Jason Bieler is back with his fourth album under the moniker Jason Bieler and The Baron Von Bielski Orchestra. The latest release, Dancing Floor, follows a string of fantastically weird and eclectic albums, including last year’s brilliant The Escapologist, 2023’s Postcards from the Asylum, and 2021’s Songs for the Apocalypse. With each release, Bieler continues to stretch the boundaries of what you should expect from a rock album. Suffice it to say, he’s taken things even further this time around. No two songs sound remotely alike, which is no small feat.
Of course, it’s obligatory to mention that Bieler came from the underrated ’90s alt-rock band Saigon Kick, a group that walked a similar line between meeting the expectations of a hard rock/alternative band and burning those labels to the ground by incorporating just about every genre imaginable. Bieler simply can’t help himself. He’s going to zig when you expect him to zag. In many ways, Dancing Floor feels like a distant cousin to Saigon Kick’s 1993 eclectic masterpiece, Water.
The album opens, rather inexplicably, with an ode to Amazon. Sure, it’s a strange way to kick off a record, but who among us hasn’t sung its praises when that long-awaited delivery arrives? The real festivities begin with the decidedly Kick-like “Caveman.” The guitar riff is vintage Bieler, with layered vocals and thunderous drums rounding out the sound. It’s a fun, groovy track and probably the one that will appeal most to longtime Bieler loyalists.
“Even a Clown Has Pride” begins with ominous organ sounds and harmonized vocals before settling into a laid-back drum and piano groove. This might be the closest Bieler has ever come to sounding like Tears for Fears. Things take a decidedly proggy turn midway through, featuring some outstanding guitar work from Bieler and tasteful drumming from Edu Cominato.
A choir of children chanting “We’ll all soon be dead” kicks off “The Things I Love Disappear,” before some of the chunkiest guitar riffs on the album come crashing in. It’s easily the heaviest track on the record, and a great one at that. From here, however, you might as well throw out any remaining expectations of where this album is headed. And I mean that in the best possible way.
“Goodbye” is a gorgeous piano ballad that builds to a wonderful orchestral climax. Next comes “Malibu Was All Aflame,” one of the catchiest acoustic pop songs you’re likely to hear all year. Somehow, Bieler follows that with what might be the proggiest song he’s ever written, “I Will Wait in Death for You,” featuring the incredible Marco Minnemann on drums. Good luck figuring out the time signature on that one.
And just when you think you’ve got a handle on things, Bieler takes another sharp left turn with the bossa nova stylings of “Vampire Souls,” another stunningly melodic track that sounds like it belongs on an entirely different album. Yet somehow, in Bieler’s wonderfully warped musical universe, it all makes perfect sense.
The musical diversity continues right through the closing track, “The Dancing Floor,” a haunting, orchestral piece built around Bieler’s vocals. Certainly a surprising way to close an already unpredictable album.
Bieler has once again managed to create an album that defies categorization while remaining thoroughly entertaining from start to finish. If you enjoy musical diversity, wonderfully weird songs, surprises around every corner, and fantastic musicianship, look no further than Dancing Floor. Tell your friends.
1.Door Number 3
2.Caveman 03:11
3.Even a Clown Has Pride
4.The Things I Love Disappear
5.Goodbye
6.Malibu Was All Aflame
7.I Will Wait in Death for You
8.Vampire Souls 04:17
9.Some People Call Me Satan
10.Where Dreams Go to Die
11.Let’s Play Dead
12.The Dancing Floor
All songs written by Jason Bieler
Drums by Edu Cominato
Drums on “I Will Wait in Death for You” by Marco Minnemann
Additional guitars and sonic chaos by Andee Blacksugar
Everclear’s Los Angeles stop began, as many things do, with the Beastie Boys. Before the band hit the Bellwether’s stage, "(You Gotta) Fight for Your Right (To Party!)" kicked in over the PA system, and the entire crowd of 1500 people went crazy singing along with every word. As the last notes faded, a black and white video started playing on the screen. In it, Rat Pack favorite Dean Martin sauntered around in a tuxedo while fake lips superimposed on his face said, “Welcome to the Lucky 7 Tour of 2026. Give it up for Everclear! Haha! We are going to play all seven of your top-rated requests tonight, plus all the hits and fan favorites. The first song we’re going to play is a spicy little love-ditty…the number one requested song, and she won’t even charge you tax, give it up for “You Make Me Feel Like a Whore”!
