)," manages to switch genres a half dozen times in just under six minutes.
"Rivers was a little bit fed up with the pop song structure and wanted to experiment," Bell says of the song. "Theme variation structure is prevalent in classical music. He came up with different versions of the melody—the theme—and later we found out that the theme was very similar to a Shaker hymn. So that's why we call it 'Variations on a Quaker hymn.'"
When it comes to long term plans for Weezer, it's just about moving forward. "To keep making records and tour [is] success enough for me," Bell says. "But I would like each record to not rehash the past. To stay in the creative moment and come up with music that wasn't there before, that's one of the most fulfilling things you could possibly do."
"Our approach has always been to try to make something groundbreaking, otherwise what's the point?" Bell says.


I spent an hour with the missionaries last night, waiting for an investigator to not show up. Though I’ve been the ward mission leader for almost a year, my interaction with the elders has been almost all business.
Last night, however, they finally let their guard down and I heard them interact like humans. One of the dudes is going home next month and they were talking about all the awesomeness that happens at the end of the mission.
Here are some of the highlights:
Elder 1: I’m going to get to go to conference like the week before I go home.
Elder 2: That’s sweet.
E1: And then I get to go downtown on my last day.
E2: Downtown?
E1: Well, not all of downtown. Just Temple Square…AND the Church museum.
E2: The church museum is AWESOME! Are you going to go on the temple tour?
E1: And have them tell me all the stuff I already know? Nah.
E2: But you get to go the Joseph Smith movie, right?
E1: Yeah. I should take my digital camera and tape it for you and send you a copy.
E2: And you’d get struck by lightning.
On the last day of my mission I went to Amsterdam with all the other elders who were going home. I bought some silver man capris (or man-pris) that had Velcro on all the pockets at a store called The Bizzee Bee. On the way there we walked past the Amsterdam Sex Museum and a bunch of coffee (the Dutch euphemism for marijuana) shops. Then I bought some white Pumas that looked like baseball cleats.
To each his own, I guess.
And as added bonus, here’s one other conversation piece:
E1: I wish there was a Seagull Book where I live.
E2: I love Seaguall Book. I could spend hours there. If could have like a $5,000 gift certificate anywhere, I’d choose Seagull Book.
Me: Me, too.
Gym Class HeroesGym Class Heroes found their niche by making hip hop for indie kids, replacing street life bravado with tales of meeting chicks on Myspace. Frontman Travis McCoy is always the standout star, undeniably charismatic in his quest to become the next Jay-Z, when it's clear he's really just an emo boy at heart.
"The Quilt" is a fitting name for a record that stitches together all sorts of genres. There's the sultry club banger "The Cookie Jar," the kiss-off "Peace Sign/Index Down" (featuring Busta Rhymes) and the sappy "Like Father Like Son." The stylistic schizophrenia works, it's just the album's stuffy production that's disappointing. The feel of the live band is missing as well as the usual fun that really makes Gym Class Heroes stand out.
Rating: 3 of 4
For fans of: Outkast, N.E.R.D., Fall Out Boy









Curtis made his swimming pool debut tonight. It took a half hour to pour him into this getup (at 3 months, he’s a bit too big for this 6 month swimsuit). After five minutes of having his feet in the pool, he promptly fell asleep. Party animal.



Reggie and the Full Effect
Last Stop: Crappy Town
What began as a side project for Get Up Kids keyboardist James Dewees has turned into quite an impressive catalog. Though Reggie records have never been meant to be taken too seriously--thanks to Dewees' penchant for genre hopping, comedy skits and slew of alter-egos—they are all very lovable.
On "Last Stop: Crappy Town," Dewees continues to mix styles, but the humor is largely absent. The result is a constant battle between sweet power pop and hardcore so screamy that it hurts your voice just to listen to it. Unfortunately, without the usual middle ground, this Reggie album fails to stand out.
Rating: 2 of 4
For Fans of: Cobra Starship, Taking Back Sunday

Motley Crue
Saints of Los Angeles
When your best moments all happened 20 years ago, it makes sense that you'd want to wax a bit nostalgic. "Saints of Los Angeles" finds the '80s bad boys looking back at their career and remembering the good times. "LA girls they payed the rent/While we got drunk on Sunset Strip/And all the cash they made we spent/On tattoos and cigarettes." Add in Nikki Sixx clinically dying from heroin not once, but twice, and you've basically got the whole story of the band.
Though the album has plenty of filler, there are a few songs to get the testosterone going, namely "Face Down in the Dirt" and "MF of the Year." After all these years, Vince Neil still has a strong set of pipes, Mick Mars can still shred (despite actually being a walking ghost), Nikki Sixx holds down the low end and the irrepressible Tommy Lee adds just enough cowbell.
Saints of Los Angeles [MP3] (Via GloriousNoise)
Rating:2.5 of 4
For Fans of: Poison, Sixx: A.M.






