Okay it’s been a Helmet week for me, you would think I might be Helmeted out. I’m not. Seeing Eye Dog is the new Helmet release, and as a full record it is my favorite so far. Seeing Eye Dog has the signature Page Hamilton guitar sound (like being punched in a vacuum) and the overall post- apocalyptic Helmet sound that should thrill new fans and the diehards alike.
The record opens with So Long, which lets us know that Helmet has not softened too much over the years and that this record is going to be heavy. Next up: the title track Seeing Eye Dog showcases Page’s guitar virtuosity as well as his vocals (you either like him or you don’t; he is a very honest singer). There are not a lot of overdubs on this record but there is very slick production with the vocals up front, the drums in a tight room and holy rolling thunder bass keeping it just above mud level.
I have heard many times that Helmet got where they are because of Nirvana paving the way. I do not agree, but at the end of the day it’s about the song writing and that’s only real thing Page Hamilton and Kurt Cobain have in common was great songwriting. Welcome To Algiers is the first moment on the record that we get a really good pop hook, but thankfully it’s not the last!
La Water has the most infectious bass line provided by Chris Traynor, and very stripped down verses that create a great spacial separation. This song at times reminds me of one of the most underrated bands of all time, Swell (pick up Too Many Days Without Thinking and you’ll see what I mean). Except Swell is based around acoustic guitars and of course Helmet is all about super distorted electric guitars.
In Person is my favorite track on this record, with equal parts big nasty guitars and vocals by Hamilton and great pounding drums by Kyle Stevenson. It’s go time on this song. I found myself singing along the first time I listened to it.
Page Hamilton has done so many things outside of Helmet, from playing with Bowie to soundtrack work. Morphing plays like a soundtrack piece, and serves as a great ending for side A. Side B begins with White City, a dirging dirt rock manifesto of spiritual complacency. It sells the sadness with just a touch of ironic hope. And then, out of left field comes a cover of The Beatles And Your Bird Can Sing, and we can breathe a sigh of relief because the sun will in fact shine tomorrow. This cover is not a throw-away by any means, as it is a faithful and earnest rendition. Miserable is anything but. It’s angry; it’s payback time. Yet all the while, the head is nodding and the smile is creeping.
The record ends with She’s Lost. Even though it clocks in a bit long at 6:13 it is a fitting end for a fine record. Does Helmet sound like they did on Meantime? Yes, and no. Is it a good thing? Yes. Page is spreading his wings and I for one applaud him. With his talents he could do any kind of music and this is what he chooses to do. He chooses to do for himself while being faithful to the Helmet ethos and therefore do for his fans as well.
4.5 (out of 5)
J.S.L.
Next we are off to The Key Club on the lovely sunset strip to see Helmet live.
I was told the set time for Helmet would be 10:15pm, they went on at 11:30. I had been up since 6am…I was cranky. I am kinda cranky in general. As I was just starting to seethe, I met a nice young man (whose name escapes me). Anyway he told me I was in luck because Intronaut, the band that was opening for Helmet, was amazing.
The drummer was warming up doing jazz fills etc and I was like, okay this could go either way. Long story short, Intronaut’s lead singer looks like someone who used to tutor my son in math. Until he hit that first chord, then it’s off the chain loud and a complex noise fest.
Intronaut is scary good. Speaking of math, I could barley understand the time signatures they played in. The five string bass player (who kinda looked like a grizzly bear, planted in the front of the stage) was playing in half time against the drummer etc. The drummer is amazing. After five songs that lasted 40 minutes, I was exhausted. I’m interested in hearing studio performances, because I couldn’t hear the vocals at all. Even though there were no catchy songs, I felt like I was watching a metal version of King Crimson, which the musician in me loved.
Then Helmet blasted on to the stage with an aural assault like no other. I’ve always felt that Helmet was the perfect blend of alternative, metal and punk, and never is that more evident then in the live show. I have to assume that Helmet brought their own microphones, as it was the first time I have actually heard decent sound at the Key Club. The club was three-fourths full, and the people there knew Helmet’s material and ate it up. The band was super tight.
The old Helmet joke is that Helmet consists of Page Hamilton and whatever four guys are standing around at the moment. That’s not exactly true, but Helmet is Page Hamilton’s guitar sound, his voice and his approach. The touring band was chosen by Hamilton because he has to deliver what he thinks is Helmet, or I suspect he wouldn’t do it.
Hamilton’s solos live are like peeling paint with a rusty knife, they are jagged and distorted yet clearly based in a trained musician’s mind. He just likes what he does. The set consisted of a fair amount of new material, which I was grateful for because I wanted to see how they translated live. They translated fantastically – especially Welcome To Algiers which live takes on a whole new meaning… it’s just meaner I guess. The only downside to me was the absence of Unsung. I can imagine that sometimes you don’t want to play the same songs night after night but… I was pissed.
On a brighter side, he did play a few of his older classics like Milquetoast, In The Meantime, Ironhead, and Tic. The great pop sensibilities don’t come off quite as clean live for Helmet, but the energy that Hamilton and the band put out is huge rock and roll with no frills and that’s what’s appropriate for Helmet. This was the first time I had seen Helmet live and I plan on seeing them again. Is there a better endorsement than that?
