Shotgun for Royalty showcases innovative sound at Blue Gator
By Lisa Wakeland, Staff Writer
April 7, 2007 | 7:01 p.m.
Intense instrumental experimentation with distorted guitars and pounding drums filled the air during Thursday’s Shotgun for Royalty show at the Blue Gator, with Kipke and Sixth Gallery opening.
All three artists brought a distinct style to the stage. It was a show unlike most – no singing, familiar sounds or song structures. Instead, each band explored the depths of avant-garde music.
John Kipke, solo artist and Ohio University junior, began the night with his powerful blend of psychedelic metal, which sounded like a hybrid of Tool and The Jimi Hendrix Experience. He looped guitar riffs and drum beats creating the illusion of a full band. Weaving an intricate web of distortion, Kipke’s sound resembles an acid trip in the desert a la Hunter S. Thompson.
The four-piece band Sixth Gallery took the stage next and performed a vibrant set. Representing everything from emo to hard rock with a twinge of jam band and dreamlike guitar riffs, Sixth Gallery put together an amalgamation of styles. Often, everyone played at the same time, their thunderous music resounding through the venue.
Closing the concert, Shotgun for Royalty played a nontraditional show. Usually guitarist Brad Locher and drummer Christian Dawson perform without other musicians, but accompanied by Mike Shimel on bass and Kent Lankas (from Bad Mamma Jamma) on keyboards, Shotgun for Royalty held a rare free-form jam session.
With a frenetic and whirlwind beginning, Dawson and Locher took the stage, committing a full out assault on their instruments. Dawson beat his drums with manic intensity while Locher manipulated pedals to create inventive sounds.
Later joined by Shimel and Lankas, Shotgun for Royalty continued their vigorous enthusiasm. Their music was furiously hard and somewhat chaotic. The experimental grunge rock peppered with psychedelic sounds generated an energy that captivated the ear and sparked curiosity.
Influences like Mars Volta, Tool and Frank Zappa shone through in the band’s cutting-edge sound, which they’ve developed over the past four years. Electronic effects, contained madness and raw passion gave Shotgun for Royalty’s music a creative brilliance unmatched by many duos on the charts. They were eccentric but mystifying, unconventional yet mesmerizing.
This frenzied intensity of Shotgun for Royalty’s style was set against the relaxed style of Shimel and Lankas, providing an interesting performance dichotomy. Dawson’s hard-hitting style contrasted with Lankas, who leaned over his keyboards with a concentrated efficiency. Shimel calmly played his bass while Locher thrashed around the stage with his guitar.
“He’s got the rock star gene,” Lankas said about Locher’s erratic performance style.
Despite the frenzy of the show, the musicians played off each other well, lending coherent control to the show. The dynamic band played with talent and passion throughout the night, rocking so hard that Dawson kicked through his bass drum.
The crowd was sparse, but the band’s intensity never faltered. Fans even started a miniature mosh pit toward the end of the set. For those unfamiliar with Shotgun for Royalty, the concert was an intriguing glimpse into the innovative minds of the band members. However, Dawson said this was not one of their best shows.
Friends of the band agreed that this show was less than stellar because of problems earlier in the night. Extenuating circumstances – van trouble, sorority functions and graduation – placed unexpected strain on the band’s performance. However, Shotgun for Royalty maintained a fierce energy throughout the set.
Although singing was largely absent during the show, it wasn’t missed. The music spoke volumes that night, expressing a wide array of emotions. All three performances delved into a musical psyche rarely explored by the average college band.','xhtml','Intense instrumental experimentation with distorted guitars and pounding drums filled the air during Thursday’s Shotgun for Royalty show at the Blue Gator, with Kipke and Sixth Gallery opening.