Pairs (Shanghai 上海)

Pairs are basically a drummer, Xiao Zhong and a guitarist, F. They are from two different places and hemispheres of the Earth.
Pairs basically don’t make theirs or any kind of music particularly well. Pretty much like people who have lost their talent. So it’s cool if you hate them.
Pairs are basically a misspelling on Pairs and/or Pears. They’ve had nothing to do with these two objects.
Pairs basically like to take their broadway smash music to various death traps. Both North and South and survived to tell the tale to deaf ears.
Pairs basically don’t make the introduction or write up thing quite often, so they understand if this makes you pray for your own end.
But it’s always a please to meet you, once you get through this bullshit.
http://www.douban.com/artist/pairs/

One sentence describing our sound:
Awful, awful music created by people who should have listened to their parents.

Laura Palmer
Laura Palmer was formed in 2008 Members:

  Chin Ho/ Bass

  Ray     / Guitar,Vocal

  Azia   /  keyboard

  Kai Ho /    Drum
 

A.O.S.

A.O.S. a laptop musician who tries to do as much inside the box as possible. Shifting his focus back and forth between playing instruments and manipulating sound, some of his works may not have strong melody lines or complex chord progressions.Having the urge to make violent music after some discussions on the essence of “violence” with his fellows. But instead of making brutal heavy sound, he tried to do it subtly, by, for instance, having one note ripping another note apart. He then realized himself being the origin of evil dictating the whole note-slaughtering extravaganza. A huge traumatic experience, now falling into the state of OCD and getting no where.
http://www.myspace.com/amoebaonstage

StoneMind

Stonemind started off the evening with old-school classic rock. They started in 2009 and may be I shouldn’t have read their bios because after that I thought they befit the model of young band that didn’t move much. This was, of course, not a bad thing, because we all grow in time. They were rather tight and, most importantly, they had got very good sing-along chorus for everyone who would quick become fans. In particular, watch out for their punch-through vocal. With such nice melody and a frontman that commands a great voice, this band is off to a good start. Same for the night.
Bun Ng

Darkness Pool

Darkness Pool brought out their trademark high speed metal while their lead vocal, John, literally peaked the sound system. This band was a true veteran as you could see all five members doing their parts in absolute comfort. My mate Erik actually exclaimed that the guitarist was smiling while playing complex guitar solos. But that’s beside the point. This was the third time Darkness Pool played The Underground, although I have this strong intuition that they played more (last time they also shared the stage with Gong Wu, my research department told me). Understandably, you need to appreciate heavy music to like to listen to them. But the reason why I said something this stupid is because they were delivering mature metal songs (they explained their style is Thrash Metal), excellent musicianship, impressive stage presence (plenty of those that evening, though), without having to also dressed up in metal gear!
Bun Ng

Gong Wu

Gong Wu! Well, Gong Wu! Typically, they are a heavily gigging band. But recently, they are going through a change of guitarist, and a change of voice (as if vocal Li Xu is growing out of puberty). In reality, Gong Wu is in need of more practice for new guitarist Felix Hung as well as a less heavy singing style for Xu. They played a comfortable set of seven songs while Xu was leading the audience to interact with him easily (plenty of interaction that night, too). To those of us who are familiar with their songs (and it’s rather easy because their songs are all available on their web site for free download), we heard new arrangement for a few songs, most significantly Sugar. I would have no idea if it was the acoustic, because Gavin Ho’s bass was not prominent enough, but, still, Xu’s shirt was off, as usual. No disappointment there.
Bun Ng

Wu So Lui (鬍鬚女)

Wu So Lui is such an exception he (she?) had to break Underground rules. On the home page of this very web site, it is said that “THE UNDERGROUND was created in April 2004 as a result of the dearth of live music venues in Hong Kong, and to provide a showcase for the unsigned talent in Hong Kong to strut their original music.” Wu So Lui is such an exception that he has no original music. Not only that, he also does not have live music, only live singing. And you’d probably think that as soon as the music started, the organizer would have kicked him out (not that she could actually kick him at all). Not only that, I was asked by different people throughout the show, prior to his (her?) hitting the stage whether I have seen him (I have not) and to treat his show more like entertainment. So, to sum it up, Wu So Lui is a karaoke comedy performance of his very own style of Cantocore, which is hardcoredized cantopop. Now it’s much more exciting than it sounded, and Wu So Lui would definitely treat you to lots of headbanging and Cantonese interaction (apparently English-speaking folks need not apply) even though he’s clearly (both visually and vocally) a Westerner. Pause. If I write any longer everyone else would probably think I’m serving favouritism. But with no run-of-the-mill background music, you could tell his hardcore music is really quite good. And, really, it begs the question, when is he going to record all these mutant cover songs?
Bun Ng

HardPack

Hardpack were going to play two new songs. However, because two members were unavailable that night, they had to switch to playing a short set of four songs. Based on that criteria, I would be unable to comment because even if they played lousy (they did not) I would have to excuse them. But, of course, Hardpack being Hardpack continued to be the greatest pop punk band in Hong Kong (currently being challenged by another pop punk band who had recently released a CD). In this instance, we saw new guitarist Adam (ex-Dear Jane) fitting the role rather well, but did not punch through any surprises. And, as usual, Joseph, and, in particular, drummer Kevin was able to just set the stage on fire. The crowd wanted more, but politely let them go after they decline to honour the “one more”.
Bun Ng

1. Sushi Robot (9.30 p.m.)

I am half drunk as I walk in Rockschool. Things just happen to start on time, so I make myself comfortable on a couch, listening to Griff and Claudio starting with a 4/4 groove, which penetrates from the stage to the loo, where I have been in for a while. They perform with interesting videotage - visuals flipping about and definitely catching my attention. I walked closer to see Griff’s setup. What’s on is Ableton on Macbook Pro with a compatible controller, and my favourite Edirol EA-101 acting as a monitor and master output for the sounds he makes. Simple yet all-round setup which all electronica apprentices should consider acquiring. I love the way Claudio counts in, with something like a trademark hand gesture of all electronica/DJ people like ST, my good friend. A non-stop set, to me, is mesmerising. I imagine myself soaking in such a comfortable vibe in a chilling lounge. I suppose the girls in the venue feel the same too, since I saw some of them start to close their eyes and twist with their hands waving about.
Erik Piece

2. Logo (10.15 p.m.)

It is wet, soaking wet, in terms of the reverberation of all instruments through the whole venue, even the drumsticks hitting one another can be heard with much reverb. The riff of “Love Hotel”, my personal favourite, reminds me of the 70’s UK detective/spy dramas like “The Zoo Gang” (The Wings). There is also a sense of vintage bassline like the retro-rock bands like The Coral. Maybe it is because of the fact that James need to sing, the drumming is stable yet never boring, since a drumming singer is already something interesting to see. There are few of them, to the best of my knowledge, including Don, Phil, Ringo and Roger. The pink blazer of Chris adds up the charm to the band. The riffs and tone of the guitar with the spring reverberation undoubtedly draw me to the dancing floor with the Shadows. So there I go, stop writing and have a good time with Logo.

