Depeche Mode – Delta Machine

I’ve been a Depeche Mode fan since around 1985. 28 years at this point, roughly 9/14 of my life. I have to tell ya. Not a huge fan of this new record. Sounds of the Universe was okay, I thought Playing the Angel was actually pretty good for the listens I gave it, but had been lost since the early 90’s on the band. I really have no opinion of either Ultra or Exciter, to be honest. But all the early reports coming from the Depeche Mode camp was this was a throwback to Violator/Songs of Faith and Devotion era. And while I consider anything past Music for the Masses NEW Depeche Mode, I felt pretty relieved to hear this early assessment.

Boy, are they wrong.

I had envisioned hopes and dreams of sweeping songs and big choruses, the sort of thing that got people into them in the first place. What I got out of it in the 2 spins I’ve given it so far (and probably period) was beeps and bloops and not much in the way of a song. After the first single “Heaven” was released, I still had hope. Maybe this is just a tease and the rest of it will be upbeat. How incorrect I was. I do not feel that Delta Machine gets off the starting blocks let alone quenches any Depeche Mode fan’s thirst for a new record. Call Alan Wilder. Please. Drop the guitar (yeah, I know it’s been in play with them for 20 years or so) and let’s hear some romantic big, bright yet gloomy and danceable synth-pop again. Forget Violator and SOFAD, pull out Some Great Reward or the crown jewel that is Black Celebration. Those are great records, and in my humble opinion, the last great work Depeche Mode has done. Begging. Please.

Oh, I’ll see you on tour though, don’t worry about that. We can chat further then.

Update: I have listened to the record a couple more times since this original body of a review was compiled. I do not hate this new record. I do not Love it either. I finally started to see the songs in Delta Machine. But this is exactly what I do not want from Depeche Mode. I do not want to hunt for the song. I want it to be what I had stated earlier, romantic, big, bright, gloomy and danceable at once as only they can pull off and to ditch the guitars. Synth-pop. I am in no way against musicians growing or evolving. That’s the name of the game. But I would at least like elements of what got me into them in the first place to remain. To me, Violator is “new” Depeche Mode. I am not the person that loved that record. Or Songs of Faith and Devotion. I liked those records. LIKED. And I feel the same about Delta Machine. But just barely.

The Mavericks – In Time

All hail the return of The Mavericks! If only Nashville would take a cue from this Floridian act, mainstream country music would be bearable. With their first record since 2003’s uneven self-titled outing, In Time belongs in the pantheon of their heyday, the pre-Trampoline glory of Music for All Occasions, What A Crying Shame and so forth. This is The Mavericks we all loved through most of the 90’s with a little more bite this go-round. Want proof? Check out track 2, “Lies” and you’ll be sold. Viva Los Mavericks!

The Strokes – Comedown Machine

After reading some early reviews, it looks as if once again, I’m in the minority. After touting my enjoyment of 2011’s Angles, it seemed a lot didn’t like that record either. I love this new record. I believe The Strokes are evolving quite well into themselves 12 years into their catalog, incorporating an 80’s feel to their music while keeping the general form of their earlier work, which is brilliantly demonstrated in the song “One Way Trigger”. Comedown Machine has its differences mind you, but I implore you to listen to it for yourself.

The Black Angels – Indigo Meadow

The fourth record from Austin psych sextet The Black Angels picks up right where 2010’s Phosphene Dream left off, and that’s a compliment. Their style of modern rocking retrograde psychedelia fits right in with Austin’s tapestry and musical legacy while possessing a very listenable quality to their music – the accessibility of Indigo Meadow is its major strength. Standout tracks “Don’t Play With Guns”, the title track and “Holland”.