Everclear
Everclear first appeared on my radar with 1995’s Sparkle and Fade, and the ubiquitous lead single “Santa Monica”. I dug their sound, the lyrics were obviously heart-felt and important, and Art Alexakis’ voice jumped out of the speakers. A few years later, I was lucky enough to shoot two music videos from the 2000 album Songs from an American Movie Vol. One: Learning How to Smile (“Wonderful” and “AM Radio”) that singer/guitarist/songwriter/band leader Art directed. I found him to be bright, kind, and exactly what you’d hope your music hero to be, and I’ve rooted for him and the band ever since.
This show on The Lucky 7 Tour had an interesting component hinted at in my opening paragraph. Prior to the start of the show, a QR code appeared on the large screen behind the drums that allowed you to vote for your favorite songs – the votes would be tabulated, and the top seven vote-getters would be played during the set. I somewhat question that the top pick among the 1500 in attendance was “You Make Me Feel Like a Whore”, but the set list was considerably different than their last show, so what do I know…
Art’s hard-hitting lyrics clearly draw from personal experience, and often delve deeply into heavy themes including addiction, child abandonment, and emotionally scarring relationships, frequently packaged in upbeat and bright sounding rock songs. The formula is undeniable, as Everclear has two platinum albums in the US (1997’s So Much for the Afterglow and 1995’s Sparkle and Fade), and has sold over 6 million records to go along with twelve top 40 hit singles.
Art is a recovery advocate, and announced on stage that he’d just reached his 37th year of sobriety: “Not “California” sober…none of that shit”. While not being preachy, he dedicated 1995’s “Strawberry” to those in the audience undergoing their own journey with sobriety, and talked about how the song came to him after he experienced a vivid nightmare about relapsing. Art also became passionate about multiple sclerosis and finding a cure, after he was diagnosed with MS following a 2019 traffic accident forced him to seek medical assistance, and an MRI for a pinched nerve revealed more than expected.
Also of note was Art’s wardrobe, which featured an ALTADENA STRONG shirt, a nod to the 2025 Eaton Fire that wiped out 9400 homes in the historic neighborhood where he lives. Somehow his house survived, despite most of his neighbors losing theirs. He dedicated “I Will Buy You a New Life” to his wife, who he said protected their house from looters while he was away on tour. While the title of the song suggests financial giving, that wasn’t the inspiration – in an interview with Songfacts, Art stated “But it wasn't about the money, it was about a different kind of life, giving all of yourself to another person. It's the ultimate romantic song to me.”
The show’s setlist was eclectic – five songs from the double-platinum So Much for the Afterglow and five from Sparkle and Fade, with lots of deep cuts thrown in, perhaps due to the crowd voting. In looking at setlists from other nights of the tour, there is a core component of songs that remain in the set, while others are there for one show and gone the next. There was a little bit for everyone on this night – enough of the huge hits were played for the casual fan, while the diehard fans were stoked to hear songs that might not have been played on previous tours. Art commented on the crowd in the only way he could “Everyone talks shit about LA audiences…but they obviously haven’t seen the crowd at an Everclear show!”, which was met with a roar from the audience. Everclear played a great show, and fans wandered off into the night at its conclusion with smiles on their faces.