Erik Piece

3. Thomas Baz (11.00 p.m.)

Thomas is helping Prins with the stage setup, and also contributes his precious voice with an acoustic guitar. If I have to compare - I really must - Thomas is more organic and earthy. Folk guitarists have a habit of tuning his guitar one key down - drop D - for the style like Irish folk etc. Thomas is of no exception; that is why he further drags me into the songs with nostalgia. I do not make any effort to figure out the lyrics, and just let the songs be. The slow-motion visual of the shuttle takeoff and birds flying by makes me think of those Discovery Channel video clips on Youtube. As a transition to the headline set, Thomas is a good choice; as a folk lover, I definitely will check his tunes on myspace again.
Erik Piece

Winner of our TWO tickets to see Slash! on 29 July 2010:
 

4. Prins Nitram (11.45 p.m.)

Here comes The Prins! But where is his golden suit? He puts on a vest, orders his “pianist” to play the intro, and lets the “bassist” join in when the “pianist” goes to the drums. All the characters in the screen are the Prins, including the one strumming his guitar frantically on the stage. Who is the real Prins, Chris B? All of them come to ONE big genius, who can play so many instruments: piano, guitar, bass, drums, sax and even blues harp! One cannot forget to mention his singing - I am wondering why his vocal can be so in sync with the backing track. “I can’t hear my band; please put my back track on!”. At the end of his band set, he “kills” his bandmates! Why? Why? Because he wants a more interesting set! Finally he puts his golden suit and a cap on (My friend now will not ask for a refund) and sings a couple more songs, including the encore song “Bomty Bomty Happy”. It definitely makes everybody happy, and if I let loose myself and have a few more drinks because of the song, I may not even be able to go home. Incredible Prins! Good night!
Erik Piece

photos © Copyright 2010 by ANGUS LEUNG

poster by ANGUS LEUNG

Space Edge:

Space Edge started the night off for us with a funky riff that got the crowd going. And then the vocals kicked in; and I must say, that is one of the things from this band that really stood out to me. The lead singer’s voice reminded me of Elvis Presley’s, but with a more modern and heavier twist to it. It had a distinct tone to it and he had a unique vibrato. I also noticed that their drummer was a girl, which is very rare nowadays so more power to you!

Their style of music was very old school 90’s pop and you can’t help but bounce to it. It’s music that would play on a summer road trip with all your best buds. On their third song, there was a tiny  ‘oops’ moment when the lead singer (who also plays the guitar) found himself with an unplugged guitar! With this show being their first, they handled this particularly well as they kept on singing and moved on. They seemed a tad bit nervous during their set, but that’s almost expected when it’s your first show ever. They gave the crowd a good show and with more experience and doing more shows together, I’m sure they’ll have many great shows ahead of them.
Kyra Santiago

Bank Job

This is definitely a group of very, very talented musicians. As they were doing their sound check, each one was busting out different riffs and tunes and I told myself “this is going to be good”. And it was! They are unique in more ways than one. To start off with, they definitely had that ‘mysterious’ factor with the guitarist and lead singer in shades (and mind you, it was 11:00 pm and we were indoors). They weren’t afraid of being themselves; being different, which I respect very much.

The flyer was not lying when it categorized their music as “funky”. The singer had a little tambourine that he played to the beat and the saxophonist (yes, they had a saxophonist. how cool is that?!) was definitely a bonus treat for the audience when he churned out one solo after another. What I loved about this band was that each member was given the chance to shine and show off a little, and it was all good taste and not over-the-top at all. They had so much stage presence, and knew how to have a good time.

Their sixth song entitled “Down in Mong Kok” reminded me of a hoe down. It was funky, and the crowd got into it by dancing and bouncing around. During their next song, I clearly remember this one part where they all start playing their own thing (at different rhythms) but they still managed to stay in time! That was impressive. They were cheered on when they asked if they could play another song, and even after they finished the crowd was still asking for more! They were great musically and technically speaking, and a band that I would definitely come back to see.
Kyra Santiago

The David Bowie Knives

The David Bowie Knives know how to please a crowd. Throughout their set, they made references to Hong Kong, which the crowd loved. The lead singer had a unique style of singing and has an accent when he sings. For a three piece band, they sounded very ‘full’ and it felt like there were more than just three people on stage. They had great stage presence and were obviously very comfortable on stage and with the audience. During their second song, they got the audience clapping so points for audience participation!

They are pretty much the definition of rock and roll with their in-your-face lyrics and big movements on stage. I loved how brutally honest they were with the words in their songs. Towards the middle of their set, the crowd was getting really into it and it felt like one big party. Their fifth song entitled Money was my favorite. They said it was their more ‘mellow number’ but it was one that stood out. I found myself smiling half way through because of the lyrics and how true they were!

The David Bowie Knives are a blend of Nirvana, Jet and Iggy Pop and The Stooges. The introduction of their song ‘Thighs” reminded me of Nirvana’s “Come As You Are”, which is a good thing as Nirvana is probably as good as it gets.

This night was not like any other as it was the lead singer’s birthday and he was serenaded with a happy birthday song from the audience (or 50 Nigella’s, either way works) and presented with two mouth-watering cakes. The David Bowie Knives were asked to play one more song to end their set and they killed it. They are definitely not afraid to go all out and they are not afraid to sing about anything and everything.
Kyra Santiago

Kisses From My Grandpa

For their first time playing with The Underground, I must say these guys blew me away with their music. They were the first instrumental band to play at the Underground and each one of them is such a talented musician. During their sound check, they didn’t give much of their talent away. The first thing I noticed about them was the lead guitarist’s pedal board. I am not joking when I say it was HUGE; practically the size of my suitcase (width wise).

Their first song had a very eerie and dark sound to it. The way the riffs flowed and blended together with the different effects was very cool. And it was really interesting to see them make that kind of death metal/progressive rock/post rock kind of music on stage, with no backing tracks whatsoever. The way they transitioned from a more mellow sound to a heavier metal sound within songs was very interesting and kept the audience in awe. Their synchronized head banging and crowd interaction was entertaining and made their performance enjoyable to watch.

