Bleeding Neon

Yes.

Muse + Silversun Pickups, April 10, Mandalay Bay Events Center.

Consider my mind blown.

I know I neither am nor look that old, but sometimes, I’m made to feel like it. And an assignment I fulfilled for the Las Vegas Weekly a few weeks ago was one of those times.

I had to cover the CD release party for a young pop-punk-metal band, A Smile From the Trenches, at The Farm, one of Las Vegas’ only all-ages music venues. It was the Thursday before Nevada Day, the day our fine state celebrates its statehood — and it happens to be Oct. 31, so basically, state workers and students get off every year for Halloween. So The Farm saw a decent number of teens for a weeknight, a few hundred by my estimate. Good news for the local music scene, right? Yes. But …

Let me put this into perspective: I am 33 years old. I do not wear skinny jeans. I have significant gray in my beard. I don’t smoke. And I don’t care much for screamo bands whose names do not start and end with “Thursday.” So there I was, either stuck in a room surrounded by kids more than half my age listening to loud, screamy bands, or stuck outside surrounded by underage smokers, being very careful not to look even sideways toward a female patron for fear I’d look like a pedophile. Or more likely, feel like it. And this being an all-ages venue, there was NO LIQUOR IN SIGHT.

The article turned out all right, I think, and the guys from both A Smile From the Trenches and its record label, DC Hardcore, were very nice and accommodating. And the band was definitely far less terrible than its predecessors that night. But in all, it’s not a situation I’d like to repeat anytime soon. Fellow slightly-worn journalist Dave Surrat was there that night to write about the venue itself for the CityLife, and if not for his not-so-young presence and that of promoter pal John “Ducky” Slaughter, I’d likely have gone fully insane.

But I think this can all be summed up by my tweets from that night:

• The Farm has no signage but easy to find: Parking lot full of teens. Ugh.
• has never felt as old as I do at this all-ages venue right now. Oh the things I do for music journalism.
• is finishing my Corona and then heading back to the emo teen hell. Also, I lost $5 at video poker. Think @lasvegasweekly will cover that?
• Either this screamo band has six members or they just have a young girl who appears to play keyboards but really’s just there to look cute.
• Good news: The kids still mosh. Kind of.
• is standing next to the modern equivalent of rock hoes. The bands change but the hoes stay the same.
• Why yes, Virginia, I am watching a screamo band cover Katy Perry’s “Hot & Cold.” Why do you ask?

I’ve been an unabashed fan of She Wants Revenge from the first moment I heard “Tear You Apart” almost four years ago. Oh, sure, the band (really a duo — Justin Warfield and Adam “DJ Adam 12″ Bravin — expanded live to a quartet) copiously borrowed sonically from Joy Division, New Order and Depeche Mode, but Justin and Adam put such a fresh, dance floor-ready spin on it, that the aping was just fine. I gobbled up the “These Things” EP, then the self-titled full-length, then the eagerly-awaited follow-up, “This is Forever,” and ultimately the band’s last EP, “Save Your Soul.”

Those albums form a fairly cohesive aural snapshot of the band’s first four years, staying close to the darkwave groove first unleashed upon hipster bars of the world in 2005, sometimes adding more subtle textures, sometimes getting more funky, but generally keeping alive the flames of Bauhaus, Siouxsie and the Banshees and their ’80s counterparts. But with the release of “Up and Down,” She Wants Revenge puts that all in the past.

Welcome to She Wants Revenge 2.0.

Adam (I’m eschewing the formality of last names here as Adam is someone I’d consider a fair acquaintance, and let that be my full disclosure) has been hinting — OK, overtly broadcasting — on Twitter for the last few months that SWR has been making music by which to have sex. He wasn’t exaggerating. He and Justin have almost completely shed their ’80s postpunk sound (save for the EP’s instrumental, “Love Me”) for something entirely contemporary. From the opening, booming pulse of “Your Love” to the whiplash synths of “A Little Bit Harder Now,” SWR has found the place where Justin Timberlake meets Prince meets The Faint.

Justin’s distinctive robotic baritone and visual storytelling is still intact, but it’s been accented by raps hearkening back to his MC days (remember Bomb the Bass’ “Bug Powder Dust?”). As well, the duo is joined by new discovery ZinaStar on “All Wound Up,” where she delivers a Pussycat Dolls-style verse as well as background vocals.

The more goth-inclined members of SWR’s fan base might be put off by the suddenly mainstream club-friendly sound, but if they’re not able to grow with the band, then they’re missing out. This is pure ass-shaking ear candy you can enjoy without feeling guilty. And it’s made by two dudes who, I can confirm, are real people, writing their own music, playing in a real band that plays real venues. And they’re doing it all without the support of a major record label, so that $5 you should drop on iTunes today for “Up and Down” is money well spent.

Another week, another Pj Perez takeover of the Las Vegas Weekly’s “Noise” section. This time it’s the double-punch of a short feature on pop-punk act Air Raid Anthem and a review of the new CD from long-time local hard rock band Slow Children.

Air Raid Anthem is not the type of band I’d normally listen to, falling in line with all those interchangeable, synth-infused, post-emo bands out there, none of whom I’d probably be able to identify on the radio if I heard them. But though I didn’t want to like it at first, the band’s debut EP, Ready to Get Sweaty, isn’t bad. There’s good songwriting, sing-along choruses and even some surprising twists. The second track on the disc, “Unsolved Hystories,” reminds me a little of stuff from The Killers’ first album. That’s a good thing.

Slow Children … well, I don’t want to write too much here, as I actually reviewed the disc already, but I will say that after only tangentially hearing about this three-piece band but never seeing or hearing them before, I now a) want to see them live and b) want As Yet Unbroken to play a show with them. I think our melodic, diverse, hard rock sounds would work well together. Let’s make it happen, guys!

Five-sixths of Theory of Flight with The Fist. Photo by Michael Gaskell / MG Studio

My assault on the local music scene continued last week with a Las Vegas Weekly article about up-and-coming sextet Theory of Flight, whose Dishwalla-meets-30 Second to Mars sound is propelling the band to the next level.

We met for an interview in the green room at the House of Blues before a local music showcase featuring Theory of Flight. The guys were super-accomodating, very honest, earnest and passionate about their music and continued to reinforce just how great most of our local bands can be. In the last month or so, I’ve interviewed a number of groups — all male-dominated, sorry to say, which might be a topic for a future article — and surprisingly, there hasn’t been a douchebag among them. For the most part, these guys get along fabulously, work harder than they play and actually support other bands. I’ve been looking for some drama, but honestly, it’s hard to come by.

I’m optioning a few local acts to profile next for the Weekly, but I’ll be taking a brief detour for my next assignment; however, I’m not telling you about it until the story’s done. I know, I’m such a tease. In the meantime, you have been keeping up with The Utopian webcomic, right? Shit’s about to get heavy.