Everclear are:
Art Alexakis – Vocals/Guitar
Davey French – Guitar
Freddy Herrera – Bass
Brian Nolan – Drums
Setlist:
1) You Make Me Feel Like a Whore
2) Everything to Everyone
3) Heroin Girl
4) Nehalem
5) Fire Maple Song
6) I Will Buy You a New Life
7) One Hit Wonder
8) California Kings
9) Strawberry
10) Father of Mine
11) American Girl
12) Wonderful
13) Brown Eyed Girl
14) Santa Monica
15) Molly's Lips
American Hi-Fi
I knew American Hi-Fi from their 2001 Bob Rock (Metallica, Motley Crue, Bon Jovi) produced hit “Flavor of the Weak”, and didn’t know what to expect when the hit the stage. I also didn’t know their unique origin story to becoming a band. Prior to their formation in 1998, vocalist Stacy Jones was the drummer to both Veruca Salt and Letters to Cleo. In a 2017 interview with Rock Cellar, Jones said, “We were playing shows and hanging around with Foo Fighters, so I was watching Dave Grohl and thinking ‘I’m gonna give [being a frontman] a shot’.” The rest is history.
I wasn’t familiar with much of their catalogue, but it didn’t matter – they delivered song after song of pure pop-punk bliss and the crowd was enthusiastically along for the ride. At the mid-point of the show, someone used the break between songs to yell “Play “This is the Sound””! Stacy replied, “We should re-learn that song – thanks for saying that!”. He then added “Someone hit me up on the DMs about this song, so I guess we gotta play it…we were gonna play it anyway…” and then launched into “I’m a Fool” while the audience sang along with the chorus.
Thursday night was the perfect combination of bands and audience. People showed up early to catch both acts, and both American Hi-Fi and Everclear delivered blistering sets that gave the audience exactly what they wanted.
American Hi-Fi are:
Stacy Jones – Vocals
Jamie Arentzen – Guitar
Drew Parsons – Bass
Brian Nolan – Drums
Setlist:
1) Surround
2) Scar
3) The Breakup Song
4) A Bigger Mood
5) Safer on the Outside
6) Hi-Fi Killer
7) Another Perfect Day
8) Acetate
9) I'm a Fool
10) The Geeks Get the Girls
11) The Art of Losing
12) Flavor of the Weak
Brooks RobinsonPhotographer & Writer
Brooks Robinson is an LA-based concert photographer, and 30+ year freelance camera operator for film, television, and music videos. He has photographed some of the largest film/TV projects in history, and hundreds of music videos in MTV's heyday.
The closing of the Black Sabbath era, with the death of singer Ozzy Osbourne, and his final appearance with the band before his passing not long afterwards, has led many of us to wonder what will be next for the surviving members moving forward. Drummer Bill Ward has basically retired. The same with bassist Geezer Butler, although I’m pretty sure he will occasionally apply his bass skills to future collaborations with his many musical friends. As for guitarist Tony Iommi, he is moving forward, with the recent release of his third solo album entitled From The Dark.
Produced by Iommi and Mike Exeter, From The Dark is everything that the title suggests, and what you would expect from the guitarist who arguably invented the heavy metal riff. The recording’s heavy and, yes, dark tones are represented in the way that have made Iommi so praised during his career. It’s his trademark. But this is not a totally instrumental album. Iommi assembled a very heavy cast to help him out, including the great bassist Becky Baldwin, who has recently handled bass duties with Mercyful Fate, as well as drummer Karl Brazil, a very well-seasoned British session drummer.
Landing the chore of vocalist is Norwegian power metal legend Jorn Lande, whose vocal style is a nice match for Iommi’s gargantuan guitar sound. He has worked with Iommi in the past, and his voice compliments the music quite well, as far as Mr. Iommi and I are concerned. The opening track, “Over the Violent Sun,” lays testament to this decision, and its brutal Sabbathesque guitar tone sets the tone as Lande’s thunderous growl hits you like a punch in the nose.
Iommi’s guitar tones are the real stars of this record naturally, but Baldwin’s thudding bass tone are the driver that steers this vehicle. Naturally, my head was brought back to the classic Sabbath and Heaven and Hell recordings, and those really were so bass-heavy, that the real pounding that my ears were gleefully feeling have always been because of this. “Beyond The Dead” is a prime example. Its plodding tempo brings to mind everything that I loved about Black Sabbath’s pounding catalog of classics, and Baldwin and Iommi seamlessly recreate that feeling.