Between their second and third song, their drummer came up and introduced the band. He showed the bands humorous side and interacted with the crowd well. Their melodic riffs and insane guitar solos kept me glued to them throughout their set. They reminded me of Dream Theatre and Explosions in the Sky, a mixture of progressive rock and post rock.  They are such a talented group that I can only expect more AWESOME from them in the future.
Kyra Santiago

ToNick

Tonick ended the night with a great set, great humour, and great music. When I approached their drummer about their set list, he simply told me they did not have one. They are such a carefree and energetic group and that makes them incredibly fun to watch. Their first song entitled “What A Sunny Day” set the mood for the rest of their set. They got the crowd involved by getting them to clap and wave their arms back and forth. Their music automatically sets you in a good mood with their catchy melody’s and guitar riffs (”happy music” as I like to call it). They reminded me of Good Charlotte and Blink 182. Their fourth song was the one that stood out to me the most as they went from punk to a reggae beat.

Most of their set was in Cantonese, and although I wasn’t able to understand 90% of what they were saying, I found myself laughing and bobbing my head to their music along with the crowd. Between songs they would briefly explain the theme of their songs, and they seemed to be talking about very relatable issues like relationships and smoking in bars. They have such great stage presence that the language barrier wasn’t even an issue. ToNick was a great end to a great night.
Kyra Santiago

photos © Copyright 2010 by ANGUS LEUNG

poster by ANGUS LEUNG

Heather

Setlist:

1.      Faded

2.      Clown Face

3.      One Way Ticket

4.      Falling

5.      Umbrella (Rihanna cover)

6.      We’re Not Finished

The girl with the biggest workload that night (having had some major multi-tasking to do, with the absence of Chris B that night) was also the opening act to the show. Now, it must be confessed that the U-Team was a bit worried about attendance earlier that night, what with the rain and Music Matters in LKF; but these worries were significantly alleviated thanks to the massive posse that Heather summoned over.

With her audience ready and waiting, she gave us a little insight to her set - it was arranged to go from the most depressing, to the happiest song. This spectrum of emotions was quite accurate in describing the progression of the songs - they were mostly very simply composed, drilling down to the bedrock of song-writing with just chords and lyrics. Now, despite the lack of accompaniment, she did not miss them. Her lyrics were quite engaging, taking on a pleasant conversational tone. Her main strength is her voice, which while being very sweet, never crossed the line to being too saccharine - it’s an earnest croon that she sings with, and it’s really nice to listen to. Her comfort on stage is also appreciable - you can see that she likes being there - and combine that with her ability to keep the crowd’s attention (bit of a given considering its composition, but still) and you have a very fun performance.

Another thing about her set was that despite her description, the moods of the songs were subtle. Clown Face sounded sweet on the surface, but had a detectable undertone of bitterness resolved, and a toe-tapping rhythm. One Way Ticket was a four year-old song, with a rousing chord pattern, in which she made some clever vocal and guitar modulation choices, allowing her voice to really flower. Her cover of Umbrella was very interesting to hear in her more laidback style - took a little getting used to, but it was really fun. Plus, it didn’t hurt to have the audience being able to sing along. We’re Not Finished was a new song, with lyrics being spontaneously generated at points.  Overall, she sounded full and rounded throughout, and the stage never seemed vacant, and that’s a real credit to her.
– Shashwati

9 Maps

Setlist:

1.      Blame

2.      White and Gold

3.      The Harder Times

4.      4 Walls

5.      Gatekeeper

6.      Traces in Hand

Both girls came on stage, with borrowed stuff from Heather and Dark Secret, as they soon informed us. They had a genial demeanour, and their set had a wonderful disjointedness to it - the kind that threatens to fall apart, but doesn’t, while simultaneously giving a sense of palpable excitement. Their songs rest on their sometimes intricate, well-executed vocal harmonies, which do wonders for the songs’ feel and texture. They, again, have voice qualities different enough to sing the sea-against-the-sky-horizon harmonies. Their songs were simple, with melodies that were moving in their simplicity, and clever lyrical arrangements. The instrumentation was used largely as ornamentation for the songs, and was quite effective mood-wise.

Blame began with a simple arpeggiated intro, with a sorrowful feel and undulating vocal melody. White and Gold saw a lot of use of delay, which made the few notes strummed feel like many more, and providing some trepidation; a feeling as if something would happen at any moment. 4 Walls saw Sherin run off to get what I think was a lyric sheet, and we were told that the song was about a fanciful situation in jail, soon followed by a powerful collision of verse and instrument in the chorus. Gatekeeper was a really, really beautiful song that had possibly their best harmonies in it. The chorus had catchy lyrics, while sounding completely genuine; the overall effect would have had anyone holding their breath during the song. Just before Traces in Hand, we saw some more of that disjointedness in the form of a minor argument between the girls, which carried into the song as well, with the barrage of notes on bass and guitar creating instant atmosphere. Funnily enough, after all that harmonic loveliness, they finished off their set with a snappy “that’s it!”.
– Shashwati

Reign Lee

Setlist:

1.      Built to Last

2.      Angels in the Dirt

3.      Sleeper Cars

4.      I Bleed

5.      Don’t Close Your Eyes

6.      Helena

There were confessions of girl-crushes and serious fandom expressed to me about Reign before her set. Dressed with flair as usual, there were also a number of comments about how enviable her coat with long tails was. She was accompanied in person by Thelma with percussion on a box, and some pre-recorded backing tracks. This was a clever move, as it really filled out the tiny gap left by her rich, deep voice and angsty guitarwork. Her lyrics are meaty and flowing, really making you think. There’s an attitude to her songs, but not in an obnoxious way - rather, it makes the songs edgy. And this isn’t the manufactured, customary edge that comes with heavily distorted and overdriven guitars; it’s derived from a genuine depth, and even darkness, to the songs overall. To add to all her musical credentials, she even killed a roach just before starting her set (and chided Greg)!

