Too Much Rock
Pics+Video Podcasts Singles About
Friday August 4th, 2017 at Revolution Records in Kansas City, MO
Drugs & Attics, Salty, Hipshot Killer, Black Market Translation, Witch Jail, & Deco Auto

Other Views:
email me your links!

Note: I never know which shows I'm going to write up. I'd like to tell you that I choose the best shows, but more often than not, I write about whatever show was last whenever I have the time to write. The mystery of it all requires that I take detailed notes on each band at every show I go to. Only at this show I didn't. I knew there was no way I was writing up a six-band bill the day before leaving for vacation. But just for fun, let's add some notes now, giving each band a sentence or three.

Deco Auto suffered from PA issues that could never get bassist Tracy Flowers's vocals loud enough to compete with the sawing power chords of Steve Garcia. The set was, as the band advertises: too punk for the pop kids, too pop for the punk kids. Ten feet either way and the trio would be famous. Witch Jail played in the daylight, which unfortunately kept some of band's spooky goblins at bay. Frontman Guy Slimey spends a lot of time on guitar now, further cementing the band's new garage rock focus and precluding him from rolling around on the floor. I still miss Suzy Bones' baritone guitar. Black Market Translation traveled from Denver to provide a long, unrelenting, spaced-out, proto-punk jam. Guitarist Chris Eason mesmerized the audience with his undulating afro. Hipshot Killer was in an entirely different class than the other acts. The band's well-honed, melodic punk rock set was razor sharp and professional. It was also built entirely from new material destined for its forthcoming third album. After listening to the band's fans, I wasn't alone in wishing it would have played "Anthem" or "Silence on the Line" or "All The Hell in the World." Salty frontman Jonathan Brokaw is anxious and prickly. So is the band. The long set often went cattywampus, but for a band built on yelped vocals, jarring guitar, squelching synth, and a dynamic rhythm section, that's actually the blueprint. Drugs & Attics really packed the small Revolution Records for its set of sloppy, drug-addled, rock & roll. The audience danced, the band solicited them for narcotics, and the biggest hooks of the night were delivered effortlessly by the trio.