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  • Houston Press

    The Passion of Victoria Osteen

    A flight attendant's smackdown with the wife of mega-preacher Joel Osteen inspires a whole new set of commandments.

    By Rich Connelly

  • City Pages

    Your Field Guide to the RNC

    Today Denver, tomorrow the Twin Cities.

    By Matt Snyders and Bradley Campbell

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    Star Power

    A country musician rescues Waylon Jennings' tour bus from the scrap heap.

    By C.J. Janovy

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    Serrano's Second Movement

    The provocateur who brought you "Piss Christ" pinches off a new concept.

    By Lynn Yaeger

Where for Art Thou, Crash Romeo?

By Ryan Foley

Published on January 17, 2008

Crash Romeo work on their power chords as often as they work on their action-figure poses. Guitar-driven verses come with enough space to allow ax-slinger Steve Anderson the time to point to audience acolytes, with pick nestled between thumb and middle finger; the pauses before choruses are protracted, meaning vocalist Travis Weber can bite his lip and do his best Jesus Christ pose. Crash Romeo are airtight and maddeningly anthemic, with the majority of their power punk debut, Minutes to Miles, striving for unattainable sonic heights. But when you hail from the land of oil refineries and the Toxic Avenger (New Jersey), that’s what you do: You strive. Despite all the stage-lit posturing, Crash Romeo are serious. So serious, in fact, they named a song “Serious.” Over amphetamine-charged chord play, Weber warns in a gelding-like voice: “This just got serious/I’m tired, I’m giving up.” The title track evokes a similar silly gravitas: “Casualties and memories have made us who we are/Don’t leave this story untold anymore.” Cue Weber’s best emo pose.
Mon., Jan. 21, 7:30 p.m., 2008



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