Minnesota-based All The Right Moves is making all the right moves. Their release, The Monster I’ve Become, follows regional Mid-West success as a warm-up band.
The six track EP is a calculated pop-punk, focused on piano, violin and acoustic guitar, laced with catchy hooks and harmonies. The band is comprised of writers, singers and guitarists Brandon Daly and Braden Ashworth, two Minnesota State University students who first played professionally as the indie band The Evermore Escape; violinist Roman Wolfe and drummer Dustin Phillips. The songwriting is part story-telling and part aural landscape.
The first track Point of View is Billy Joel catchy with a punky back beat that asks you to “sing along.” Track two, You Always Bring Me Down, builds from beautiful acapella harmonies to a walking two step shuffle that dramatically ascends to music of operatic Queen-like proportions counter-balanced by honky tonk piano and a hook of a chorus with a Mastodon-like guttural scream at the end. The title track, The Monster I’ve Become, builds to a driving frenzy. The harmonies punctuate cute, cheeky lyrics that lead to a pop hook “that’s got this hold on me.” The track HURRICANE is aptly described in all capital letters. It is a piano-based unrequited love ballad that slowly bursts forth to make the point that the singer is “not okay.” The track “Hollywood” is a driving rock number with harmonies that say “Hollywood and Vine thy’re calling you tonight.” You can hear in the song the entire aspirations of the band.
The EP ends with Learn to Love Again, a classic rock lost love anthem. It shows the extent to which the band is trying to be accessible to a larger audience and desires to go mainstream with its sound. Only time will tell whether they experience the success they seek but I wouldn’t bet against All The Right Moves.
With Inferion, I think I have found my new extreme metal obsession. From the first few notes of "It Began With Blood" I was excited. I loved it. I loved all the songs on Inferion's "The Desolate." It's dark, full of creepy terror, and has classic sounding black metal, with amazing extreme vocals. They bring to mind the very talented Cradle of Filth, but Inferion has a more rough, less gothy sound. They're more like if you took away the theatrics, the keyboards, and some of the production of CoF. Very good, I must say. If you like your extreme metal dirty, and rough around the edges, this is a band to listen to.
Inferion are decadently dark, with spookyness sprinkled in like poisonous sugar crystals on an evil cupcake. The guitarwork is exceptional, not just churning out the same riffs over and over, like some extreme bands, song after song, but actually holding their own very well. The drumming stood out as well. I will admit, I am SUPER picky when it comes to drumming. It's so common in extreme metal to have a flat, dull, thudding noise in the background be all you can hear instead of a heavy, driving beat anchoring the sound to a base, and I can't stand it. But Inferion's drummer does his job quite nicely. The double bass is very good, complimenting the furiously fast riffs, and growling vocals wonderfully.
Key tracks that stood out were "It Began With Blood" and "Numerous Lacerations." The latter is a beautiful, sweeping guitar solo. It diverged from the rest of the record, but only enhanced the album as a whole, offering a lighter, but no less great, side to the listener. It finishes with an eerie static-y silnence, an uneasy breather, before driving straight into "Purest Evil." The guitars on "Underlife" and "Withering Dieties" are worth mentioning too, as they are centerpiece, and rightly so, for they steal the attention with the grandiose solo in the middle of both tracks.
I really liked the layered vocals of Inferion also. With a deep growl on top of a medium, higher growl, you can still understand what they're saying, but it still has that evil sounding, raspy crunch that's penicle for any extreme metal band's vocalist. In a world of look-at-me-I'm-so-evil-and-hardcore, Inferion not only stomps down any other bands in their league, but violently commands listeners to pay attention.
As I was listening to this, my friend commented that "The Desolate" sounded like, "music to kill people to." Interesting speculation, but I took it as a good thing, because isn't that what extreme metal is all about when you get right down to it? Music to let out that hatred and anger towards people that when you see them you wish murder was legalized for just five munites? Yes, sir, it is! And really, would we like it any other way? I wouldn't, not at all.
Anyway, back to the point, Inferion is a fantastic band, and "The Desolate" is an album worth listening to over and over and over again. 5 stars, all the way.