David Bowie – The Next Day

By now we’re all familiar with the story of this record, recorded in a very hush-hush manner in NYC over the past couple of years, then sprung on an unwitting public almost overnight after a 10 year recording hiatus. If this is to be David Bowie’s final hurrah, the shroud of mystery suits it perfectly. As a huge Bowie fan, I’ve eagerly awaited the follow up to his excellent Reality. That was the whole idea behind his Columbia Records deal, he could record whenever and release whenever, meaning he could make a record per year if he wanted, but that just wasn’t the case.

As happy as I am for a new record, for me, it takes The Next Day a little bit to gain steam. The first half appears to be safe, starting with a nod to “Fashion” with the title track but quickly retreats into a safe area, only barely showing a pulse with “Stars (Are Out Tonight)” on through to the lead single “Where Are We Now” and “Valentine’s Day”.

“If You Can See Me” is the wakeup call signifying the close of the first half of the record, and a much needed kick in the pants. “I’d Rather Be High” and “Dancing In Outer Space” help keep the pace going on through the all-out rocker “You Will Set The World On Fire” through to the denouement of “Heat”, the final track of the record and possibly the final Bowie song we might ever get, taking it home for us.

Overall, if this is our final offering from David Bowie, from an album standpoint, it’s a solid effort to go out with. The Next Day will certainly be a positive footnote to the later catalog of this iconic figure, musician and artist.

Statement From Dave Lombardo Regarding Slayer Australian Tour 2013

I want to personally apologize to all of our fans in Australia who have bought tickets for the tour expecting to see me in my usual place on the drums.

So that you all know the truth, as of the end of the business day on February 14th, I was notified that I would not be drumming for the tour in Australia. I’m saddened, and to be honest I am shocked by the situation.

Last year, I discovered 90% of Slayer’s tour income was being deducted as expenses including the professional fees paid to management, costing the band millions of dollars and leaving 10% or less to split amongst the four of us. In my opinion, this is not the way a band’s business should operate. I tried rectifying it by letting my band mates know, and Tom and I hired auditors to figure out what happened, but I was denied access to detailed information and the necessary back up documents.

I spent the Christmas and New Year holidays realizing I had toured all over the world in 2012, but yet, had not been paid (except a small advance) or provided a proper accounting for a full year’s sweat and blood. On top of this, I was told that I would not be paid until I signed a long form contract which gave me no written assurance of how much or on what basis management would deduct commissions, nor did it provide me access to the financial budgets or records for review. It also forbade me to do interviews or make statements having to do with the band, in effect a gagging order.

Last Monday, I sat down with Kerry and Tom to rehearse for Australia and to propose a new business model that I felt was the best way forward for Slayer to confidently protect itself so we could do what we do best . . . play for the fans. Kerry made it clear he wasn’t interested in making changes and said if I wanted to argue the point, he would find another drummer. On Thursday, I arrived at rehearsals at 1 pm as scheduled, but Kerry did not show. Rather, at 6:24 pm I received an email from the lawyers saying I was being replaced for the Australian dates.

I remain hopeful that we can resolve our issues. But once again, I sincerely apologize to all of our fans in Australia who spent their money expecting to see the 3 of us original Slayer members. I look forward to seeing you in the future.

Sincerely, Dave Lombardo

If this is all true, I should hope to hear something from the opposing side with reasoning, etc, without turning it into a media circus like Black Sabbath/Bill Ward did.

Readers and followers of The Synaptic know I am an unapologetic supporter and fan of what I believe to be the greatest entity in metal ever. Sure Slayer fans have dealt with some hills and valleys, most of the 90’s recording and touring sans Lombardo, then back up in the 00’s with his return and the original band back as a whole. And then dealing with Gary Holt screwing things up left and right on the past couple of Slayer tours while Jeff Hanneman heals from his horrific spider bite incident. (Please get better soon, Jeff, PLEASE!) All of this in good faith that the real Slayer returns. And we were dealing with it. But now we’re going to be forced to accept only 50% of Slayer with a couple of fill-ins for the foreseeable future? No thanks. I would rather the band dissolve now; leave me with my memories of better times than continue on as a shell of itself. Many believe it’s been a shell for many years, but I don’t.