More than the other performers that night, she sang to complement her guitarwork - this was highlighted in Angels in the Dirt where her pithy lyrics tussled with the guitars to fill listening ears. It was also of note that she always sings in her full voice, especially in places that many female singers would have opted for a falsetto - just my opinion, but this approach makes the song more substantial. I Bleed was a new addition to her repertoire; a song that rests on the building-up process, it was added to significantly by the recorded piano and drumrolls. The unyielding yet somehow floating Don’t Close Your Eyes used a very classic chord pattern, made unique by their use in the song. Helena was the ruminating closer, with a sparse yet opulent soundscape, where the box-percussion flourished, ending her set on a pensive, somewhat atonal note.
– Shashwati

Dark Secret

Setlist:

1.      Intro

2.      Imaginary

3.      Dancer in the Dark

4.      Wild Rose Growing Inside Me

5.      Angel of Grief

6.      My Last Breath

7.      Let the Flames Begin

That night’s guests from China were the last to perform - all dressed in black outfits that matched, their sound was a punchy one, mainly provided for by the guitar. Their set was rather different from the previous acts’, it being electric (for one), and sounding significantly more like bands from the Noughties. They mostly had a deep, somewhat menacing feel to them, with high-pitched vocals, and simple, short, yet emotive, runs on the keys. The singer overused the high part of her vocal range a bit, though - I would’ve liked to hear the variety added to the songs by using some of her lower range as well. She also took some brave chances with some very high notes indeed; some of which worked, but others would’ve been more suited to a deeper voice. Other than this small gripe, I had no more to complain about in their set, which was quite enjoyable; and I’m certain the (softly) headbanging, toe-tapping crowd would agree.

The guitar was heavy and gritty throughout, perhaps nowhere more so than in Imaginary, with its grinding quality and generously layered vocals. Dancer in the Dark showed a more 80s side to them, especially with the hair-metal solo. Angel of Grief was a mix of hard rock and metal that could’ve been composed by the lostprophets, and featured some fairly difficult vocal bits, carried off well by the singer. Their stage presence was a bit detached though (with the possible exception of the guitarist), and if they just fixed this, their songs’ delivery would improve tenfold. Having said that, they were in a different city, playing to an unfamiliar crowd, so they deserve the benefit of the doubt. Their closer was possibly their best song, with some impressive technical displays on all the instruments, again, with more of an 80s vibe. As its last strains died down, the booming applause that greeted them was confirmation that they had not failed to impress, and most importantly, entertain.

And so, the girls drifted off into the crowd, and I’m certain they realised that despite the unfavourable weather, they had definitely won the night.
– Shashwati

photos © Copyright 2010 by ANGUS LEUNG

poster by ANGUS LEUNG

 Milkteeth

Setlist:

1.      Shea Heights

2.      Hobbes

3.      I’ve Made Up My Mind

4.      Still Don’t Know

5.      Statue Song

6.      Stay Home

7.      Play Fair

8.      Funny Games

9.      Edging

The night began with Milkteeth’s singer Joey having to be scouted for, somewhat, as they took the stage for what was apparently their 3^rd show this week, which was the reason for their “gettin’ a little tired.”  Any fatigue, however, didn’t make its way into the music, because their set sounded light and fresh, just the way folk-influenced music is supposed to sound. Something common to most songs was their somewhat nondescript (not in a bad way) openings - you’d have to listen carefully for the guitars, which began with no indication, soon to be counterpointed by bursts of sweet violin. It topped off their songs’ inherent sweetness and flowing nature with some unpredictable charm.

The percussion was frantic yet unobtrusive on most songs, and provided a rousing feeling to Shea Heights, with its hooky vocals and call-response vocals. The vocals were intriguing - they were nasal in tone, but the attitude was more punky, which cut the syrupy sound just right. The lyrics were largely perfectly metered, as in Hobbes (which, we were informed, was written about the comic-book character and not the philosopher), which worked well with their simple melodies. The breezy I’ve Made Up My Mind saw exchanging of melodies, between vocals and violin, but they could afford to speed it up a bit, I think. Statue Song saw an escalation into double time, reminding me somewhat of semi-classical (Indian) music played on guitars (also a testament to the complexity of rhythm that folk calls for). It wasn’t all feel-good songs, though - Stay Home and Funny Games provided some appropriate weight to their set, being more brooding songs.  Perhaps their most complete song, though, was Edging - the song had a lot of depth to its tune, and it epitomised their sound - violin shooting through a wall of guitar, while the percussion holds up the debris, wallpapered by edgy vocals. The almost sociopathic message of leaving your parents was well-disguised by the twisting violin, and the song ended as abruptly as it began, closing their set on a high.

Personally, I’d like to hear these guys recorded - it’d be interesting to note how they use their sound in the studio. But, that’s for another time…
– Shashwati

Cicadas

Setlist:

1.      Shine a Light

2.      Sleepers Awake

3.      Rollercoaster Ride

4.      Hide My Dreams

5.      Bacchus

6.      Shankill Brothers (Decemberists cover)

7.      Soldier Jane

8.      Caliban

The somewhat daunting-looking Cicadas took the stage next, just as the last strains of Jilted John’s epic Gordon is a Moron died out. They began right away with the bittersweet Shine a Light (which you’d know is a newer song, if you’ve been doing your Underground reading), which opened with its mild, lullaby-esque calm, and moved into a bubbling, swirling, heavy-ass acoustic portion. The vocal duties were exchanged regularly between singer-guitarists Marcus and Kieran. This worked well, as they have the classic contrasting voices - Marcus’ deep, weighty voice set against Kieran’s higher, earthier pipes - the archetypal sea-against-the-sky-horizon vocals (as I like to call them) , allowing them to play off each other in terms of feel and texture. This was, happily, something they use in various settings across their songs. The sweet soulfulness of the harmonica added a lot of feeling and did wonders for creating atmosphere, which they ably changed from song to song.

Sleepers Awake began almost like Ballroom Blitz, but morphed into a Dylan-esque number with some cool drum arrangements.  One of my personal favourites was Rollercoaster Ride, with its cynical take on various aspects of life suitably affirmed in the chord progression, which left you with a feeling of being unresolved and doubtful, and further heightened by the harmy. They certainly were very popular with the crowd, with people all around tapping feet and moving in time to the songs.  This went for many of their songs, but Bacchus in particular could easily have been a cool soundtrack to a Lee Marvin film, as it strayed into cowboy territory, while being suitably intense to live up to its name (Bacchus being the Roman god of wine).  The Decemberists’ cover had people singing along, as did the long, winding bassline that began Caliban. It was this epic-feeling song that ended their set, re-conjuring images of westerns, with requisite menace, (but without the annoying whistling), culminating in resounding applause and even whistles from the crowd, as they moved off stage.
– Shashwati

Brothers of Roadkill

Setlist:

1.      I Believe

2.      There’s a Time

3.      Tits

4.      This is Me

5.      If

6.      Not Meant to Be

7.      Sweet Child of Mine (partial Guns ‘n’ Roses cover)

8.      Hanging Around the Clouds

9.      Questions & Doubts

Think of a rock band with a piano for a melodic lead instrument instead of a guitar, having a singer with an excellent voice, and some bits of funk and old rock ‘n’ roll, among many other nuances, thrown in by the rhythm section. This very crudely describes what the Brothers of Roadkill sound like. Resting on singer Adrian’s remarkable vocals, supported capably by a highly versatile drummer and very smooth bassist, their songs range from Bo Diddley-esque little ditties to ballads, making their set a very rounded one. There’s tonnes of soul in their sound, and you don’t miss a guitar in the mix because their songs just aren’t composed that way. The eccentricity added by a set of keys is something unique to their sound, and is very fun to listen to. Indeed, it was so much fun that they had surprise help from soundman Zane coming in with the tambourine and bells at multiple times.