“Stormwatcher” has Lande and Iommi delving into what the late Ronnie James Dio brought to Black Sabbath — the soaring vocal lines that lead to Iommi’s stinging lead guitar. This one updates it a bit, but it’s what this recording is all about, and I absolutely can’t help but cranking it up to 11! “Beyond the Dead” and its gloomy tone continue with this trend, and Lande brings his emotions to a climax with every line, before Iommi takes the song to yet another level. It even features contributions from Queen guitarist Brian May, longtime friend and admirer of Iommi. As far as I am concerned, it is a future heavy metal classic for all like-minded playlists.
“Return Of The Arbalist” which is about a medieval crossbow-handling warrior, is a full-on rocker that features Iommi cranking out what his fans have always expected from him. Huge chord changes, layered with giant, enhanced vocals, and the assault of the rhythm section that comes at you like a battering ram from start to finish. All stitched together with a lyric that brings you back to the days of knights, kings, and deadly battles.
From The Dark follows up that theme with the appropriately titled “Legacy” of which Iommi is, without a doubt, referred to as. It’s the closer, clocking in at over seven minutes as it builds its pace up to an inevitable acoustic guitar solo, that is eclipsed with Lande’s soulful vocals, which bring to mind the late Dio or even vintage David Coverdale, before being swallowed up by Iommi’s signature Gibson SG guitar sound, the one that all in heavy metal have tried to emulate. Iommi and company have successfully driven his classic sounds into the future with this one. My hope is that the late Ozzy Osbourne was able to get a listen to some of it before he passed. I’m sure he would agree with me that this one is very well done.
“We always want to do something different with each record – to try to evolve, and see if we can bring something new to the table,” says Ingo Dassen, guitarist with Dutch art-prog collective Lesoir. Their new album, Tomorrow Is Now Today, marks the next leap forward in the group’s musical journey.
Dassen describes 2024’s Push Back The Horizon as “more of a rocky record, more straightforward. Before that we released the Babel EP, and before that we did Mosaic, which was more progressive, with more Pink Floyd-ish influences.
People liked those records, so we had the idea of finding some combination between them – expanding with extra instruments and extra dimensions. We always try to create, record and write a song that the fourth or fifth time you listen to it, you discover a new detail. I think we’ve succeeded.”
If Push Back The Horizon found Lesoir in rock mode, “now we’re more into an electronic, beat-driven phase.” The elements that define their music – the layered guitars embellished with keys, flute and pedal steel – remain, but Dassen says they’re more focused on the rhythms this time, “which is cool; it gets you moving.”
Tomorrow Is Now Today was produced by John Cornfield, who they’ve worked with since 2011’s Transience. The producer captures the full breadth of Lesoir’s sound, eschewing a keep-it-simple mentality.
“John is a dear friend,” says Dassen. “He always says, ‘More is more’ – which in fact is the case. He’s just a legend. After all these years, we don’t really have to discuss it. He knows what we want.”
On their earliest recordings they played live in the studio. Now they track drums and bass together, then the guitars; but they’re not looking for perfection.
“We don’t do much by way of repairs,” says Dassen. “We always go for the golden take, and for us that take is not necessarily perfectly played.
“It’s the take that has the most emotion and gives the best vibe to the song. You hear us laugh, you hear us coughing, and sometimes you’ll hear us slip up on a string. It makes it human.
“We like to have a record that you really hear us playing, not over-produced or over- processed.”
Taxi Daughter’s “Man w a gun” hits you with its experimental attitude. A percussive bass locks into a hypnotic groove, creating a tense pulse that pulls you inside the song. Something restless lives in this rhythm, like machinery running in the dark.
