Constitutions Chaos

Salute, Today, in 1919, the 18th Ammendment of the United States Constitution came into effect, prohibiting the manufacture, sale or transportation of intoxicating liquors for beverage purposes. The resolution, unlike the rest of Constitiution which sought to define the grant of rights and liberties, is the only aspect of the document which takes away a specific right of the people. The eventaul repeal of the ammendment, reinstating those rights as Ammendment 21, reempowered the people and undid one of the biggest blunders by the Government in modifying this historic document. This demonstrates the importance of maintaining the integrity of the document and respecting the intention of it in every aspect of its use. This includes the grant of copyright, inherent in the body of the text. At a time when copyright is shifting dramatically in its interpretation and so much legal precident is being set internationally, it is important to remember why our forefathers thought so highly of intellectual property to chronicle it in Section 8 as the promotion of science and the useful arts, by securing, for a limited time to authors and inventors the exclusive right to their respective writings and discoveries. Of coursewhat would our world of copyrights in entertainment be without the repeal of the 18th ammendment? Probably, soberingly and lacking a lot of the stories we all seem to so cherish from the industry events. Ah well, in the grand idea of Section 8 meeting the 21st ammendment, here’s some events you can look forward to exploiting both at.


A vacuous Connections Tavern in Clifton, New Jersey played host to a rare Tuesday evening metal show this past week. Long Island’s youthful death metal mavens SinAria showcased a vivacious blend of virtuositic guitar shredding and well composed songs. Although some of the vocal execution was less that memorable at points, the centerpiece of SinAria’s sound lies more in the music, especially the guitar work, helmed by a rarely seen in the scene female executioner. The presence of the quartet on the whole more than made up for the room’s lack of overall sonic vibrancy and the songs themselves stood-up well against the hollowness of the room. Boston’s unheralded Hell Within, on the second date of their current East Coast tour, dominated the evening. From the opening notes of their next-wave metalcore to the closing hum of the guitars as they walked off stage, the New Englanders commanded the entire evening and every beer-in-hand rocker seemed to respond. Relying more on raw aggression than the melodies that dominated their Lifeforce Record’s debut to set the tone of their set, Hell Within tore through the majority of Asylum of the Human Predator. If it’s a determined ethic and a poised domination you desire from a live performance Hell Within delivered with confidence and sincerity as if the room were overflowing. Special thanks and a shout out to Metal Force Management, Tony Hell Within and Rizzo SinAria for the hookup at the show.

Friday evening we headed to Bloomfield Avenue Café and Stage in Montclair, New Jersey. Trustkill Records presented their newest offering, Jersey’s own Crash Romeo, fresh off recording their debut album at Portrait Studios with Chris Badami. Despite the devalued sound of the Bloomfield Café, the local tributes to the pop-punk ideal delivered a convincing effort of emotional-post-punk performances in front of a sparse youth-crew crowd. Those who survived into the waning hours of the night enjoyed a set of sing-along post-punk endeavors with a mind toward effectively-capable melodies. The sparse youth-crew entourage represented the tumultuous yet burgeoning Jersey scene in full force and stuck around through the cool of the night air. Closing the night were Roses are Red. Hot on the heals of writing for their forthcoming Trustkill effort, , due out this spring, the well styled emo-rockers rolled over the thinning youth-crew with a combination of new material and older favorites. Despite the echoing venue Roses are Red swung like champs with predictably indie-bread melodies tucked under a guise of more gritty emo-core guitar scrawls and kept everything balanced with an attempt at an introspective outlay of stage presence. Special shout outs to Vincent Roses are Red and Josh Trustkill for the hookups at the show.

New York City’s famed Knitting Factory was the site of post-punk’s aggregation of Panic, Emanuel and the Explosion. Panic left a hot, sweaty crowd pouring onto a snowy Leonard Street downtown after their straight-edge inspired set of punk enthusiasm Emanuel then took up the stage with a level of maturity and rehearsal to provide a pretty inspired set. The Louisville band has come a long way since their early performances on the East Coast and with a revamped lineup and a new look to their show it made all the difference in the world. The Explosion closed out the early Saturday evening show as the packed house raised their fists in the air and truly seemed to feed off the relaxed on-stage atmosphere and up-tempo bursts of flair the Explosion delivered. Special thanks and a shout out to the Emanuel crew for the hookup.


About thedoormouse

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