They began their set with the dramatic, eerie I Believe, atmospheric and ballad-like, with its sadness being enhanced by the military-style drums. Some songs had the bass playing bits that would normally have been played on guitar, like Not Meant to Be, giving the whole thing a fresh twist. A highlight of their set was their reworking of GnR’s Sweet Child of Mine - it used a couple of the verses and the main riff (played on bass, of course) but they added their own feel to it, replete with their own lyrics and melody, gradually moving into the original song. Everything they did was with tremendous enthusiasm, which was thoroughly reciprocated by the crowd, who even coaxed them into doing an encore. A final love song graced us with the gentlest of basslines, which dissolved away in a couple of minutes to end their set.
– Shashwati

Poubelle International

Setlist:

1.      Ambassador

2.      The Chase

3.      The Red Light

4.      The Sell Out

5.      I.T.B.N.B.

6.      The Battle of Trafalgar Square

7.      The Suits

A late replacement for tDBK, Poubelle certainly added much merrymaking to the night, as expected. In their 1-2-3 tees, and fresh after an afternoon playing at the H&M store, these guys did not miss a beat when it came to entertaining. Their lone guitar was plenty to assault the ears of the crowd with, its sound being reinforced by a Tube Screamer (among others), making it sound just heavenly. With their clever and catchy adaptation of the Johnny Ramone school of guitar-playing to their more quirky Noughties rock tendencies, theirs is a deceptively simple sound. In terms of stage presence, these guys don’t even have to try - they exude energy at every moment through their set and are always an interesting to watch playing. Clearly, everyone present agreed with me, because the revellers were really living up to that title during their set (it was suddenly difficult to take notes, so engrossed were people in their dancing).

The set began to the petulant sounds of Ambassador, with singer Ben’s yelled vocals a little reminiscent of Eugene Hutz from Gogol Bordello (wait a sec - he has the same moustache too!) The bass was quite immense throughout, and more than supported the rollicking drumwork. The Red Light was a shuffling, dancy number with a teasing melody and spoken word bits too, while The Sell Out had a hook in every line and very hummable vocals (and a video released later the next week too). They were joined by Zane on sax for I.T.B.N.B., and the song accommodated his smooth stylings in its lively folds excellently. The following songs were as insolent and full of attitude as any others, especially The Battle…,which features something of a lyrical tantrum. But, they don’t have a rep for being a terrific live act for nothing, now, do they? They only thing that surprised me was that there weren’t more people singing along- that’d be really fun to see (not to mention only fair, seeing the amount of energy and effort these guys put into performing).
– Shashwati

Lemon Baby

Setlist:

1.      Sunshine

2.      Bicycle

3.      Dark Clouds

4.      Everything

5.      Bad Boy

By this time the place was considerably drained in Poubelle’s aftermath; but those remaining were in various states of pleasant inebriation, which explained the catcalls and hoots that greeted her (…yeah, right.) They may have been more suited to performing in the order originally planned, but it was not to be. Their set was composed of a number of pop-rock songs, with the backing band throwing in signs of a bunch of other influences as well. Singer Victoria did her best to take control of the stage, but it must be said, her singing was far from the quality of the guitars, which deflated her personal act a little. Still, full marks to her for her gusto. There were a lot of ska-derived feel to the songs, especially that of Sunshine and Dark Clouds. The vocals were bouncy and energetic, though they could use a bit more force to them. Everything was the vocal high-point, with the song’s range and milder feel being more appropriate for Victoria’s voice, this being highlighted in the vocal patterns towards the end of the song. There were even shades of Shakira that could be heard on Bad Boy - this was one number that the audience got into as well, bouncing along with the beat. As a nice change of pace, its solo had more of a metal feel, and the vocals worked well with the smooth bassline as well. Eventually, in a flourish of guitar, drums, voice and dance, the set ended to ample cheering - though I think they would’ve gotten more had they come on before Poubelle. Still, they added more fun to what was an immensely enjoyable night, and it would be a while before fatigue (and possible hangovers) would take effect, so it worked out to be pretty much all good.
– Shashwati

photos © Copyright 2010 by ANGUS LEUNG

poster by ANGUS LEUNG

In Love & Pain!

Setlist:

1.      21^st Century Exodus

2.      Our Lives in Digitalism

3.      On the Road / Into the Wild

4.      Way to Go

5.      Darkest Side

6.      Warning

Having to hurriedly fill in Gong Wu’s shoes at the 11^th hour was a task that IL&P was well up to. Taking the stage with what is, inevitably, their infectious energy, they made the place seem a lot fuller than it was at the time. Their set began with the anthemic 21^st Century Exodus, played at deafening levels of amplitude. Their set was much like an excellently oiled machine, with nearly every song segueing into the other, and the band’s vigour being completely taut throughout. The vocals were largely hammed, but that’s not a problem for them, as their songs don’t really rely on them for a melodic driving force. Their unique formula of having a rota of singers on every song really gives them an edge in terms of presentation; it’s very fun to see them exchange singing duties by moving around between mikes on stage (with the exception of drummer Marvin, of course).