3.5 (out of 5)
J.S.L.
And finally…to round out my national Helmet week spectacular, I had the opportunity to interview Page Hamilton. And this is how it went (more or less):
J: Hey Page
P.H.: Hey man, sorry about the delay.
J: No worries. So I really like the new record Seeing Eye Dog.
P.H.: Thanks man; I’m really happy with it myself and I feel super confident about it. I had this vibe going into the writing of it after I had taken some time off after doing a reformation of the band. I realized what impact the band had on the recording of Size Matters and the extra-curricular editing that went on without my knowledge. I was like, “What’s this? Helmet doesn’t edit guitars.” Helmet always records live as a three piece and then I do vocal and guitar overdubs. This version of the band had about three years to gel and to really understand how I work. I am the producer, songwriter, singer, rhythm and lead guitarist. It was really nice; I felt everyone involved was facilitating the creative process rather than hindering it.
J.: I love the drum sounds on the record, especially on In Person, which is my jam.
P.H.: That was either the last or second-to-last song we recorded, and Toshi Kasi who recorded and mixed the record was experimenting with different sounds. But overall it’s such a great sounding room.
J: Where is that?
P.H.: Ugh, I’m even loathe to mention it because even though it’s not a secret I want to make sure I can always get in there.
J: (Laughs) If it doesn’t get booked enough it may not exist next time you want to go in there!
P.H.: (Laughs) I know; Entourage over there on Magnolia in the valley. I always give them props: great people. We mixed in the B room which sounds great, and Toshi totally gets where I’m coming from.
J: People tell me that you’re a bit of a control freak; would you say that’s true?
P.H.: People have always accused me of that but I think I know what’s best for Helmet. Interscope really understood that and they basically left me alone to do my thing. They understood what Helmet was adding to the rock vocabulary and never got in the way.
J: You should know best, I mean they’re your songs right?
P.H.: Absolutely!
J: I’m getting the sense that recording this record was the most fun you’ve ever had recording.
P.H.: It was, and I hope to record a new record with the same guys next summer. I’ve learned to be patient. It used to be we’d record sixteen tracks, and I don’t need to do that anymore. If I can put ten good songs together, I’m happy. People got carried away with CDs and there was all this fat. The music I grew up with, like Led Zeppelin Four, Love Supreme by Coltrane or Reigning Blood by Slayer – they’re like thirty to forty-five minutes. Classic music that we all love. I have a masters degree in jazz guitar, a bachelors degree in classical guitar, and I can’t concentrate on music for seventy-two minutes.
J: I noticed you’ve embraced the pop sensibility.
P.H.: I’m essentially writing pop song structures. There is musical development, but you have cut to the chase. I started leaning that way on Aftertaste. I had been listening to a lot of Elvis Costello, in particular Get Happy and Armed Forces.
J: Many people wonder how you get the Page Hamilton sound.
P.H.: I remember working on a film years ago and someone said, “Man this is so weird; you’re playing my guitar and amp and yet it still sounds like you.” Billy Gibbons says it’s all in the hands and I think that’s true. I was determined since day one to have my own sound. I had to have my own thing.
J: I love the song Unsung, you didn’t play it the other night. I noticed someone yelling out song titles at the show and you would reply with “maybe” after suggestions, until he shouted Unsung then you said, “You have to tear this place apart to hear that one.” Do you not enjoy playing that song anymore?
P.H.: I love that song but you have to rotate songs. I mean you can ask a banker, do you like putting on a suit and tie everyday? I have the best job ever and if I play three thousand shows and play Unsung twenty-seven hundred of those shows I must still be into it, right?
J: In that case, you owe me one!
P.H.: (Laughs) Okay, right.
J: I went to Helmet.com and noticed some cool packaging for the new record.
P.H.: My manager also manages David Byrne and has always been very into creative packaging. We worked with Topspin to get it together; trying to find ways to make some money back. I entertained all the offers but ultimately I needed to get this record out. I still owe nine grand on my credit card but I got complete control.
J: I like that my CD came with a bonus disc of live stuff.
P.H.: Yeah I dig it. I encourage people to record my shows. I want to hear it! I want to hear the Boston show; I played the best guitar on the entire tour that night!
J: So the L.A. show wasn’t as good as the Boston show eh? Now you owe me two!
P.H.: (Laughs) Yeah right. The good news is I didn’t suck at all on this tour.
J: I know I have gone over my time limit so here it is, last question. Are you really a Portland Trailblazers fan?
P.H.: (Laughs) I was born in Portland Oregon so I have to be.
J: Who’s your favorite Blazer of all time? (Like I didn’t know)
P.H.: Clyde Drexler.
J: Yeah me too. Clyde Drexler… Clyde the Glide.
P.H.: He was awesome.
J: Agreed. Thanks for your time man.
P.H.: No Problem. Thank you!
So that’s it. Helmet week is over and I enjoyed the heck out it. Page Hamilton? Swell guy, non-conformist, genius guitarist, unassuming reluctant rock star. Hopefully there is a new record next year and I can make this an annual event! Thanks for joining me on my trek through the post apocalyptic cannibalistic aural soundscapes that is Helmet. We survived and we are better rock and rollers for it.
J.S.L.