El Vez came into being in 1990 with an indelibly hilarious image that he calls “Elvis con salsa,” that famous pompadour combined with a pencil-thin mustache.
Cake hop from the rockabilly stylings of “Stickshifts and Safetybelts” to the more driving rhythms/almost hip hop stylings of their hit, “The Distance.”
They interspersed new and old songs evenly. Much sweat, lovely harmonies, and powerful guitar-driven melodies capable of swooning even your dead grandmother.
For a good time, catch a Suicide Machines show ASAP. For a better time, wait a few years. They poured out a high energy rock show, five seconds at a time.
They ran through their Goth dirge classics in a blur of lights, smoke, and seductive vocals. Steele’s voice, while soothing and tranquil, was making me sleepy.
By now, you’ve heard the howls from Shakespearean purists over Luhrmann’s attempt to make the most famous love story palatable for the Tarantino generation.
A typical approach to their burst-bladder grindcore dirge-pop – Spectoresque production, fuzzed-out Mellotron, and Byrne Skarr gargling with sulfuric acid.
Their cover of Motörhead’s “Ace of Spades” rips shit up, creatively blending ska and balls-to-the-wall thrash. Next is a Turtles cover, “Happy Together.”