As of now I will not go see a half mast Slayer. Kerry King and Tom Araya, I beg you to squash whatever garbage there is and not subject your faithful, loyal fans to a subpar product. And you know you have one of the most die-hard fan bases on Earth. Be as good to us as we’ve been to you. Get all four back, on the same page and healthy and return to glory. I plead with you to do so.

Stop jerking us around.

UPDATE: Rebuttal from Slayer on 2/21/13:

Slayer confirms that Jon Dette will drum for the band on its Australian tour that starts this Saturday, February 23 in Brisbane. As regards Dave Lombardo’s Facebook post, Slayer does not agree with Mr. Lombardo’s substance or the timeline of the events, except to acknowledge that Mr. Lombardo came to the band less than a week before their scheduled departure for Australia to present an entirely new set of terms for his engagement that were contrary to those that had been previously agreed upon.

“The band was unable to reach an agreement on these new demands in the short amount of time available prior to leaving for Australia. There is more to the account than what Mr. Lombardo has offered, but out of respect to him, Slayer will not be commenting further. Slayer is grateful to its Australian fans for their understanding of this unfortunate last-minute change, and very much looks forward to seeing them at these shows.

Again, let’s just all play nice and get through this. And get Jeff healthy again. I do not want only 50% of Slayer, 75% has been bad enough. I will not accept it and will not see it. From one lowly blogger (on occasion) to the greatest metal band ever, I put the ball in your court.

2 years later and even toting a fantastic new record Meat and Bone, Jon Spencer, Mr. Judah Bauer and Russell Simins are returning to Dallas to level Deep Ellum again like it’s the 90’s. If you ever, EVER liked anything this band did, just go. Every memory and reason you loved them in the first place will flood your senses and make you fall in love all over again. And resent The Black Keys. So pull out those old JSBX records, reintroduce yourself, and strap in for a great night of punkbluesrock. And don’t skip out on openers, Fort Worth’s Fungi Girls are sure to deliver as well.

I’m going to pull out Damage right now.

The Jon Spencer Blues Explosion plays Trees this Wednesday, 1/23 Tickets available here.

So, therefore, without further adieu, I present to you, fair friends of The Synaptic, the inaugural podcast. I hope you enjoy it!

Episode 001

The Jesus and Mary Chain

And thus this year’s installment of 35 Denton was coming to a close.

I cannot tell a lie, I wasn’t overly bowled over by the lineup this year for 35 Denton. And then scheduling conflicts made things even more difficult. Much like ACL’s 2011 lineup, I recognize that it was a better offering than last year, just not a lot I was interested in seeing this time. For me the main things to see were Scotland’s The Jesus and Mary Chain and San Francisco’s OM.

Last year there was enough room to bounce to and from venues with relative ease, unless you wanted to see a show at Rubber Gloves. It seemed this year the festival had grown enough that several performances were at the “one-in-one-out” capacity early in the night, leaving festival goers to homestead in the clubs where their biggest priority was on from an early point of the night, not daring to venture out into the night for the fear of no entry at another spot. Thursday night was a homesteading night for me from the get-go, staying at Rubber Gloves all night through Denton’s incredible Vaults of Zin to True Widow and fest priority OM. I split from OM a little early in an attempt to catch a little of Mikal Cronin’s set at The Labb, but alas it was not in the cards.