One of the standout features of their songs is the fact that despite being loud and metal-esque in many ways, their sound comfortably ambles into much varied territory by preserving many nuances that are often given up by bands on the heavier end of the spectrum. A prime example of this was On the Road / Into the Wild (a song also on Compilation CD#3) with its brooding, melodic portions blended with the hard-hitting rhythm bits. Way to Go has a massive hook in its chorus, as do many of their songs because of the chorused style of vocals. They truly saved the best  for last, as Warning had metal opening, with a mix of modern and classic rock, with each manifested in spurts, giving the song a very cool disjointedness. Their set finished on the same energy level it began; it was clear that the guys were having immense fun, and at the end of the day, that’s what matters most in the pursuit of good music, isn’t it?
– Shashwati

McKenzie Eddy (USA)

Setlist:

1.      Whisky Song

2.      Close My Eyes

3.      Fuck Reality (Let Me Let You Go)

Chris B really brought her two attitude-offspring (Screw, and You) to the show that day, with not one but two acts that don’t quite fit into the mould that the Underground usually uses. But, as no wise man ever said, even the sweetest cakes have salt in them. And just like that meaningless analogy, that night’s guest from the States, McKenzie Eddy’s short but sweet set allowed everyone a change of pace. With a (very impressive) band assembled just a couple of days before, her set was no less enjoyable despite not belonging to any ostensible “heavy” genre. She does have a staggeringly beautiful voice, though, which was the perfect gild for her backing band’s able soft rock stylings. With immense control and deceptively melancholic melodies, her songs were catchy and clearly heartfelt, and her presence calm yet firm. Close My Eyes featured a nearly electronic, elastic riff, while Fuck Reality had a blisteringly impressive solo in it, topped off with intensely hummable lyrics. There were even some funk slap bits cleverly thrown in by the bassist. The best thing that could be said about the set, though, was that it wasn’t one of those times when the audience smiles and applauds politely because there’s nothing else to do; McKenzie Eddy really won them over, and by the time she was clearing off, it was clear that the significant applause was genuine.
–Shashwati

Wo So Lui 鬍鬚女

Setlist:

1.      My Pride

2.      Love Trap

3.      Let’s Get Wet

4.      Love Tutorial

Before I say anything about this act, let me specify that very little in the following portions of text will be about music.

Dawn introduced him, but she really had to sweat the nomenclature; plenty of arguments and smart-assed comments mixed with the “intro”, about gender. The “Bearded Lady” had to be coaxed out of his backstage hiding-place (I know…just get used to the rapidly switching gender references) by the audience chanting his name. Out he came in floral, strapless garb that the pepperpots on Python would have been proud of, and proceeded to take the stage in classic Susan Boyle stance. When the first track began to play, a sweet American Idol-esque song began; but the audience was onto him, as chuckles and anticipating banter abounded. Then, as the music got heavier and moved into hardcore territory, the headbanging began, the vocals were spit out, and the audience was rolling with laughter mixed with feeble attempts at headbanging, led by him (which most people were too busy to do, for filming the thing going on onstage, anyhow).

Love Trap saw the act escalate, with his partner in crime coming on, and an action-comedy-pantomime-type-thing followed, replete with fake punching, mean stares, pelvic thrusts, and exaggerated 3 Stooges style slapstick. His control of the crowd was remarkable - they were certainly all on …uh… his side, and went along with every beat of every joke that I’m guessing he cracked (I was not privy to the meaning, not speaking Cantonese myself, but it sure seemed like it was funny). He moved between smarmy pop and pissed-off metal-style personas with almost schizophrenic ease. His 3 ponytails were clearly free spirits as well; each moved of its own accord. The thing about the act is, though, it would be MUCH less enjoyable if he wasn’t a good singer, much like Tenacious D. I’ve never seen Jayne (formerly Wayne) County play live (just videos), but I imagine this was a lot like that. However, to add a legitimate musical side to his show, he really should get a band to back him - he’s certainly got the pipes for it. The massive roar that saw him off left no doubt that he had captured the audience’s hearts.
– Shashwati

Defiant Scum

Setlist:

1.      Every Day is the Same

2.      Fashion Whores

3.      No Gods

4.      Defiance

5.      Bombed

6.      Tortured Logic

7.      I Don’t Care (Antelope cover)

8.      Pirates of Cheung Chau

9.      DIY

10.  Bullshit Tycoon

11.  Lies

12.  Punk Rock Rickshaw

13.  [Untitled]

14.  Someone’s Gonna Die (Blitz cover)

Moving on from a gender-bending, essentially unmusical act, Defiant Scum was a return to the hard-hitting, gritty streets of punk/hardcore that are so rare here in HK. They began with a new song, Every Day is the Same, heralded by crashing, machine-gunned drums and angry, yelled vocals. Their presence was as loud as the music, because they certainly couldn’t be ignored if you were anywhere in the vicinity of the stage. In the honoured tradition of punk music, the songs were really short, and if you weren’t paying attention, you’d probably miss huge chunks. They reminded me a lot of the Germs, with their mix of an irreverent attitude, the punky hooks, balanced out with the skilled, more metal-esque solos. The frontline of revellers was visually populated mostly by Wu So Lui, continuing with the ponytail-banging (only, off the stage, this time). Defiance marked by a very cool method of short yet noodling riffs, and a pogo-worthy rhythm. In what was to prove a continuing theme that night, one cymbal repeatedly fell off; but, they didn’t let it impinge on their show.

By the time I Don’t Care came around, further technical difficulties (this time supplied by the guitar) forced the guitarist to sit down, and play the rest of the set walking the fine line between nursing and bashing the strings (kudos to him for being able to do that). Pirates of Cheung Chau was “down to a bit of a jig”, and was terrific fun with its nursery-rhyme melody, and also had a really fun audience-singing-along bit. There was clever use of lyrics in Lies, using the word where “la-la”s would usually have been used, followed by the catchy Punk Rock Rickshaw, almost reminiscent of the Ramones’ best tunes. A tip of the hat was made to the grindcore genre, in the form of an untitled riffy-song thingy, followed by the cover of a closer, with an increase in speed towards the end (which I always love). Throughout, the audience was rocking right along to their awesome beats; however, at a few points the set seemed a bit laboured, which can easily be remedied by cutting out a couple songs. But, in all, a thoroughly enjoyable set, which was very useful in putting the night back on the right track again.
– Shashwati

Tie-Shu Lan 鐵樹蘭

Setlist:

