Silverstein Live at The Crofoot



The Crofoot

Pontiac, MI


Story and Photos: Jade Brayton (@jade_bra)

Silverstein performed at The Crofoot for the 10 year anniversary tour of their album, Discovering the Waterfront. They were joined by four other bands: Beartooth, Hands Like Houses, Major League and My Iron Lung.

The lead vocalist of Major League, Brian Joyce, summed the tour up perfectly by saying, “Every one of these bands on this tour has a different sound to them and that’s what makes this tour so incredible.”

My Iron Lung and Major League are both new and upcoming bands, with a similar sound of a modern punk-rock. Hands Like Houses is an Australian post-hardcore band with an almost electronic sound to them, thanks to the keyboard. Vocalist Trenton Woodley can SANG.

Then there’s Beartooth, a hardcore band who can be a little overwhelming if you aren’t used to the hardcore scene. But overall, they put on a sick performance that anyone could appreciate. Just stay out of the pit.

When Silverstein’s backdrop was revealed, the crowd went crazy. And when the band arrived onstage, they went even crazier. In fact, this is not only the 10-year anniversary of one of the greatest Silverstein albums, but also their 15th year of being a band; a major feat for a band of this genre.

Silverstein began by playing some songs old and new, and even debuted a song called IMG_9663“Midwestern State of Emergency.” The song was written about Michigan vocalist Shane Told said, who also claimed that Michigan has always been one of his favorite places to perform. The band then epically unveiled another backdrop, which happened to be the cover for Discovering the Waterfront. They played their 11-song soundtrack in order, and every song sounded just like the ones fans have been listening to ten years. The best and craziest cuts were the fan favorites; “Smile In Your Sleep,” “My Heroine,” and an acoustic version of “Call It Karma.”

It was incredible how phenomenal Silverstein still is, after being around for 15 years. They sounded just as impressive as they do on record. Seeing the pure happiness on their faces performing a sold out show indicated how much their fans mean to them, but the fans were equally as pleased.

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D’Angelo and The Vanguard “Black Messiah” Album Review

D’Angelo and The Vanguard

Black Messiah

By: William Georges


Michael Eugene Archer, who goes by D’Angelo onstage, or R&B Jesus as dubbed by Christgau, has released his first album since Y2K, Black Messiah. The savior of modern R&B, his first two albums, Black Sugar, and the more upheld 2000 album Voodoo, combined the samurai sampling of Wu-Tang (thank you J-Dilla), the spirituality of Aretha Franklin, the seductiveness of Al Green, and the brute power of Prince, whisking them into a bowl of southern messiah small

Black Messiah, or any of D’angelo’s releases, are unique in that they do not simply showcase a voice that could melt even the most stalwart metalhead. Every second of Black Messiah is a reminder that D’Angelo still isn’t finished expanding R&B. Tracks like “Ain’t That Easy” and “1000 Deaths” harmonize arousal and spirituality behind sensual electricity, muted bass plucks and choir with some of the oddest time signatures this side of the Mississippi.

Nowhere in this album does D’Angelo put all his eggs in one basket—i.e“Sugah Daddy”; a juicy five minute R&B[anger] featuring choir falsettos, riding up and down sassy trumpet scales alters an already dynamic atmosphere. Additionally, D’Angelo proves that letting a simple hip/hop rhythm carry melodies like “Back to the Future (Part I)” isn’t necessarily succumbing to familiarity or reaching for ‘experimental minimalism’.

..But wait there’s more. For what would the king be without capturing the painful clapping and whistling Mississippi Delta blues? “The Door” paints D’Angelo as a prophet of drunken southern blues, reclined on train tracks howling as the city’s outliers clap in unison to his anthems of pain and regret.

Though probably not intended, D’Angelo’s Black Messiah feels like a memento of the 2000’s. With odd sampling reminiscent of Madlib’s “The Unseen”, the shrills and simplicity of Gnarls Barkley, the ambition of Andre 3000, and the sheer gravity of Jack White’s Mississippi Delta Blues reincarnation, D’Angelo comes back strong in 2014.


Start with: “1000 Deaths”, “Sugah Daddy”, “The Door”, “Another Life”

Similar: Frank Ocean, Gnarles Barkley, Outkast