Music Features (Free Press - Houston): Music with Jameson & Lone Star Part II: Anarchitex and Room 101 at Rudyard's 11/01/2008

OK ladies and gentlemen let me say this right now - Room 101 is likely the best shit you can possibly check out right now! Holy crap! Here I was muddling over whether to go-out a second night and I figured, yeah I'd been wanting to go see the Anarchitex, why not just go for a bit and make it an early night. I'm sure glad I got off my ass - thick yellow phlegm or not - because the second I walked past the Rudz curtains I was hit with a rush of "Holy shit! What the fuck is that?!!!!" On stage was this one guy playing with a drum machine, backing tracks, and projections. He shook and jerked in fits while he played some of the most refreshing aggressive post-punk angular guitar lines I'd heard in ages. Holy crap this stuff was good! My first thought was "Hey remember when Steve Albini didn't suck? You know, before he became predictable and boring?" Sure, Room 101 borrows from the Big Black/Gang Of Four model but it's clearly its own thing which is always the sign of anything good - take the old and reinvent it in your own image. And this guy performs like he's in some eternal battle against his instruments with little hint of which may be winning the struggle. It's noisy in-your-face shit that you need to see. In a city with a list of brilliant solo musicians with an affinity for drum machines and backing tracks like the Wiggins and Hearts of Animals, I say add another to that list! Room 101 will surely be on my list of best new bands in Houston for this year if not the best! *

Following Room 101 was the Anarchitex who I'd actually seen ages ago back in the day. But unlike Room 101 - I knew what to expect from them - great songs, clever lyrics, and sharp performance. And their set was indeed great. Tory Mercer's guitarwork was excellent, Scott Ayers on bass for most of the show reminded me just how freaking good a player he is regardless of what instrument he touches, Bob Weber's rock-solid drums sent me as many goosebumps as when he played with the seminal Really Red, and John Reen Davis' always weird stage presence, as he delivers his lyrics with a nasally Jello Biafra snarl, is always brilliant. It immediately reminded me of how truly weird Houston's independent music was at one point and it's nice to see that weirdness raise it's head again in the bayou like a punky smart assy Nessie. I bow to the masters.

Room 101
A good visual metaphor for the music.