I was unable to make it on Friday due to a little 5 year anniversary for Leah and me. I can tell you with certain accuracy Doug Burr and The Burning Hotels were incredible. Bringing us to the misery that was Saturday. I would like to ask 35 Denton not to order cold rain for next year’s festival. Please. But through the rain I persevered as much as I could, catching some Atlas Sound, Best Coast and walking up to Bun B just as they broke into “Big Pimpin’”. The Do For It Records showcase at Abbey Underground was the only thing on my mind for the remainder of the evening. Only The House Harkonnen was going to fully salvage the day. And after a blistering set by Fort Worth’s The Phuss, it was going to take a bit of work. The Phuss were absolutely great and I implore you to get out and see them. Now. This was followed by a respectable set from The Spectacle (yep, I did that), the only thing in my way was Shaolin Death Squad. Who took forever. And ever. To an almost unfair level. I had talked 6 or so people into seeing The House Harkonnen, who ended up going on 42 minutes late, to no fault of their own. Due to the delay, all of those people left without seeing HK. The 30-ish minutes they got to play were well worth the wait, as they pummeled ears and scorched the earth with their ridiculous brand of metal/punk.

With the announcement of The Jesus and Mary Chain’s postponement, I had a decision to make. I wanted to see a couple of bands on Sunday, but that was in conjunction with the closing set from JAMC. I wish I was able to tell you right now how great The Oh-Sees, The Raincoats, and  The Angelus were on Sunday, but with rising gas prices and another trip to Denton looming on Wednesday, I decided to forego Denton Sunday in order to make it out to the Denton Fairgrounds on Wednesday.

Added to Wednesday’s bill was psychedelic garage rocker Ty Segall in what was an instance of inspired booking. This somewhat made up a little for missing Mikal Cronin on Thursday, as Segall’s band tore through 30 minutes of a set I had no idea I’d get to see. A rather large crowd had gathered for this free show, and it was the right move on 35 Denton’s part for sure. Almost 20 years since I saw them last, The Jesus and Mary Chain emerged, taking the stage. Hitting career high points with “Blues From a Gun”, “Head On”, “Sidewalking”, “Some Candy Talk” and “Just Like Honey”, I was transported back to that Deep Ellum Live show in December of ’92, remembering… there’s just not that much to see. Absent were the ungodly fog machines shrouding the band in backlit wonder, leaving the Scottish post-punk legends naked and without a net. I love this band, and as I told a friend later, it was “brilliance though boredom”. It was one of those types of show where had I missed it I wouldn’t believe people telling me they left out of boredom. The strains of “Reverence” were ringing through the air as we made it to the car, officially ending my 35 Denton 2012 weekend.

This festival is doing many things right each year, and getting better each year. A couple of thoughts though. 1) 2:00 am for 4 straight nights is tough on those commuting each day. 2) I apologize if this is petty and sound like an ingrate, but if you send someone an e-mail, telling them what press credentials they have been allowed, make sure they get that level. I was informed I was to have full Level 2 access via e-mail, only to get Level 1 when I showed up. What reason was I given by the head of press? A very flippant “That was a typo”. No apology, nothing. Last year I was afforded 2 full press passes and busted my hump with 5 articles about the festival, believing that would be some good faith towards this year and years to come, but I guess not. Do not get me wrong. I fully appreciate the chance to attend and review the weekend. Maybe next year.

But I digress. I am looking forward to what 35 Denton pulls out of its hat for 2013. Can’t wait to see you all there!

35 Denton

There are really 2 objectives this year: OM and The Jesus and Mary Chain. Therefore with Thursday being geared towards the clubs, I staked my claim at Rubber Gloves from the get go. There wasn’t to be a chance of missing either OM or True Widow, I made certain of that.

The night began with a nice surprise from Denton’s heavily prog influenced act Vaults of Zin. Reminders of Fort Worth’s much lamented Yeti were abound for sure. I had heard great things about these guys, and they did not disappoint.

I completely missed the next act, Terminator 2 while dealing with a what I now know was a dying phone. Oh the joys of having to unexpectedly buy a new phone, which is what I had to do. Up next was True Widow, who released their stunning sophomore full-length As High As The Highest Heavens… last year. I had been looking forward to seeing them for a while, and whereas they were very good, my anticipation for OM eclipsed their set a bit.

