"What's the sound of the Clash getting pistol whipped?" - OUTERNATIONAL - Live @ Center Stage (Opening Act On The Chris Cornell '09) -Updated Copy!

(click on the Image to the left for their official website)

Etienne Bowler

Outernational - 04.01.2009 -

Opening for Chris Cornell

Center Stage in Atlanta, GA
photo by Ross Feingold

Outernational is a Tom Morello project, guitarist and all around badass formerly of Rage Against the Machine, Audioslave, and Harvard University fame. Outernational when I saw them open for Chris Cornell, they were sans Morello, but they still had a cool sound and a definite stage presence. It is always a tough job to open for someone who the majority of the crowd is coming to see and in this case that "coming to see" was Chris Cornell. When you deal with someone of Chris Cornell's musical stature, also like Morello of Audioslave fame, but the front man not the lead guitarist, which depending on the type of person you are, each carries it's own weight differently.

Cornell who is best known for his bands, which need no introduction, bands that created the "grunge" style and dominated the 90's much the way Zepplin, the Stones, Black Sabbath and others dominated the 70s. Chris Cornell whose black eye badge of rock music included, Soundgarden, Temple of the Dog and career filled filled on again, off again, this time way on again sound in a new mystic hip hop styled album Scream (released 03.10.2009) that resonates a mix of un-yielding beats with his patented banshee howls. Cornell puts whatever he does musically out there, uncompromising to anyone, with vocal patterns that at least to my ears evoke Dylan Thomas inspired fury, an unmatched iconoclastic rock, tonal bays like few others have done and might possibly ever do. So to say Outernational had their work cut out for them is more than hulk smashing understatement, it's not just the truth, it's also something that had do with hardly any pre-show coverage that I saw.

Outernational did a very solid job, and if seen as a stand alone act you would have come away shocked and awed by their intensity, passion, vocal, rhythm and lead guitar slashings. You also, if you are like me, really had to appreciate the drummer's enthusiasm back there, hammering his kit like it stole his girlfriend from him and made her his sex #$@$!. Not only was Eitenne Bowler (drummer) bashing the tubes, the fact he was sporting an old school Punisher t-shirt deserves a shout out.

Outernational is a Brooklyn based band, whose lead singer Miles Solay, had a definite stage presence and a flashy red shirt that couldn't help, but remind me of something you might see at a White Stripes show (though their sound is definately more ska - punk sounding reminiscent of not just the Clash, but also Rancid, but a far more political and extrospective newsworthy slant).

As noted on BBC Radio, "These boys are the next big thing... They are an incredible mix of hip-hop, hard-rock, and world music. They mix politics and dance music in the best way, much like The Clash did." (BBC Radio)"

They are managed by Red Light Management (which happens to be a management group whose lineup of talent I really dig, so much so that I link to them over yonder ------>); and they happen to also be on the Warner Bros. Label, which is fairly big-time if nothing else worth mentioning. The mere fact that this band is so highly respected in the industry and yet has such little press coverage on them is something of an enigma and exceptionally rare these days as even William Hung has a recording contract of (Fuse music channel and Koch Entertainment) American Idol fame seen here http://www.williamhung.net/ in case you don't remember this
guy has me somewhat bothered. I am definitely going to get some more info on Outernational for you all, because anything sounding this good and with this much backing needs some decent f'ing PR or I suggest Eitenne take the drum sticks (imaging once again the g/f scenario) to the rib cage of whomever is lacking in regard to press or lack there of for these guys. I promise that if you check out their personal MySpace webpage and check out the link to the fan site below you too should be at least as intrigued as I am.

Lyrics like: "I don't wanna hear the same old sound, I'm ready for the showdown!" off of Future Rock grabs you by the cojones and holds on tighter than one of Michael Vick's dogs going for your junk. The fact that a lot of what I find and see about these guys, on the web, and in various articles, although still to far and few between at least for me to make much of a coherent connection, which may be why I like them so much. If you haven't seen it by now, incoherent connections that actually do exist is something I can relate to and is definately seen in my posts and style of writing.

"Enough about us, let's talk about me, it's not about you, it's not about sunshine...it's about time." (E. Dando - Lemonheads)

I have read that Outernational's "I'm ready for the showdown" is a direct reference to an attack on the "War" our country USA (for our foreign readers) is involved in. That kind of in your face lyrical tonic is something so few bands and labels are willing to take a chance on drinking. That is the kind of stuff I remember the Pharcyde used to do back in the early 90s, old Red Hot Chili Peppers and of course you have the Phil Ochs and Bob Dylan type stuff from the 60s, but recently it's been a genre or lack of, that I have mentioned and spoke about before and personally would love to hear. Show me a song on how tax dollars are appropriated or how committee chairmanship's are handed out in a spoils (patronage dating back to U.S. Grant - ya know the guy on the who's face adorns a $50 bill here in America) versus an actual meritocracy.