Death Cab for Cutie
Narrow Stairs
Death Cab for Cutie had the all pressure of the indie world on its shoulders when it moved to a major label for its 2005 release, "Plans." The band rose to the challenge. The resulting record was both perfectly polished and beautifully intimate.
"Narrow Stairs" is the antithesis to "Plans." Loose and a bit rough around the edges, the new record feels much more organic than its immediate predecessor. This approach works well on the album opener "Bixby Canyon Bridge" and the eight-minute vamp "I Will Possess Your Heart." But the rest of the album just feels cheaply constructed.
Softer songs always work best for Ben Gibbard's shaky tenor and "Grapevine Fires" and "Your New Twin Sized bed" add some emotion to a surprisingly uninteresting outing. For the first time in their career, "Narrow Stairs" finds Death Cab just going through the motions.
Your New Twin Sized Bed [MP3] (via www.theseanshow.net)
Rating: 2.5 of 4
For Fans of: Pedro the Lion, Nada Surf, Postal Service

The Offspring
Rise and Fall, Rage and Grace
People stopped using "Offspring" and "cool" in the same sentence at least 10 years ago. But the band has continued to steadily release quality records that always manage to contain plenty of punk rock and at least one stupid, radio friendly hit.
"Rise and Fall, Rage and Grace" is par for the course—double time verses with big, catchy choruses. This time around they've added a few softer numbers ("A Lot Like Me," "Kristy Are You Doing Okay") to appeal to the tweener crowd, but for the most part it's still 1993 for this Southern California foursome. The Offspring may not have a lot of cred, but they still know how to write good songs.
The Offspring - Half Truism [MP3]
Rating: 3 of 4
For fans of: Pennywise, Face to Face

That Rivers Cuomo does to me every time. I get all excited about a new Weezer release, just to be disappointed when I finally hear it. The Red Album seemed so promising, especially with the classic-Weezer first single “Pork and Beans.” But Cuomo is being literal when he sings “I'm a do the things that I wanna do/I ain't got a thing to prove to you.”
The Red Album does whatever it wants. The first quarter of the record is quite good, if not a bit odd. After kicking off with the straightforward clap-along “Troublemaker,” the band manages to shove hip-hop beats, hardcore riffage, spoken word, and a soaring finale into the six-minute “The Greatest Man that Ever Lived.” Cuomo even succeeds in name checking both Pat Benatar and the Fresh Prince of Bel-Air—certainly no easy task—in the pretty “Heart Songs.”
But that’s when things go amiss. Cuomo relinquishes the microphone to his mates, resulting in the countrified “Thought I Knew,” sung by Brian Bell, the ‘90s rock “Automatic” sung by Pat Wilson, and “Cold Dark World” belted by bass man Scott Shriner. It’s nice when you let your friends have the spotlight for a second, but this is b-side material at best. And on an album with just 10 tracks, it’s a shame to throw away three of them. Sadly, this may be Weezer’s worst release.

Worst. Venue. Ever. It was bad enough that Memorial Day was a rainy mess. But it was made infinitely worse when the Death Cab for Cutie show was supposed to start at 5:00 p.m. and the Thanksgiving Point crew kept the crowd standing in line outside until 7:30 p.m. (Then, as the doors finally opened, they announced that all cars parked on the frontage road—about 200 or so—would be towed if they weren’t moved.)
Starting two-and-a-half hours late and facing a 10:00 p.m. music curfew made the event feel incredibly disjointed. Identical twin duo Tegan and Sara seemed out of sync as they tried to rush through an abbreviated opening set and Rogue Wave was dropped from the bill entirely. Death Cab didn’t fare much better, though their troubles were of their own making.
Just kicking off the promotion of their newest album “Narrow Stairs,” Ben Gibbard and the boys are understandably excited about playing the material. The problem is that the new material just isn’t that good. I was hoping that the new songs, which are much less produced than their immediate predecessors, would sound better live. No such luck. Though current single “I Will Possess Your Heart” was passionate, the rest of the “Narrow Stairs” material fell flat.
The band continued through the set, alternating between not-yet-familiar new material and obscure older songs. Occassionally, they’d throw the crowd a bone with a song or two from their best albums, “Transatlanticism” and “Plans.”
Accompanied only by his acoustic guitar, Gibbard sounded amazing on “I Will Follow You Into the Dark.” On “Soul Meets Body,” however, his thin tenor didn’t have enough power to do the song justice. It may have been the 40 degree air, but both he and guitarist Chris Walla struggled with the high notes all night long.
For all of the disappointments of the evening, Death Cab was not about to let the crowd go home unhappy. The encore featured “Title and Registration” and a shout out to the band’s early days of playing at Kilby Court. They closed the night with the phenomenal “Transatlanticism,” climaxing with Gibbard’s plea to “Come on, come on” reverberating through the Utah County night sky. All ill feelings were immediately washed away.
Local H’s seventh studio release is supposed to document the myriad of emotions experienced after the bitter end of a long relationship. But it turns out frontman Scott Lucas really only feels one thing--anger. “So, baby could you do me a favor?” he rants on the opening track, “Fall off the earth and I'll see you later.”
The band’s name has gotten shorter—cut down from Say Hi to Your Mom—but the sound has remained pretty much the same. Minimalist guitar, buzzing synth and electronic drums mixed with Eric Elbogen’s wobbly tenor and plenty of melancholy.
Teenager girls rejoice! The Ting Tings’ debut album has arrived just in time to be the soundtrack of your summer. When they’re not being featuring on the latest iPod commercial (with their bass-heavy disco romp “Shut Up and Let Me Go”) the British boy-girl duo are writing infectious, dance party anthems filled with cheerleader-shout vocals.

