Tragedy, Criminal Damage, Condominium & Getting Even @ Triple Rock Social Club

Seated deep in the upper Midwest, far from the influence of the coasts and the birthplace of most modern pop trends, Minneapolis has been able to quietly establish a scene of dedicated, life-long punk rock die-hards. Much of the credit for this must go to Extreme Noise Records, the Uptown-based DIY punk rock record store run by a collective of punk enthusiasts that strive to provide unity and a voice to the local scene, having created a base-of-operations for a genre that is conventionally snubbed and derided by most other music outlets. To put it bluntly, it speaks volumes about the city that the ENR-sponsored hardcore shows can still fill up the Triple Rock Social Club at five in the afternoon on the most beautiful day of the summer thus far, while the multitude of fashion-core shows happening throughout the year can only seem to attract a crowd when they are moved out to the ‘burbs.

Arriving late to the gig, I had no way of knowing whether the large crowd that was watching Getting Even kick off the show was there waiting in anticipation of the virulent music that awaited them or was simply trying to escape the scorching, cloud-less mid-day July sky. That said, it was no surprise that the quintessential modern hardcore DIY-ers of Tragedy were able to bring out the crusties in droves for the early event, the last show scheduled for Extreme Noise Records’ 25th Anniversary Celebration this summer. Tragedy rarely travels from its home base in Portland to play live, elevating pretty much any appearance the band makes into must-see status. As one of only two dates scheduled before the band heads to Europe and Russia for a long-awaited tour however, this ENR sponsored show was not only on the minds of local punks for weeks, but it was also the envy of Tragedy fans all across the nation.

[Getting Even]

[Getting Even]

Amongst family, friends, and peers in the club, Getting Even’s performance set the tone for the straightforward punk and hardcore that would take center-stage throughout much of the night. Like the headliners, the band’s approach to its craft was relatively straightforward and reminiscent of the heyday of hardcore. Drawing influence from the likes of Cro-Mags, Black Flag, and the like, Getting Even’s ambitious guitar teamwork and the commanding presence of vocalist Jaysin hit the mark.

[Condominium]

The most peculiar act of the night was Condominium, a local quartet that seemed to embrace everything from hardcore and punk to stoner and noise music, easily leaving one of the most lasting impressions of the night. With riffs that are as abrasive and angular as one could fathom (think punk rock and dental drills), an incredible rhythm section, and a snarky, theatrical vocalist who hearkened back to some of the genre’s greats, Condominium’s set was both strange and magnificent. Truthfully, the vibe was of a modern day Dead Kennedys, only with twice the piss’n'vinegar and an even greater penchant for experimentation.

[Condominium]

[Condominium]

The band may have lacked the hookiness that often makes punk what it is, but by the time it transitioned into its mid-set doomy, noisy epic, it became obvious that Condominium didn’t really give a shit about who it impressed. For some, such as myself, the group’s disregard for the convention of it all completely drew me in. As the performance drew to a close and the vocalist pulled his electric guitar apart piece-by-piece, all to simply create a discordant atmosphere, I was dumbfounded, but I knew one thing for sure: I may have never seen anything quite like it, but this was surely punk-fucking-rock.

[Condominium]

[Condominium]

Changing pace before the headliners, the direct support of Criminal Damage played a defiant blend of pub-ready Oi! punk, instantly inciting the rowdiest amongst the audience to start a dancing circle that sustained throughout the band’s performance. Behind vocalist Paul Burdette (also the drummer for Tragedy), the band powered through a set of fist-pumping, sing-a-long anthems, leaving little time for the rambunctious crowd to catch its breath.

[Criminal Damage]

[Criminal Damage]

[Criminal Damage]

Needless to say, all of the energetic activity on the floor was in good fun, and I wouldn’t be surprised if the Criminal Damage set was the highlight of the night for many of the show’s attendees. However after five or six songs I personally began to tire of the band’s retro street-punk, and the routine of it all was a bit too repetitious for me (plus, since it was all ages, I couldn’t even swing my mug of beer along to their rhythmic rocking); I went to the barroom to enjoy a Surly before Tragedy took the stage.

[Criminal Damage]

[Criminal Damage]

[Criminal Damage]

[Tragedy]

[Tragedy]

Tragedy’s show on Saturday was the first time the band has been to the Triple Rock since it wrapped up the Nerve Damage tour in 2006 at the club. Returning after such a long hiatus with no new album to present might not be the most ideal situation for some bands, but from the start it was clear that the fans were there simply to support the band. In true DIY punk fashion, Tragedy launched into its set without taking time to adjust levels in a proper sound check, allowing any monitor level or technical difficulty to be corrected as the show evolved.

[Tragedy]

[Tragedy]

One of the reasons that I think Tragedy has been successful within the hardcore community (despite the band’s extremely mysterious and independent nature) is because it is of the select breed that seems to live and breathe the lifestyle rather than simply paying lip service to it. As vocalist and guitarist Todd Burdette leered over the mic, spewing lyrical venom over the crowd, it almost seemed as if his words were boiling up through his heart before they finally made it out of his windpipe. At times you could even see Burdette mouthing Billy Davis’ lyrics, and vice versa: a sure sign that these songs are as much a part of the band members’ DNA as their own blood.

[Tragedy]

[Tragedy]

[Tragedy]

With eyes blazing and studded boots stomping to each powerful time change, the band put on a performance that cut through the bullshit and went straight for the jugular. The Tragedy set was peppered with intense crust-covered songs from throughout the band’s career, even giving some love to its incredible Can We Call This Life 7″. Throughout the show the mosh stayed constant and fans continued to pile to the front to pump their fists and shout alongside the band to their favorite songs. When the fiery set ended abruptly after “Vengeance,” it seemed like no one was ready to let these punks go home. After chants of “one more song” proceeded for more than five minutes the house lights finally came up, signaling that it was time for us to move along and make way for the five o’clock show.

After an afternoon with Tragedy I finally felt like I understood the band’s enchanting secrets: stay true to yourself, leave ‘em wanting more, and everything else will fall in place.

[Tragedy]

[Tragedy]

[Tragedy]

[Tragedy]

[Review and videos by Ryan Buege, photos by Adam Bubolz.]

Tragedy: Purchase | Official | MySpace | Wikipedia
Criminal Damage: MySpace
Condominium: Official
Getting Even: MySpace

Also: Condominium: Favorite Albums of the Decade