By this point the room is filled and the door had to implement a one-in-one-out policy for entry. I had seen OM a few years back at the Wall of Sound festival in Fort Worth, and was truly blown away by them. Since then, they released the excellent God is Good, replaced drummers, and added keyboards to their live performances. Al Cisneros (Sleep) hypnotic head bob, basslines and chanted vocal style are the stuff of legend, transfixing the capacity crowd to a more peaceful plane.

I mistakenly thought I could slip out of the last few minutes of their set to catch Mikal Cronin’s set across the festival at The Labb, but evidently he tore through his set and left nothing in his wake, as he was finished 15 minutes before his set time was over. This was a great disappointment to me. But alas, it had already been a great night.

I was unable to attend Friday’s shows, but my correspondent Jasun Lee will have a rundown of all the action.

See you all out there Saturday!

Last year the goal was to write more and delve into the aspects of The Synaptic I thought would set it apart from others. “Starter Kits” was to help others discover artists/genres/labels/scenes they might not have been familiar with. Along with this was supposed to be a “Body of Work” section that would review an artist’s entire body of work, noting ebbs and flows in the music, changes for good or bad, from album to album, a cohesive review of an artist’s recorded career. Both of these proved to be massive undertakings, and in time I hope to be able to devote myself to these particular sections of The Synaptic. But until then, they will lay dormant.

There have been a few things that have come down the pike that I would like to expand on under The Synaptic moniker and diversify The Synaptic Empire as I like to call it. I have been afforded some opportunities around D/FW and have been exploring them. The Synaptic blog itself, while not going away by any means, was to be a catalyst to be able to work on other things and get back out into the D/FW/d music community and toil in a medium that I love. Music. I do not kid myself that I am a spectacular journalist or writer, although I think I pull it off alright.

I said last week when I hit 600 fans on Facebook I would make a big announcement, and it came a little quicker than I had planned. So what does 2012 and forward have in store for The Synaptic and those of you who have joined in my musical journey?

1.       Vahrenkamp/Brown Representation (VBR).

Late last year the decision was made to work directly with artists for booking and light management along with my partner and contract lawyer Justin Vahrenkamp. This is in the infancy stage and we have taken on 3 clients already, a very diverse roster with the country rock act Badcreek, instrumental metal quartet The Velia Shrine, and we have just added The Skeeves with their take on early British punk/alternative. I have always been driven to help young artists in any way I can, and believe VBR can help advance some bands that need a helping hand.

2.       The Synaptic Podcast.

I have been approached by CNJ Radio, who produces podcasts such as Wrestling House Show and Rock Strikes Ten to produce a podcast for them. At this point we plan to do two, 30 minute podcasts per month, beginning in March. Audio reviews, show previews, topic discussions and interviews are all being planned for these, I just hope I can fill an hour’s worth of time per month. I hope to have the first one out by mid-March, but we shall see. I do not like talking about things I “plan” to do until they are done, but I’m hoping this keeps me accountable with you guys.

3.       Promoting More Shows.

Also late last year I was given the opportunity through the Fort Worth Music Co-Op to book one Thursday night at Lola’s Saloon per month. Thursdays have definitely been a challenge, I plan to branch out and produce more and more shows in 2012. Having already branched into Dallas last week, it’s looking like you will see more Synaptic produced shows in the not so distant future. Show promotion was my very first foray into music 20 years ago next month, and has been something I have wanted to do all my life. I like going to shows, and I want to put on some shows I think others would like to see too.

4.       More Twitter Action.

The plan is to live tweet as many music awards programs as possible while also using Twitter to the best of its ability. I live tweeted the Grammy’s a couple of weeks back, and I gotta tell ya, staying live on the show while attempting to be witty for 3.5 hours was tough. But I’m up for it if you are.

5. Return to Turntable.FM.

Before things got hectic last year, I was popping into The Synaptic’s Turntable.FM room fairly regularly to play some music with whoever wanted to show up. The plan is to pick a day and time each week for a two hour block of Turntable.FM fun. I will let you all know when that day and time will be. Hopefully was can expose each other to some new stuff since we all have varying tastes.