Meritocracies are how it should be in this county, where you get rewarded for what you put in, your 'merit' versus who you know and who you helped get into office and your 'patronage'. Rather than doing anything proactive, you self serve with a side plate for your friends. Rather than working for the people whose tax dollars you live off of, whose money keeps you in office (if you are a politician of this particular ilk) and whose rights and objectives you are supposed to be defending, you just toe the party line and wait for your corner office in the Longworth Building. Too often in this country, we have relied on the spoils/patronage system style of not only government, but everything down to getting a good table at the chic clubs in NY or LA to coaching in college football to getting a job at your local Starbucks. If what I hear is true about Outernational and they care about political issues, like the ones just mentioned I am all for them, using that big label name and money to help educate and maybe induce change even if it effects one person and their life and their career or tax shelters or unhealthy appropriations of funds and a whole slew of socio-political problems effecting our nation, but basically ignored in the music industry, especially when compared to similar art forms such as writing, art, film and even fashion. Definately, more to come in the future from The Brass Hat Group on and about Outernational and their music (which, even without understanding the lyrics sounds good) to their views and stances on issues incorporated into their music. As an old friend of mine used to say, "Cool beans."

Indeed.

Miles Soley
Outernational - 04.01.2009 -
Opening for Chris Cornell

Center Stage in Atlanta, GA
photo by Ross Feingold

See tour listing below:

Upcoming Shows

( view all )

Apr 4 2009 7:30P	Electric Factory	Philadelphia, Pennsylvania
Apr 5 2009 7:00P	9:30 Club	Washington DC, Washington DC
Apr 7 2009 7:00P	Webster Hall	New York, New York
Apr 8 2009 7:00P	Webster Hall	New York, New York
Apr 10 2009 7:00P	House of Blues - Boston	Boston, Massachusetts
Apr 11 2009 7:00P	Wellmont Theatre	Montclair, New Jersey
Apr 13 2009 7:00P	House of Blues - Cleveland	Cleveland, Ohio
Apr 14 2009 6:30P	Michigan Theater	Ann Arbor, Michigan
Apr 15 2009 8:00P	The Vogue Theatre	Indianapolis, Indiana
Apr 17 2009 7:00P	Pabst Theater	Milwaukee, Wisconsin
Apr 18 2009 5:30P	MYTH	St. Paul, Minnesota
Apr 19 2009 6:00P	Riviera Theater	Chicago, Illinois
Apr 25 2009 8:00P	THE KNITTING FACTORY (ALL AGES)	NY, New York
May 3 2009 12:00P	BAMBOOZLE FESTIVAL - Giants Stadium	East Rutherford, New Jersey
Jun 11 2009 5:00P	BONNAROO	Manchester, Tennessee
Jun 26 2009 12:00P	Vans Warped Tour 2009	Pomona, California
Jun 27 2009 12:00P	Vans Warped Tour 2009	San Francisco, California
Jun 28 2009 12:00P	Vans Warped Tour 2009	Ventura, California
Jun 30 2009 12:00P	Vans Warped Tour 2009	Phoenix, Arizona
Jul 1 2009 12:00P	Vans Warped Tour 2009	Las Cruces, New Mexico
Jul 2 2009 12:00P	Vans Warped Tour 2009	San Antonio, Texas
Jul 3 2009 12:00P	Vans Warped Tour 2009	Houston, Texas
Jul 5 2009 12:00P	Vans Warped Tour 2009	Dallas, Texas

Now it's time for you to judge for yourself, here are songs off of their MySpace Official website, add them as friends, their sound is fun, energetic and definitely worth a listen, I will certainly DIGG this post later, be sure to check out my other DIGG's as well, and always give them a positive. Also please check out http://iheartouternational.blogspot.com/ a fan site with some really great home video type recording stuff that deserves mention if for nothing else it's sheer dedication to Outernational.

(seriously we are new and need the diggs, so give positive stuff. Really you don't want me come down there and open a pony keg sized glass of shut-up juice, force you to funnel it and then a can of whoop ass on you if you don't! Hmm...on 2nd thought I might have to get fellow Brass Hatter Lennox to issue a whooping, she's a wicked ninjas //\/...rawr!)