Unlike movies, it’s possible to make a solid or even a great third album. As a matter of fact, several of my all time favorite albums happen to be the third record in certain artists’ discography like Bruce Springsteen Born to Run, Green Day Dookie (the third studio album), Def Leppard Pyromania, The Ramones Rocket to Russia, The Clash London Calling and Iggy and the Stooges Raw Power. After careful thinking, I realized my favorite album for several artists in their entire catalog turned out to be their “third” album and included Metallica Master of Puppets, Radiohead OK Computer, Arcade Fire The Suburbs and The Smiths The Queen is Dead.
Before I even started composing this review I brainstormed what would work as the perfect label to call a third album, but to no avail. Even my extensive research proved inconclusive. As you can imagine, labeling albums beyond “debut” and “sophomore” became frustrating. The possible vocabulary to describe subsequent albums proved preposterous. Personally, I wish there was an accurate term to describe a tremendous third album.
This is the case with Gotye’s latest release, Making Mirrors. Gotye has released two previous indie rock albums Boardface and Like Drawing Blood and is one-third of indie-pop band The Basics. For almost the past decade, this award winning singer-songwriter has been a force to reckon with and there are no signs of him wearing down. Gotye is here to stay.
An ingenious introspective album, Making Mirrors marks the beginning to a great new year. When the album initially came out late last year, Making Mirrors was only available as an import. When it comes to music, the word import is both my best friend and worst enemy. I prefer physically purchasing an item specifically made for my own region rather than owning an “overpriced album” just so I could possess an album earlier than everyone else. Now you know why I delayed writing this review.
In recent years, it seems the first track for certain albums, particularly for indie and alternative artists, will have “opening tracks” that act as a precursor and intro to the actual album like “Swords” off Zola Jesus’ Conatus. However, some mainstream artists use this gimmick of an “opening track” as a fun warm up like LMFAO “Rock the Beat II” off Sorry For Party Rocking. In either case I think it’s a great way to ignite interest in your fans and the anticipation is awesome. The titular track “Making Mirrors” is one such song. It’s a nice mellow tune easing you into the first great album of 2012.
The musical genius Gotye unleashes the unique “Easy Way Out” as his second track and it sounds like an acid infused, psychedelic-like version of The Beatles “Day Tripper.” For two minutes, this song will hook you immediately and just as quickly the tune abruptly ends without reaching a climax. Don’t make this song a “distant memory” because the album is just starting.
The lead single and third track featured on Making Mirrors is the critically acclaimed and extremely popular “Somebody That I Used to Know.” Maybe I’m a sucker with songs about bad breakups and relationships, but this song is catchy on so many levels it’s not even funny. “Somebody That I Used to Know” is the first Gotye song to chart in the United States. As of this review, it’s steadily moving up the charts and is currently a Top 40 hit on the Billboard Hot 100.
“Somebody That I Used to Know” starts off with Gotye singing as someone reminiscing about his past flame in a caring and reflective manner, but bursts through as a classic 80s pop song as though it were Sting during his days with The Police. One can even argue Gotye sounds like Phil Collins when he was the lead singer of Genesis once the chorus starts.
“But you didn’t have to cut me off Make out like it never happened And that we were nothing And I don’t even need your love But you treat me like a stranger And that feels so rough.”
Kimbra’s collaboration on “Somebody That I Used to Know” enhances each single syllable she utters and makes me remember all my past relationships. This New Zealand vocalist oozes the emotional rollercoaster side of relationships and takes this song to a whole new level. Kimbra is another artist worth discovering if you don’t already know her.
“Now and then I think of all the times you screwed me over But had me believing it was always something that I’d done And I don’t wanna live that way Reading into every word you say You said that you could let it go And I wouldn’t catch you hung up on somebody that you used to know”
There absolutely needs to be more songs with these two outstanding, outspoken sensational singers. I honestly could keep describing “Somebody That I Used to Know,” but I rather not bore you. By the way, Natasha Pincus needs a shout out and some recognition for directing a stunning modern masterpiece music video for “Somebody That I Used to Know.”