Then the voice arrives, heavily processed and soaked in reverb. Its slightly megaphonic character makes it feel like a transmission coming through a damaged loudspeaker. This treatment performs an unsettling edge, fitting perfectly with the tension already brewing underneath.
The synths gradually expand the atmosphere, introducing dystopian shades and a sinister feeling that keeps growing. You have the impression of walking through a city where something is about to happen. The groove keeps moving, but the sounds surrounding it make the air feel increasingly heavy.
Man w a gun – Sound and Atmosphere
When the guitars enter, the song becomes even more intense and enveloping. They add weight to the electronic foundation, pushing the arrangement toward an industrial sound with avant-garde influences. I like how Taxi Daughter explores these textures without losing the hypnotic pull established at the beginning.
There is a clear desire to find new forms of expression here. The bass has a physical presence, the voice feels distant yet insistent, and the synths spread a cold glow over everything. These elements create an uneasy balance that keeps you listening.
Man w a gun – Performance and Production
That discomfort also connects with the subjects behind the song: the proliferation of the gun industry, the rise of manosphere culture, and police brutality. These are urgent themes, tied to violence, power, and the growing discontent of a population that feels the pressure building around it.
The production gives those ideas a fitting setting. The mechanical pulse and distorted vocal character suggest a world where communication becomes noise and aggression keeps finding new channels. As the guitars thicken the atmosphere, the tension becomes almost tangible.
What I appreciate most is the way experimentation and instinct work together. The arrangement explores unusual sounds while the groove keeps its grip on you. You can follow the rhythmic pulse and, at the same time, get lost in the darker details moving around it.
“Man w a gun” is a fantastic song with a strong identity. Taxi Daughter turns unease into something hypnotic, combining industrial electronics, guitars, and an expressive vocal treatment with a message that deserves attention. A track that gets under your skin and stays there.
Tara Van gets things moving with “Miles On It.” The title track opens this EP with a confident rhythm and a swagger that reminded me of Prince. There is personality in the groove, but her voice is what really grabs your attention. Clear, clean, and expressive, it delivers strong emotions without ever sounding forced.
“I’m A Vine” confirms the sophistication of her musical vision. The brass arrangement brings a warm, unmistakably ’70s flavor, while funk and soul move together with an effortless sense of rhythm. This is the kind of song that gets under your skin gradually. You start by following the groove, then find yourself paying closer attention to the vocal phrasing and the details of the arrangement.
Tara knows how to give a song character. Her delivery feels confident, yet she leaves room for the instruments to breathe and answer her voice. That exchange makes “I’m A Vine” feel alive, with an elegance that never takes away from its physical energy.
MILES ON IT – Sound and Atmosphere
“Moving Picture Show” slows the pace and opens a more reflective chapter. A nostalgic piano figure seems to hang in the air, creating that suspended feeling you get when a memory returns unexpectedly. Tara’s voice fits beautifully into this atmosphere, guiding the song with sensitivity and control.
The chorus is a highlight. The backing vocals gather around the lead like a small gospel choir, giving the melody warmth and emotional weight. There is something deeply touching about the way these voices come together. The arrangement expands naturally, and the song reaches you through the sincerity of the performance.
MILES ON IT – Performance and Production
The EP closes with “Take Your Light Down,” recorded live in the studio. Hearing Tara in this setting makes her talent even clearer. Her voice carries the song with an intensity that holds your attention, and the performance has the immediacy of musicians sharing the same space and feeling every phrase as it happens.
This closing track left a strong impression on me. You can hear how much she brings to the music through her interpretation alone. The quality is there in the delivery, in the dynamics, and in her ability to make a line feel personal.
Across these four songs, “MILES ON IT” speaks of resilience, perseverance, and the effort to keep hope alive during turbulent times. Its changing moods give those themes room to breathe, moving from confident grooves to quieter moments of reflection. Tara Van brings them together with a remarkable voice and a clear artistic identity.
A beautiful discovery that I recommend to anyone who appreciates soulful music, thoughtful arrangements, and a singer who knows how to make you feel every note.
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