(click on the Image of Outernational guitarist Leo Mintek to the directly above to be directed their official site & to hear their muzak!
Photo by: Ross Feingold)

"Genres and the Seppuku Sword" (Chris Cornell - 04.01.2009 - Center Stage - Atlanta, GA - Part 1)

Live from Center Stage - Atlanta, GA - 04.01.2009
(Check out 96.1 for at 8pm EST for the live Chris Cornell set.)


(photo taken by Ross Feingold - The Brass Hat Group - 04.01.2009 - Center Stage)

On this rainy Wednesday evening Chris Cornell got down, got dirty, rocked, funked, spoke from the heart, screamed from those banshee lands that made him famous and also played songs from his new fusion, hip-hop, mojo genreless album. In two amazing days of concerts, it was first seeing Chris Cornell, live with Outernational,


(photo taken by Ross Feingold - Brass Hat Group- 04.01.2009 - Center Stage)

an opening band that really is getting little love from writers and bloggers alike, for reasons I can't seem to wrap my head around had a fun and charged up Clash/White Stripes kinda sound, that gave me a new perspective on the current state of music.

I was also fortunate enough to get passes to Crooked Fingers and Neko Case the following night (more on that in a post coming soon) and one thing that was noticed by a few folks, though first by my insightful friend Ginger was that, "Genres or that the fact that they don't seem to exist as much anymore is a good thing ya know, a really good thing for music." To be honest, at first I wasn't certain if I agreed with her, I had always grown up with this notion that music like almost everything ranging from politics to theories on hyperspace had its proper place in the universe. It was Ginger's insight, and seeing these 4 amazing performers in 2 nights; starting with Chris Cornell, a true rock star still as unique as when I first saw him in '93 at Lollapalooza at Lakewood, Amphitheterer that opened my eyes and somehow intertwined everything else going in the world that brought the concept back together for me. I was and still am amazed by anyone, like Chris, who has the ability to invent and reinvent himself, his ideas and sound after 25 years of music. Seriously can you believe it has been that long? The dude is tireless, hard on the road playing, studio recording, big festivals, small venues, soundtracks, mixes and matches and the constant collaborating with everyone from Soundgarden, Pearl Jam, Tom Morello and Audioslave to writing American Idol winner David Cook's first solo single to now teaming up with hip hop mogul Timbaland that makes Chris such a contradiction and the ideal example of how genres are dying if not already dead, seppuku 切腹 stomach cutting deep and ritual, the way Chris's music would have it done.

Ultimately, each time I listen to his new album Scream the veritas is reminded to me as Chris Cornell's musical flux wears on. Now a days I hear old artists, new artists, those intent on reinventing themselves on purpose and some who happen to do so by chance. Scream, was done on purpose, teamed with Interscope records, and Timbaland, as Chris focused, recording the entire album in only 6 weeks, intent on going, "back to albums that I listened to when I was a kid, where the music never stops...begs to be listened to on headphones all the way through."

I for one like Scream. Ginger who had about 10 minutes to hear the album before we headed to the show instantly liked the album. I have heard rumblings of people being annoyed with this "new" sound, as the crowd mixed with wild cheers and kids still stuck in 1993 who booed every time a Screm track was played. I don't know about critics or what is or isn't cool, that just has never been my thing, but I do know that when I first heard Scream and when Ginger first heard it, it was an instant, no questions asked, "F#%@ Yea!"

The concert was a fine example of an artist with a legacy that few have while still in their prime, crossing over from style to style, trading his niched confines for naked dance ready tracks that still carry the vintage Cornell vocals. I think this album speaks not just to the music industry itself, but the world partitions opening up as 2009 is a year in which we have crossed barriers where an African American President is not merely allowed, but transcendent world wide even as the G-20 summit was going on and President Obama made believers out of nations at odds.

If you look at the most fusion comprised aspects of all these days, 'the web', where cohesion is essential and optimization grows organically (despite the efforts of many to pay to play); the 1.0, 2.0, 3.0 continues to evolve on and on and on, that INDEED efforts like Scream is where it is at and that INDEED that is where it is going, like it or not you best fasten your seat belts because are like Fitzgerald wrote during his novel on a time of roaring change when the economy was also hitting it's great depression, "we beat on, boats against the current, borne back ceaselessly into the past." This time however, we've got a genreless hope, seppuku swords sheathed and the prospects of what is the start of a sound that springs eternal youth.