Chemical Brothers

September 14, Avalon

Known for their whirlwind of pulverizing beats, the Brothers roared into the town ready and willing to christen the new Avalon. And rock they did, oh yes. The show started off fast and furious with Surrender's "Hey Boy Hey Girl" and "Music: Response." This segued directly into the megasmash "Block Rockin' Beats," much to the delight of the crowd. A movie screen behind the duo featured manic black and white montages of pictures and words flashed in tune to the beat of the music, and only added to the epileptic, frenetic pace.

Unfortunately, because of an abnormally long wait between the doors for the show and the starting time, those three songs were the only ones I witnessed. I can only imagine how the rest of the show was; supposedly everything but "Let Forever Be" was performed off of the superb album Surrender. I can only go home and put on my CD and imagine the joyful beats and mesmerizing noise spewed forth from the mechanized consoles of the Brothers. I must be content with the knowledge that if the rest of the show looked and sounded like the first frantic minutes, then one amazing experience was had by all.

--Annie Zaleski

Chris Cornell

September 13, Sanders

The patron saint of grunge, Chris Cornell, returned triumphantly with a riveting sneak preview of the distinctly different but equally impressive music contained on his first solo album Euphoria Morning.

Though this show was only his "second live show ever" solo, his years of experience as first the drummer and then the lead singer of Soundgarden have made Cornell a stage veteran. The addition of the highly capable band Eleven as his musicians just magnified the talent present on the stage.

While Sanders' cavernous architecture swallowed the vocals of more than a few of the tunes featured and rendered many songs murky, the restrained guitar of Alain Johannes and the impassioned vocals of Cornell more than adequately shone through.

New songs like "Preaching The End Of The World" and "Sweet Euphoria" showcased a mellower, more introspective Cornell. Songs like those and the classic "Seasons" frequently induced chills with their stark, quiet power.

However, the harder edged songs like the first single "Can't Change Me," "Flutter Girl" and "Steel Rain" contained a dose of emotion and life that was undeniable and mesmerizing. And even though Cornell nodded to his past (with Soundgarden's "Like Suicide" and Temple Of The Dog's "All Night Thing"), the songs had enough of a unique spin on them to make them sound like fresh compositions.

Cornell's album came out in stores this week; those who witnessed a sneak peek into his newly solo garden of sound were not disappointed.

--Annie Zaleski