Rush Reviewer

We bring you dissonance.

JIMMY EAT WORLD ATE JAKARTA!

Mind blowing. That’s one of the few adjectives that I can use to describe Jimmy Eat World’s concert at Nusa Indah Theatre, Balai Kartini a few days ago. It was exactly one day after my 17th birthday and believe me, I couldn’t have asked for a better birthday celebration. I’ve never been really aware of Jimmy Eat World in the past, they were always around during my preteen years and I’m familiar to five or more of their hit songs but I was not a fan until last year when my utter disgust for most of the music today took over me and I started to dig and rediscover the magic of older bands. It was to my greatest delight when I found out that they’re going to hold a concert here and so I called up my best friend (a hardcore JEW fan), purchased tickets with my angpao money and felt like I should have paid more for such an awesome gig.

Doors opened at around 7.15 pm and the audience quickly settled on the theatre seats waiting for the sound check to finish. It was quite of a long wait and the crowd started to get bored by the time the clock hit 8 o’clock, dozing lazily while waiting for the band to arrive. The wait continued until around 8.20 pm when suddenly the band strolled silently on stage causing the dazed audience to jump out their seat and run in front to get a better view of the musicians. The gig kick-started with the song Bleed American from album of the same name. The crowd was quickly energized, screaming the song’s punchline “salt, sweat, sugar on the asphalt!" while the energy carried on to the next few songs. The band had put up a neat song list alternating from fast to medium to slow songs having the audience eager for more and more stage action. The atmosphere turned quite mellow when the song Dizzy played as the heartfelt meaning of the song seeped into those who are present there. As if trying to toy with our emotions, the band quickly jumped into another wagon by performing Action Needs an Audience, a dark horse number from their newest album Invented (2010), which was sung by former lead singer and lead guitarist, Tom Linton. Ballad-like songs such as Hear You Me and 23 were slipped between rock-fueled songs like Pain and Blister, a perfect combination between the small exchanges lead singer Jim Adkins made with the crowd. The band added a twist near the end of the show with the song Goodbye Sky Harbor, building a trance-like feel in the air and abruptly exiting the stage leaving a relaxed but bewildered crowd behind. We weren’t sure of what to do. Were we supposed to just sit there and recollect our memories of the awesome gig or were we supposed to call back for an encore? We decided to do the latter. After a short while, Jimmy Eat World re-entered the stage starting off with a mild song, Invented, and ending off with two of their most popular songs, the teenage anthem The Middle and Sweetness. The crowd went totally berserk screaming “Whoaaaa” along with Adkins. Before exiting the stage for the second time, drummer Zach Lind took a picture of the audience and posted it to the band’s twitter while bassist Rick Burch waved goodbye animatedly to their fans.

Overall, the concert was amazingly fantastic. The sound system was great and the atmosphere was intimate, as if we were attending a secret gig held exclusively for Jimmy Eat World’s most loyal fans. Adkins’ voice was incredible and so was his control. He did make two or three mistakes while strumming his guitar but it ain’t rock and roll without some imperfections. Linton showcased his guitar solo skills and sang with his rugged voice that I actually like more than Adkins voice (listen to their debut album to hear more of his singing). Burch was great on the bass and everyone danced and jumped wildly to the beat of Lind’s beats. The band also brought along with them Courtney Marie Andrews, a singer from Arizona, who performed backing vocals in their newest album and played keyboard and synthesizer. The only thing that I felt was missing is the interaction between the band and the crowd. There were some small exchanges but I suppose that it could have been a longer and friendlier one. Or maybe it was just the odds of the band to stay silent and just rock out, which they did.

Once again thumbs up for Java Musikindo for the show and maybe the next time around you can bring in Weezer for us!

Over and out, Arlinka.

ANGLES : SEBUAH 5 TAHUN PENANTIAN

Artist : The Strokes

Album : Angles

Release : 2011

Entah kenapa saya merasa bingung dengan apa yang dilakukan oleh lima berandal asal kota New York ini. Tiga album yang telah ditelurkan sebelumnya ternyata tidak menjadi referensi bagi mereka untuk membuat suatu evolusi pada corak musik yang mereka usung. Bassist Nikolai Fraiture pernah menuturkan bahwa warna musik pada album Angles akan kembali pada era antara Is This It dan Room on Fire (lebih ke Room on Fire) suatu statement yang bisa menjadi penyegar bagi telinga-telinga yang rindu akan nuansa asli dari The Strokes sekaligus menjadi penanda bahwa mereka tidak akan melakukan pembaharuan yang signifikan.

The Strokes's Angles

Dan ya, pengaruh album kedua begitu terasa memang, melodi bulat, sound gitar yang terasa renyah dan pola ketukan yang sederhana. Nada-nada aneh yang entah bagaimana cara mereka menemukannya masih terus dilestarikan. Dengarkan kembali Room on Fire, maka ini adalah versi ramai dengan banyak ‘Automatic Stop’ berkeliaran didalamnya (apabila anda adalah fans setia The Strokes, pasti mengerti maksud saya).

Namun, jangan bayangkan anda akan mendengar suara berat dan malas Julian Casablancas di album ini, mustahil, hanya tersisa suara tipis nan ganjil hasil pergumulan dengan proyek solo maupun sampingannya. Begitupun dengan interaksi dibagian solo antara Nick Valensi dan gitarnya, untuk beberapa lagu, terasa dipaksakan. Tendensi Valensi untuk terlihat seperti Slash semakin terasa di album ini, solo panjang dan melengking-lengking khas produk 80 an. Tidak pas. Dan dimana feedback-feedback mentah yang biasa diproduksi oleh Albert Hammond, Jr? Hilang entah kemana.  

Dengarkan ‘Machu Picchu’ dan ‘Under Cover of Darkness’. Disitu ada The Strokes yang mencoba terdengar ceria dan up-beat namun entah kenapa malah terasa begitu ironis. Mereka ingin menyuntik semacam ‘Hawaii’ atau ‘Reptilia’ di kedua track itu, namun terasa kurang sempurna. ‘Gratisfaction’ adalah potongan hilang dari album First Impression of Earth apabila  Fabrizio Moretti mau membuat ketukan yang lebih liar dan padat. ‘Life is Simple in the Moonlight’ dan ‘Two Kinds of Happiness’ bisa menjadi semacam “pintu masuk” untuk mempelajari album ini. Porsinya cukup.

Walaupun hampir semua personel menyumbangkan idenya, tapi entah kenapa saya berani memberikan kesimpulan liar bahwa ini hanyalah versi simpel proyek solo Casablancas. Gila, aneh dan bodoh.

Apakah ini hanya semacam formalitas untuk mengisi kevakuman mereka selama 5 tahun? Tidak ada yang tahu. Semoga tidak dan jangan sampai.

Fight for your right! Wahyu

Mediafire

 

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