Silverado

Silverado is in use for two bands. First is a punk rock/riot grrrl band from the 90's "Silverado Live at Lounge Ax Aug. 24th 1999 By Craig Schmidt As a metaphor for the punk ethos, the end of Silverado’s August 24 set at the Lounge Ax could not have been more appropriate: A half-hour maelstrom of rough-hewn melody, cruelly cut short by technical difficulties. The band, which was in the middle of its sixth song when the trouble struck, was forced to evacuate the stage amidst the insistent, detuned drone of a malfunctioning amplifier. No one in the crowd was quite sure what happened, but it was cool nonetheless. Indeed – again, parallels can between drawn to the punk idiom itself – the premature end could not dim the short set’s luster. Silverado are a duo at the moment; recent events have rendered them bassist-less. But between them guitarist Tracy Lemieux and drummer Angenette Kerekes almost make up for the gap on the low-end. Kerekes’ drumming is furious and incessant, but also deceptively nuanced. It is the perfect foil, in fact, for Lemieux’s screeching, somehow elliptical guitar. These elements alone almost compensate for the band’s hole in the rhythm section. But their songs, when fused with Silverado’s savvy instrumentation, make one question whether the bass is really necessary anyway. They opened the show with the quasi-anthemic, "I Wanna Die Young," amply demonstrating their ability to expose the melodies in songs that go 100 miles an hour. In this case, they do it with a wash of loping arpeggios that have just enough time to make their point before giving way to echo-drenched power chords. "Gum Chew" with its repetitive, damn-near catchy riff, sounds like what would happen if The Geraldine Fibbers covered "Satisfaction." In "Gum Chew," like at all their best moments, Silverado exhibit the ability to go from zero to 100 in a split second, then just as abruptly screech to a punchy stagger. And back again. What ended up being the last of their song – which is nameless as of this writing – started out in a hyper-swoon, underscored by Lemieux’s droning, ragged vocal. And then it was over. Suddenly the amp stopped behaving, and so they started taking down their equipment. I couldn’t have ended better myself."