It’s a lot of stuff to learn and get comfortable with - or as comfortable as you can get. “I think being a fan of orchestral music and score music, it’s awesome to see the whole thing and be a part of something that’s so elaborate, but it definitely keeps you on your toes because of how diverse it is. “I think we can all say it’s the most diverse show there is,” he said. gigs, but they’re fleshing out a little extra surprise for those that come out this summer. For the pair of upcoming shows, he said the setlist is basically the same as the L.A. After receiving such a positive response at Coachella, he decided to do an extended version of that show and bring it to the Hollywood Bowl in Los Angeles for two evenings last October. “While I was putting the show together for Coachella I thought, ‘This was the worst idea I’ve ever had in my life,’” Elfman said sitting inside his studio, noting that it’s a huge, fast-moving show with about 50 musicians - including a full rock band, orchestra and choir - who all need to be and stay on the same page for the duration of the set. But it played off well during both weekends of the festival that year, delighting fans who witnessed Elfman take the stage and perform a handful of songs from his band Oingo Boingo, several cuts from his 2021 double album “Big Mess,” and familiar pieces of orchestral music from films he’s scored including “Alice in Wonderland,” “Batman,” “Edward Scissorhands” and “The Nightmare Before Christmas.” The show, which was originally created for the Coachella Valley Music and Arts Festival in Indio in 2020, had been postponed until Coachella 2022. 3 and FivePoint Amphitheatre in Irvine on Saturday, Aug. He and his band gathered earlier this month to rehearse for the forthcoming back-to-back “From Boingo to Batman to Big Mess and Beyond!” shows scheduled for North Island Credit Union Amphitheatre in Chula Vista on Thursday, Aug. The EP itself at the end is much slower than Circle, but it's still got this casual snottiness about it that make them compelling.įor the most part, essential listening for '80s hardcore aficionados.It was a busy day inside singer-songwriter and composer Danny Elfman’s recording studio, which is tucked away among industrial-style warehouses in Los Angeles. Still, it's not terrible stuff and the songs have their moments. The songs are often sort of clunky and lack the fire that made Circle so enchanting. Not all of these songs work as well, though, as the band seemed to gain some confidence trying to branch out after doing some of their first full-fledged tours with various bands and getting to see the country (as well as Canada). Though there's an occasional demo feel to these, something like opener "Drive In" is a woulda-been classic, with a driving tempo, simple hook and wailing solo. It's also got their first EP, Livin' in the '80s. History Of is also reissued here, a collection of songs the band recorded with the intention of a sophomore full-length but never officially finished. This particular reissue (it's seen one by Lookout! in 2000, another in the late `80s by Toxic Shock) has some good background information and quotes from the band on the recording and the two bonus tracks ("She Said Goodbye" and "Slam and Worm") that didn't make the cut on the original 1982 release. Things tend to hover somewhere between mid- and fast-paced, from "Civilization's Dying" packing a surprising punch of melody and hooks to the bizarre, quasi-Buzzcocks-esque pop-punk of "Livin' in the 80's" (which sticks out like a sore thumb, as it's a redux from the earlier and slower EP of the same name). With slightly more of an emphasis on the punk in hardcore punk, Vicious Circle rocks in the vein of the Germs' (GI), Dead Kennedys' Fresh Fruit for Rotting Vegetables and Bad Religion's How Could Hell Be Any Worse? (influences of which are mentioned up-front in the expanded liner notes). Their debut full-length, Vicious Circle, neither rages as hard as Black Flag or cuts as precise as Minor Threat, but it's a great little album and enjoyable historical document. The Indianapolis-based outfit formed in 1979 and helped forge the early `80s hardcore sound that was being popularized on the surrounding coasts, but ended up being highly overlooked in the process. Zero Boys aren't exactly the first band to come to mind when talking about `80s hardcore, but Secretly Canadian's recent reissues aim to at least get them a mention in there.
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