What happens to bands that break onto the radio playlists with that one sweet single and three years later people are scratching their heads saying, “Yeah what ever happened to those guys with that really clever name?” The answer is simple as a commercial product pushed by a mainstream record label they were probably flushed out into the sea of boy bands and third generation nirvana rips, pawning their gold records for drugs. On the other hand, if you are like Gravity Kills and you have talent, instead of a boardroom of accountants and PR people pushing you to the top, you return to what matters: Hard work and hard music.
- Paul Wong
- Scheel”s six pack is as almost as tight as Gravity Kills” upcoming album.<br><br>JOHN PRATT/Daily
After entering the industrial arena with singles “Goodbye” from the multi-platinum “Mortal Kombat” soundtrack, and “Guilty,” found on the “Seven” soundtrack, Gravity Kills made a name for themselves. They soon dropped back into obscurity after the radio waves became over-saturated with the likes of the heavy sounds of Nine Inch Nails and Marilyn Manson. Often filled with Filter as Nails rip-offs, the world seemed to forget Gravity Kills devastatingly catchy riffs and flowing vocals, moving forward to happy go lucky pop.
Luckily for those with the capacity to enjoy more forceful sounds a la techno-industrial beat, Gravity Kills has been keeping it real. Last Wednesday, they opened for Pig Face, treating Royal Oak to their steady crunching guitars, melodic beats and lead singer Jeff Scheel”s abs (which, by the way, rival those of reigning washboard champ Brandon Boyd of Incubus).
With keyboardist/bassist Doug Firley arriving on stage, cigarette in hand, Russian-esque fur hat on head, followed by shirtless Scheel, it soon became apparent that Gravity Kills hasn”t spent their time moping in the lack of their public exposure.
Opening with “Love, Sex, and Money,” a new track off their soon to be released Superstarved, Gravity Kills has obviously taken their time to perfect an already distinguishable and forceful sound. Combining some of their older favorites, “Inside,” “Blame” and “Never,” from their self-titled debut, with a preview of their newer, tighter tracks, the boys even paused to play their most well known single “Guilty,” which Scheel addressed as “that song, you know, from that movie, with those seven things.”
Illiciting enthusiasm from a crowd usually too Goth to react outwardly, Firley pushed his hydraulic-mounted keyboard around stage while Scheel wandered about singing, jumping and livening up the crowd. More impactful live than on their infectious albums, Gravity Kills is not only a band to make it out to see, but one to anticipate a new release from. Unfortunately, the album is not slated to hit stores until early spring 2002.