DROWN

I arrived at San Diego's Brick by Brick on a cloudy SoCal Friday night, hearing an aggressive sounding racket booming through the walls as I approached the door. After playing the "No really, I'm supposed to be on the press list for Drown" game, I found Lauren from "Drown" and hooked up into the show. (And the door chick didn't give me my I.D. back, and I forgot it in the chaos, but they were cool and had it waiting for me a couple of days later. Thanks, Brick by Brick! Sincerely!)

I couldn't talk much to Lauren yet, since "Teabag" was crunching through their set, and I had to check this noise out closer. Riding the trashy tip, "Teabag" weave around the predictable paths of their genre, and were the surprise of the night. The singer uses the "Hate you - Fuck off" vibe primarily, so if you're looking for some positivity, "Teabag" will probably spit in your beer and laugh. They were liberal with the CDs to the scattering of crowd, and all were appreciative. I spoke a bit with the singer after their set. The El Cajon, CA based "Teabag" have somewhat of a history around San Diego, forming from the ashes of other local SD bands. I stuck their self-produced (and you'd never guess it from the production) CD in my CD-jukebox, and it's come up on random play a couple of times and house guests usually pique up a bit and question the origin of this brutality. That says something, huh?

"Drown" is the reason for tonight. "Drown's" music has an effect. Good or bad (an opinion) - an effect (a fact). For those unfamiliar with the "Drown" insight, it's not a pleasant one. But sonically, Lauren's vocals are about the most aggressive aspect of "Drown," while the music has a sly, wicked "rockness" to it. Oh, it's loud and can pummel a bit, but not with the typical knee-jerk type dynamics most "pissed-off" bands incorporate." No, "Drown" is a different monster - one you like most when it rubs you the wrong way.

To take that up another notch, "Drown" opened their set by dedicating it to a good friend of theirs who had died in a car accident that day. "This whole set is dedicated to a good friend of ours that died today. This is for Lynn Strait from Snot." And there was yours truly, standing there slack jawed with his Snot T-shirt on, seriously not knowing whether to cry, get drunk, leave or what. But then "Drown" kicked into one of the more kickin' numbers off their recent release, "Product of a Two Faced World," and I just let my angst and confusion translate through Lauren's performance.

"Drown" is a release. "Drown" is the release for singer Lauren. Watching him perform is like seeing all his demons spilled out in front of you in a 40 minute set. There is such a realness to the "Drown" set. This being the second time I've seen the band, they seemed happier with the venue they where performing at (commenting on how "San Diego has never really been a good town for us, but I think we finally found the right club"), but they were visibly shaken by the bad news of the day. So, it was a charged performance to say the least.

Bassist Sean E. Demott was in typical leap and crouch, leap and crouch form. Former Dead Surf Kiss guitarist, Patrick Sprawl, should get mondo credit for keeping the approach loud and edgy, but with an original flair. Lots of spindly note progressions that set up the hammering chords of the chorus. "Drown" also makes excellent use of a sampler. They are by no means an Electronica act, or even a hybrid. They are a hard-indie-rock unit that employs some subtle texture on some songs with the use of a sampler, and it works particularly well in the spaces between songs, giving the band a second or two to catch their breath and tune.

It was during one of these prolonged sampler intros that Lauren went off about Lynn Strait's death. How quickly it comes. The need to watch yourselves. Begging the crowd to be careful. All the while he slowly, deliberately and tightly wrapped the mike cord around and around his wrist until it started turning purple, while ranting wide eyed about quick death friends. Creepy. Effective. Therapeutic. The crowd (although sparse) reacted with apprehensive, but genuine, applause. The line between those who knew what they were listening to, and those intimidated by it, could be easily witnessed. Most of the "Drown" set was comprised of offerings from "Product of a Two Faced World," including the awesome Big Black (I think) cover of "Kerosene," although they dug up at least one number off their previous release "Hold on to the Hollow." There seems to be two camps concerning "Drown" - those that really like it, and those that don't, but respect it. The live show seemed to have the same impact (with myself falling into the "I friggin' think it rocks" camp). Familiarity with "Drown's" sound might make the live experience a bit more tangible. Lauren can be on the abrasive side if you don't know what to expect, but when layered on top of the highly melodic edge that "Drown" has created, it scrapes nicely in contrast when the music slides, and holds it's hand till the circulation dies when it crashes.

Lauren (and bits of Sean and Patrick) sat down with me after their set. I found Lauren to be one of the most literate, confident and no-bullshit people I've ever had the chance to interview. For all the impression of aggression, he's very personable - just don't fuck with him.

Unfortunately, I missed a big chunk of San Diego's "13-A." What I do know, is that they are one of the hardest working bands outta this vacuum of a scene. I also know they play a brand of sludgy, uptempo'd growly rock, which means they are under appreciated in this San Diego scene where "metal" is still a bad word. I've happened upon them occasionally, but it's been a while, and from what I heard tonight, it's most definitely improved. "13-A: spent a few years developing, and it shows in tightness and performance. Again, I didn't see a lot, but musically it was loud and mean.

It's nice to see at least one club in San Diego paying attention to the rising new school of loudness. I don't care what anyone says, metal is not a bad word. In case you haven't heard, this "new metal" scene is one of the hipper movements in the underground (ska really must die). I hope it stays there so I can hang out in clubs and catch bands like these from 4 feet away. I think bands such as "Drown" translate best through proximity - as in your face as the music itself.

Afterthought and middle finger: Hollywood up-n-comers "Static-X" were supposed to be on this bill. I spoke to a source at the Brick by Brick who wished to remain anonymous, but said the reason for the cancellation was that Goldenvoice (an LA-area based production company) had suggested if "Static-X" wanted to open their scheduled show with "Slayer" at the San Diego SOMA on December 30th, they should, ah, "reconsider" playing this show at the Brick by Brick. I'm not sure if "Static-X" the band, or their management, pulled out of this show. For fans of "Static-X" that was a lame move, since the "Slayer" show was an all ages venue, and the Brick by Brick is a 21+ club. Very few 21+ patrons visit the primarily high-school aged (and alcohol free) SOMA. I find it hard to believe Goldenvoice was worried about Static-X "blowing it's draw" by playing a show three weeks before the "Slayer" show, as if - no offense to "Static-X" - their draw would make any notable difference on a bill with "Slayer" and "Downset." I think by pulling the band at the last minute damaged people's view of the them more than preserving it for another show. Had to mention this and draw attention the bullshit politics that bands have to deal with. Unreal.

Know your enemies.