1.      The Land on [the] Equator

2.      Again

3.      Memory

4.      Format

5.      Assimilation

The influence of the Noughties’ was seen the most in Tie-Shu Lan’s set. It set off with bangin’ drums mixed with screaming strokes on the guitar, but soon moved into a strangely heavy yet somewhat bouncy song. They seemed to use distortion to make normally light-sounding chords heavy, and they even started some pogoing in the crowd with their catchy beats. However, their set left me a bit cold because of one reason - while their songs probed around into the heavier end of the spectrum, there was very little melody in the songs to anchor them down. They all too often became just a pointless amble into rootless territory, making them sound too artificially metal. Which was a pity, because the band members clearly had some real talent - clever arrangements of sliding bass on Memory (reminiscent of the bass in RHCP’s Give it Away), thundering chords, a very good singing voice (when used that way), and the inherent pogo-ness of their songs went somewhat to waste because there was not much of a foundation to the songs. The singing towards the end of Format was quite impressive, and the riff in Assimilation was really cool, so they clearly were going in the right direction sometimes. Their control of the crowd was impressive, and their energy always up, and the attitude was right. But the simple lesson needs to be learnt, that being a heavy band does not simply involve sounding like angry fluxes in a speaker.  All they need to do is re-tool some of their songs because there’s real potential there. And if they disagree, I really, really hope they prove me wrong the next time I see them. Here’s to the future, guys.
– Shashwati

Djizoes (Switzerland)

Setlist:

1.      I Could Be Your Lawyer

2.      A Song for Them

3.      The Machine

4.      Bind Us To War

5.      The Cat Island War Dogs Reception and Training Resort

6.      The World is Undersized

The special guests of the night came along, all three dressed in Wanch tees, and the bloody heaviest basslines of that night. Having the classic hardcore lineup, their sound resonated with every bit of the anger that the metal-hardcore genre was invented to represent. The set opened at breakneck speed with I Could Be Your Lawyer, featuring some very cool Paul Gilbert-y, pacy metal melodies. The crowd, though initially somewhat stunned, clued into what they were doing quickly, and headbanged to the best of their ability. But, there was only so much you could do, because things were happening in the songs so quickly, it was almost impossible to keep up. The band had remarkable coordination between them, not one second of airtime was dead, as they filled it very ably with some elastic chordwork, moving from rhythms to leads at the drop of a hat, weighed down by the lead-weight bass, and backed up by simply phenomenal drumwork. It’s fair to say that I’m missing out on a lot of what happened during the songs - however, I truly don’t think I can be blamed here, because it was absolutely impossible to keep up with the speed with which these guys made things happen.

And yet, never once did it seem like they were repeating themselves, as each song had its own character (with some due to the difference in composition chronology, no doubt). The metal was all there, with its typically epic-sounding overtones, as in A Song For Them, but it was nuanced, unafraid to stray into different areas, from Judas Priest-esque overtones, to a Pantera-feel that was in some songs, played most rapidly, re-emphasizing the adage (that I freshly coined) that “genres are for morons”. The rolling tune of The Cat […] was composed of an awesome hook, some fiery drumwork, leads both up and down the fretboard, and bone-rattling bass. The World is Undersized featured a deceptively calmer, yet still-powerful rhythm, that almost teased the crowd in its stasis. But, it gradually ramped up into what was certainly the most monster-riff played that night, played with a remarkable concision, complemented by a blistering solo in the most classic mould of metal. They finally slowed it down to a plodding rhythm, ending the song, and the set, with a rhythmic burst, that certainly left the crowd wanting more. –Shashwati

Daybreak on Monday

Setlist:

1.      Poison

2.      Don’t Leave Without a Sign

3.      Dream

4.      Dawn

5.      Borderline

[NOTE: The song titles are translated from Chinese by Dawn]

Following Djizoes was probably an unfair proposition for any band, but DoM took it on with gusto. Perhaps appropriately, Poison began with a near hypnotic riff, hypnotic and loaded with wah. Then came the shock opening, with the song reaching its peak pace within the space of a few beats. They purveyed a brand of renegade metal / hardcore, with a singer that actually sang and a terribly interesting musical interplay between the guitarists. There were melodic breaks in between songs, that ventured into eerie alt-rock territory, but played at express speed. The moshing was quite heavy by now, and the audience made it clear how much they were enjoying the songs. Their typical song-structure seemed to involve melodic breaks within songs, without going down the worn path of actual pace-changes. They even had a bit of a lighter riff at the start of Don’t Leave Without a Sign, followed by a unique twist of character in the song being effected by the drums!

Dream had an excellent melody on the guitar, topped off by arpeggiations, which filled out their sound very well. However, their songs always retained a jumpy, moshing character, which the crowd enjoyed to the fullest. A guitar-strap was broken during  Dawn, which was remedied by bringing out one of Greg’s bee-yoo-tee-full LP Goldtops. The song was unique in the way that it had a typical metal base, but a clever pattern of strumming on the lead made the song sound different from what it usually would have. By Borderline, the crowd had thinned, but those who remained were headbanging their souls out. Some Tom Araya-like screaming contrasted with a nearly nursery-rhyme melody on the lead made for an immensely interesting song. Fittingly, after taking a break, the song went to an even faster speed, and the crowd followed suit. One of their few pace-changes brought the end of their set, definitely moving out on a peak, after a long night of many-splendoured rock (and otherwise).
– Shashwati

photos © Copyright 2010 by Man Ho

poster by ANGUS LEUNG

Eve of Sin

Eve of Sin was pleasantly surprised when we were given the opening slot to Underground CD#3 Launch Party B and took the concept of starting with a bang seriously!
Having everything plugged in and set up we began the night with our signature crazy headbanging and took it a step further by expanding our “stage area” to the “audience area”, having headbang battles with the crowd during our set. It’s always fun because we know Underground isn’t going to come and say “hey hey hey, get your hands off the performers!” to everyone. Heck, we noticed Chris B smiling as she saw the fun times everyone was having.
We’re really thankful for being part of this compilation CD because it was an honor to be put side by side with other great bands from the same neighborhood. It re-inspired us and reminded us that we’re somebody’s, a band worth having organizations like Mark-1 and The Underground notice and nurture. We learned a lot during the whole process which is what we cherish the most. It’s things like these that remind us why we’re a band in the first place!

Eve of Sin

Very Ape

Of course it was the cd lauch party. But for long time, we, Very Ape has not played at the Underground. So we were so exciting, and I was a heavy drunker after the show. Hope all musicians, staffs, and audience enjoyed the music and beers. All we appreciate all music people there.
Very Ape

Winner of SilverBlack Card:

Luke Chow (representing Hungry Ghosts)

I really wanted to put in an appearance at party b even though it wasn’t with the rest of the band as Mike is still in australia… Thank you to everybody for listening and to the other bands for making the show. Hungry Ghosts are all really looking forward to playing The Underground again soon.