Gotye once again sounds like Sting on “Eyes Wide Open” and his luminous lyrics “So this is the end of the story/ Everything we had, everything we did…” are remarkable throughout the song. Somehow Gotye utilizes the best of the 80s pop scene by creating intelligent, inspiring tunes that transcends generations with its relevant adult themes such as hard breakups. As Wayne and Garth proclaimed to Alice Cooper in Wayne’s World, “I’m not worthy.”
Making Mirrors continues to stun listeners with its wide range of compelling compositions, but nothing seems too random. The retro “I Feel Better” seems similar to Fitz and The Tantrums with its infectious soulful sound, while “In Your Light” has an acoustic guitar intro similar to George Michael’s “Faith.” Other notable songs include “Bronte,” “Giving Me a Chance,” “State of the Art” and “Don't Worry, We'll Be Watching You” on this terrific 12 track album.
There are also additional tracks available for individuals who pre-ordered the album on iTunes, including a remix of Gotye’s hit song “Somebody I Used to Know” by Faux Pas, "Dig Your Own Hole" and “Showdown Below My Sombrero" (only if you pre-ordered the CD/DVD version). Regardless of what version of the album you own or want to own, Making Mirrors exists as one of the Top 10 albums of 2012. Yes, I said it. Rest assured when it comes to compiling my “Best of List,” Making Mirrors will without a doubt be on that list.
Wh-what's this I'm hearing? No...it can't be. Has the new recording from Black Sabbath already been leaked?
Oh, wait...this is Freedom Hawk's new album from Small Stone Records. Now I remember - and I love everything about it. I think these guys are dope and they have to be one of the best early-Sabbath-sounding rock bands out there right now, other than the newly-reunited legends, of course. I mean, just play these songs I've included from Freedom Hawk's, Holding On, and I'm pretty sure you'll agree.
First, there's vocalist/guitarist T.R. Morton , whose voice can sound exactly like a young and lively, hand-clapping Ozzy, only more powerful. There hasn't been one other rock singer I can remember who sounds so much like Ozzy to me. He's so spot-on and I think I'm listening the Prince of Darkness himself. Really. And that's not a bad thing at all, at least for me. It doesn't hurt that the riffs flow effortlessly from his fingers, either.
Matt Cave completes Freedom Hawk's twin-guitar assault and, along with his brother, Mark Cave (bass), and Lenny Hines (drums), the members produce such thick, rich, 70's-inspired rock music that you just have to hear it. And own it.
The songs, "Edge of Destiny" (link below) and "Nomad", are two of my favorites and they're prime examples of the strong, solid Sabbath aura that Freedom Hawk invokes throughout Holding On. "Zelda" is a short instrumental near the middle of the 13-track album which reminds me of "Planet Caravan". Bongo drums are the only things missing, if you ask me. "Flat Tire" is another gem, but hell, I think they all are. Believe me, I could go on and on.
From their bio: "Hailing from a beach town in Virginia, this quartet blends heavy riffs, a rolling groove, and soulful guitar melodies to produce the sound that is Freedom Hawk. Their brand of rock coupled with a high energy live show, leaves many wondering if they’ve stepped through a time warp, which has taken them to rock’s heyday in the 70’s."
I didn't listen to 70's hard rock until the 80's, when I was a young teenager. Like many others, I started with bands like Led Zeppelin, Deep Purple, the earliest Judas Priest and....Sabbath. If you're like me and you can't wait until the Black Sabbath reunion album, then Freedom Hawk are just the band to tide you over. Once you listen to Holding On, though, they'll probably become one of your current favorite bands like they did for me.
Lately it seems my musical tastes have been changing. Almost to the extreme of changing on a daily basis. Sunday: bands like The Smiths, Elliot Smith or City and Colour. Monday: bands like The Black Dahlia Murder, Converge or The Faceless. Thursday: Heartsounds, OperationIvy, Big D and The Kids Table. You get the idea. On this day all I have been listening to is hardcore bands. At the forefront of my day has been the band No Turning Back and their album Take Control. This is one of the best hardcore albums I have hear in quite sometime.