2011 was supposed to see the launch of The Synaptic Store, but unfortunately those plans feel through. I’ve been wracking my brain to come up with more of a reason to keep my followers engaged that wasn’t just posting a few videos up each morning on the Facebook page. If all of these plans do come through, I will not only be thrilled, but feel like I am contributing something to the music community I so dearly love. With that being said, hold me accountable. Have some questions, suggestions, or constructive criticisms please e-mail me directly at thesynaptic1@gmail.com.

I look forward to the rest of 2012 being busy. Please join me on the ride.

I humbly thank you for indulging me this far.

Randy Brown

Control and confidence.

In allegiance with several great bands currently hailing from Panther City, The Burning Hotels are the most ready. They are, in my mind, the closest heir to the Toadies legacy. Not in similar musical styles, but just with unparalleled drive, confidence and their demeanor of control onstage.

What I witnessed from The Burning Hotels at Lola’s Saloon was an incredibly tight, confident band solely in control of their destiny and their crowd. Playing heavily from last year’s self-titled Synaptic album of the year, The Burning Hotels tore through roughly 75 minutes worth of hits, highlighting the entirety of their recorded output. There’s a reason I go on and on about this band. They outdo themselves every time I see them. Add the minimal laser light show to the mix, this certainly didn’t feel like a small club show, but the intimacy and energy did.

Add to the bill the former Black Tie Dynasty/Daryl supergroup Mon Julien and headliners in their own right Ishi and you had a stacked bill from top to bottom. All three acts headliners on their own, bringing the house down for not just a rock show, but what was also upstart Blackbox Music’s coming out party, it was an extraordinary night all around. If this is how Blackbox Music is coming out swinging, we’re all on notice.

You know when the evening breaks down into an impromptu dance party after all festivities were over it was an undeniable success. A Whitney dance party erupted into God knows what, even a little pole dancing on the bar.

Congrats to everyone involved for a triumphant night of local music!

Click To Buy Tickets

2011 was the year Fort Worth’s The Burning Hotels put everyone on notice. 2010 saw them knocking on the door of greatness with their album Novels and a handful of blistering live shows, yet 2011 saw their self titled third release announce their full arrival – Burning Hotels topped most local “Best Of” lists as they honed their live show into a balanced juggernaut of post-punk/new wave brilliance. 2012 shows no signs of slowing them down either, their triumphant performance at Dallas’ Granada Theater last month proved that.

Packing the power of that show, reportedly 800 in attendance, into one of their home stages at Lola’s Saloon is an almost frightening prospect. With headliners in their own rights, Black Tie Dynasty/Tripping Daisy/Midlake/Daryl supergroup Mon Julien makes their Fort Worth debut along with openers(!) Dallas’s self-described “Folktronic” act Ishi this is indeed a stacked bill.

I truly believe this will be one of those “I was there” types of shows. If you do not have your tickets already get them now as you don’t want to miss this one.

See you there.

1. Burning Hotels – Burning Hotels
2. Wilco – The Whole Love
3. Maleveller – Maleveller
4. My Morning Jacket – Circuital
5. Foo Fighters – Wasting Light
6. Electric Wizard – Black Masses
7. Explosions In The Sky – Take Care, Take Care, Take Care
8. Okkervil River – I Am Very Far
9. Mogwai – Hardcore Will Never Die, But You Will
10. Black Joe Lewis – Scandalous
11. Quiet Company – We Are All Where We Belong
12. Mastodon – The Hunter
13. Esben & The Witch – Violet Cries
14. And You Will Know us By The Trail of Dead – Tao of the Dead
15. Bjork – Biophilia
16. TV On The Radio – Nine Types Of Light
17. Mr. Gnome – Madness In Miniature
18. Moon Duo – Mazes
19. Bravo, Max! – Dog’s Light
20. Jane’s Addiction – The Great Escape Artist
21. Ryan Adams – Ashes And Fire