I really love the way the live organic rock sounds translate seamlessly from live performance to the compilation, and above all I  think it is absolutely fantastic that another hong kong homemade compilation is on the street.
Luke Chow

Logo

Logo fully supports the huge effort by The Underground in organising parties and bringing the best of Hong Kong’s independent musicians to the attention of a wider audience. These parties are fabulous and we encourage everyone to attend in the future. Party B was of course attended by Logo along with much of HK’s glitteratti and the order of the day was very much enjoy yourself.
Logo

Winner of the Tom Lee HK$1000 voucher:

Killer Soap

Thank you so much to The Underground team and Koya-san! It was our first time recording in a professional studio and it was so much fun to work with Koya-san! Thank you so much for his time and patience recording and mixing with us! Thank you so much Chris for choosing us for CD#3! 

The CD release party was sooooo fun! We have been taking rest for months already and we finally re-discovered ourselves on stage in the party. Playing at The Underground shows always make us feel home! Special thanks to all our friends who came to the party and sang along with us!

Killer Soap

Winner of Hard Rock Hotel Macau accommodation for one night!
 

Winner of Nokia X6 phone:

In love & pain!

“Thank you” is just not enough said, we played with a broken bass drum head, a broken guitar strap, and 4 broken voices!!  And all of you just bore with us and provided tremendous support, not to mention those sing-along, it was a GREAT show!!  Definitely one of our best gigs ever!!

Thank you, Chris!  Thank you, Koya!!  and also all the bands on the CD!! and of cause, all of you for supporting!!!
In love & Pain!

Zoundz

Great night, awesome bands, killer sound and crazy audience!
Zoundz

photos © Copyright 2010 by ANGUS LEUNG

and additional photos by Marc Chan

poster by ANGUS LEUNG

Uranus

Before The Underground, Uranus was purely several great mates jamming and enjoying the vibe from good music. Global Battle Of the Bands came along and, with a couple of original songs under the belt, the notion of playing live went from being a joke to a challenge. Uranus was born. In our first ever live gig we finished in the top three. As a result, the Underground invited us to perform live at California a month later and suddenly there were calls for us to perform all over town. If it wasn’t for Chris B and her dedication to live music, Uranus would be just another rock fantasy in the minds of 5 busy individuals. But through your support you’ve created a band hungry for more live performances, more groupie adoration, more crowd applause, more Underground appearances, platinum record deals, world tours. Being asked to perform on CD3 is an absolute honour. The experience of recording in a studio for Underground CD3 and then hearing those songs on the radio is very special. Chris B and the Underground is as much a part of Uranus as the musicians William, Dom, Jasper, Ed and myself. Rock On Underground.
Craig Leeson

The Underground provides Uranus with a much needed mode of creative expression and exposure.

New fresh music and great parties — thank you for making it happen.  Hong Kong is a better place because of The Underground!

Chris, your passion and energy are an inspiration to Uranus. As you could see from our performance at the launch party, Uranus loves playing for The Underground.

Uranus loves you!
William

We had a cosmic blast! Thankfully it was only Dom who took his shirt off and the stage was high and wide enough for William to bring out his “A” stage performance. Ed & Craig’s guitars ripped through a heaving Lan Kwai Fong and I was even spotted smiling at one stage. It was that good.

The Cavern lived up to it’s reputation of having one of the best live set ups in HK making the sounds of Uranus sound even better.
Jasper

Winner of the SilverBlack Card draw: 

OneLastFall

First and foremost,  we would like to thank Chris B (ROCK MOMMA =P) and Koya Hisakazu (Faro’s Baby HAHAHA), the entire crew of The Underground (Wain, Heather, Yan, Angus, Calvin etc.) for always showing your undying support for us and ALL the bands and also for giving us the chance to actually be in a CD!!! You made us and I’m sure other young musicians a stage we can call home! And also to the staff of The Cavern and to Dj Ivanne for setting up the stage and for the great sound. All you guys made it all happen!!!

The launch for OneLastFall, was an amazing experience! The crowd was awesome! As soon as you entered the venue you can already feel the crowds eagerness for the show to start off. And what a way to start the rockin night with a loud BAAAAAANG with non other than URANUS! And to collaborate with the ever AWESOME Good Fellas (WOOHOO) once again was… Orgasmic! Lol We felt a sense of accomplishment and pride when we first stepped on the stage. We felt like Gods and Goddesses when we started doing our thing… We were untouchable! The vibe we felt from everyone that night was like no other! We hope that we left our mark on The Cavern’s stage and in the hearts of the crowd… as much as we know that April 17th, 2010 will forever be locked and sealed in our heads as one of the most memorable nights OneLastFall will ever have!
\m/ WE LOVE YOU UNDERGROUND! WE ALL WISH YOU MORE POWER, SUCCESS AND VENUES FOR US  TO TEAR APART!!!
OneLastFall

Good Fellas

Never lose this feeling oh yeah, never get tired of singing oh yeah! - this is the first line of our song “Nothing about my way”, and I want to dedicate this to everyone who organise the show, play the show, and attend the show.  It is not necessary only about singing, but it is all about your mentality, to support art and creativity in Hong Kong.  Hong Kong is famous for unbalance growth of economic development and creativity, fuck it, lets change it.
Keep believing!
Po Kei - GOOD FELLAS

All of you support make us stand firmer, higher, and cooler than before.
Jim - GOOD FELLAS

I think I have shoot almost everyone of you in Underground shows, so let the best moments be remembered!
Angus - GOOD FELLAS

 Winner of Hard Rock Hotel Macau prize:  

 Winner of Nokia X6 phone:

Amino Shower

The Underground compilation #3 party A was really great, which set the scene for the launching of this meaningful CD, representing a synergy of creative power among different local bands with their unique style!

As the event’s core philosophy about open minded attitude on indie music, those who dropped by, or stayed throughout the entire performance were meaningful celebrities…they enjoyed much to immerse under this wall of sound. In the warm atmosphere, people gave reflection and shown their appreciation to favorite acts…

Now the CD#3 in my player, I have my recall of this intensive passion..like the slogan on the CD cover: we ‘re from different roots what made our background and the bed rock of our spirit, the same thing set the boys and girls free and live beyond our constraints is rock!!
Amino Shower

Winner of Cathay Pacific two Business Class tickets to Taipei:

The Sleeves

Bee     It’s always great to see a packed Hong Kong bar, filled with enthusiastic music fans, rocking out to Hong Kong music.

Keith   It was a great atmosphere and a great night. The sound system at The Cavern was fantastic and everyone was getting into the music. In fact it was the perfect way to celebrate the CD and our first year with The Underground. Here’s to many more !

photos © Copyright 2010 by ANGUS LEUNG

poster by ANGUS LEUNG