Take Control sets things off with the instantly in your face track, “In Your Maze”. This is a song about the heartbreak you feel when someone you think you have known for a long time changes on you in the blink of an eye. Instead of being sad about the situation, No Turning Back goes the opposite and get fucking pissed! This is defiantly something I an relate to and a song that I probably something similar to what I would of written myself.
“There you go walking by, turn your hair
I just sigh
Purity in your eyes, messing up my lines
I still can’t believe how it turned out to be
All the changes lost so relentlessly
In retrospect I must regret
Losing the Life I could have had
Recollections of better days
When you trapped me in your maze
In your maze
To those who know what it’s like
When feelings can’t be denied
And when you’re trying to hide
Get betrayed by your pride”
My favorite and third track on the album is the song “Remain”. A brutally intense song about selling out.
“Here I go again losing everything
Fucked up game called life let the hate begin
What I had, what I stole, feeling left nothing out all alone
Time to realize, bitter fucking end
Bitter end
The faces change
But it’s still the same
Forget your name
Who I am
I am
You see
Is what you see
Troubled soul insanity
See you standing there, bow your head in shame
Did it all for the money, for your name
Nothing changes, give in to destiny
Instead of crying on your knees
On your knees”
Another great track is the extremely positive, “Take The World”. One of my favorite things about the hardcore scene is positive hardcore songs. It goes to show you it’s not all about “hey fuck you!”, it’s also about coming together and being positive.
“Destiny a state of mind
Check yourself, are you all right?
Destiny a state of mind
Check yourself, are you all right
Is this who you want to be
Do you think you’re really free
In times of trouble and distress
Head up high, don’t settle for less
Follow the path that you have chosen
Tell yourself you can’t be broken
Gotta do what you gotta do
Believe in yourself
Make it through
Take control
Take a stand
Take the world
In your hand”
No Turning Back is set up to be one of the leaders in the ever changing hardcore scene. Gang vocals, positive and harsh lyrical content make them stand out. If you’re a fan of hardcore pick up this album.
No Turning Back goes good with: End Times, Power Trip, Death Before Dishonor, Cruel Hand, Hoods, Guns Up, Grave Maker, Madball
The sun was halfway through its long descent down a cloudless sky. Thanks to this small miracle, the sweltering heat of the day was slowly melting away. I sat atop my horse, silently watching as newly lit oil lamps began providing illumination to chase the imposing darkness from storefront windows along the town’s main drag. For one fleeting moment, I was at peace with the world. But then the ever present weight of the badge pinned to my vest once again pulled me back to my sobering reality, and the duties that went along with it.
Being a sheriff can be very rewarding, but more often than not it’s a foolhardy, treacherous affair that is entirely too hazardous for one’s health. Since I chose to become the Sheriff here four months ago, I’ve narrowly escaped death and dismemberment too many times to count. Unfortunately it seems that only the worst, most brazen criminals make their way out to our little slice of heaven (or hell depending on your viewpoint). And when it comes right down to it, my six-shooter and I are the only ones standing between them and outright anarchy. I may not always like what I do, but by god, someone has to stand up to these brigands!
Earlier today a man visited my jailhouse with information concerning the worst outlaw currently terrorizing the plains. He told me that none other than The Fiend himself would be arriving in town this afternoon on the four o’ clock train. We’re talking about the highwayman who singlehandedly robbed over seventy armed coaches this year alone. We’re talking about the bandit who has evaded capture for over three and a half years. We’re talking about the legendary outlaw who folks say doesn’t have a face! Why was he coming to my town? What could he possibly want here? The informant had no answers, but we were both sure of one thing. Whatever brought The Fiend our way, it was best to assume that he would be up to no good after he arrived.
Throughout my admittedly brief run as sheriff, this particular informant had proven himself trustworthy. On several occasions he offered up solid intelligence which never failed to pan out, so I had no doubt as to the authenticity of his current claim. Thinking critically on the situation, my main problem would be identifying The Fiend once he was inside my jurisdiction. There would be at least a handful of people disembarking from the train. That was certain. What was also certain was that I had nothing to compare these people to.
Descriptions of The Fiend were as varied as they were plentiful. Height, weight, nationality, accented speech, clothing. Each victim provided information which conflicted with previous witness statements. Conflicting outside of one important detail that is. Whether it was due to some kind of deformity or the use of an elaborate mask, The Fiend had no facial features. Where a mouth, chin, and nose would normally be there was only a featureless, flesh tone surface.
The four o’ clock train arrived right on time, like clockwork. Sure enough, I observed a good size group of passengers exit the train. While the departing group was composed mostly of men, there were a few women to be counted among their ranks. Unfortunately for me, every passenger had a normal face; teeth inside their mouths and everything. This wasn’t going to be easy, but I knew that already. I caught a break when the whole group in unison made their way to the West End Motel, located a short way down the street from the station. Quickly I looked to the heavens and gave thanks for this small favor. All right! I might not know which of my suspects was The Fiend, but at least I knew where to find him (or her…I’m not in a position to rule anyone out just yet).
Okay, back to present day. When I say the name Brent Hinds to all of you waveriders out there, what is the first thing that comes to mind? Wait…don’t tell me. Let me take a few guesses. I’ll bet that more than a few of you happen to be Mastodon fans (like me). Since that’s the case, I’m going to go out on a limb and assume that name instantly brings a wide smile to your face as you recall some great metal you’ve listened to over the years. If however you’re not one of those fans, you still might know Mr. Hinds. You might recognize his rather unique visage, what with his wild red hair and beard, or the tattoo running up his forehead. My point is that even though you might not think you know who Brent Hinds is, you stand a good chance of recognizing either him or his work.
Now I want you to take all of those memories, good or bad, and eliminate them from your mental database. That’s right! Banish them to the recycle bin, empty it, and then reformat your brain. Trust me. You’re better off coming at this new music with a clean slate. So are we good? Yes? Okay then. Hello there waveriders. I’d like to introduce you to a guitarist by the name of Brent Hinds. If you see a photo of this man, you’ll not soon forget him thanks to his wild red hair and beard, as well as the tattoo running up his forehead. The real reason Mr. Hinds will stick in your mind however, is his fantastic guitar work and distinctive vocals spread across every track of the debut album from Fiend Without A Face.
Waveriders, if you need something different to break up your listening habits, boy do I have an album for you! Fiend Without A Face will grab hold of you with a wonderful combination of rockabilly, surf-rock, a heaping helping of metal, and maybe a little bit of psychedelics thrown in for good measure. No, your eyes are not playing tricks on you. You read that correctly. What we have here is a rockabilly, surf-rock, metal outfit that is determined to make quite a ruckus, and boy do they ever! Open the doors to your mind’s pleasure center because this music is going to buzz your tower at excessive speeds, and you’re going to enjoy every moment of this circus stunt flyby.
Opening track, “Calypso”, sets off the proceedings nicely with vocals and instruments working in note for note unison to build listener expectations before they launch into the frenetic rockabilly/metal main portion of the song. This track in effect mirrors the diversity of this album. Some songs like “Black Grass”, “New York”, and “Stupido” stay close to a traditional rockabilly template. Others such as “Green Slime”, “Tsunami”, and “Get Straight” lie wholly in the surf-rock camp. Throw in more metallic fair like “Don’t Like”, something totally off the wall like the Mr. Bungle-esque “Cosmonaut”, and the punk infused “Hot Rod”, and now we’re really talking! Another very impressive aspect to this album is how effortlessly Mr. Hinds switches singing styles to fit each song; often multiple times for different movements of the same song. He demonstrates fantastic versatility, and his vocal contributions add tremendously to the overall musical atmosphere.
So there you have it waveriders. We’re officially rewriting the book on Brent Hinds. You know what, scratch that. We’re not rewriting the book. No! We’re starting a new book which will prove to be just as interesting as the one that preceded it. Besides, wait till I tell you about West End Motel. If you think Fiend Without A Face was waaaaay too different, you ain’t heard nothin’ yet.
