Only a real friend will send you Pussy in the mail. Thankfully I have such a friend in Racer. He could have been greedy and kept the Pussy all for himself, but no, he let me have it. A month or so ago, Racer said he was going to concentrate his Ripple ramblings on his beloved but neglected Proto-Metal report. His reviews of bands like Toad, Jerusalem, Iron Claw, etc was a big factor for me getting involved with these clowns a few years ago. Jerusalem's album is a real favorite of mine and I was thrilled to find out that they gave birth to Pussy.
Jerusalem's self titled album was released in 1972 and produced by Ian Gillan. That's all it took for me to pick up a copy of Rockadrome's reissue of it. Thankfully the music was just as primitively heavy as I had hoped but I must have forgotten that the band later morphed into Pussy. So when this showed up I rushed straight to the stereo to get a taste of this Pussy. It did not disappoint. This is some fine, fine Pussy indeed! While not as heavy, Pussy's Invasion is a definite growth from Jerusalem and reminds me a lot of the band Hard Stuff, another band associated with Deep Purple. Bassist/vocalist Paul Dean was the main songwriter for both bands and there's a definite refinement in the material and the playing. He's joined by Jerusalem drummer Ray Sparrow. Guitar duties were originally handled by Bob Cooke who was later replaced by Brian Goff. Tracks 1- 10 were recorded for an album that was never released with Brian and the bonus tracks from their original single and outtakes are played by Bob. Both guitarists are nothing fancy, but solid British blues-rock players. Everything was produced by Ian Gillan, who also throws in some backing vocals and percussion.
Deep breathe now, mates, prepare yourselves. My name is Gorgeous Nightmare, and I......am a One Directioner. I do not deny it, I love One Direction. I stayed up and watched all of the KCA's just to see One Direction's performance, even though I detested everyone else at that awards show. I bought three copies of their debut album, simply because one version had a poster, one had exclusive pictures of the band, and the third had a scrapbook instead of a normal booklet. But luckily, I am still a somewhat older teen girl, so I have something of an excuse to my fangirling out on this band.
If any of you have read any of my previous articles, you know I am an extreme metal gal. The darker the better. Men dressed as goth corpses normally strike my fancy. So why do I desperately love a pop band, a pop boy band at that? Because they are really very superb, that's why.
One Direction started out as five solo singers on The X-Factor UK in 2010. They were all on the brink of being sent home, when Simon Cowell decided to save them by putting them together as a group. Four-fifths of One Direction, Liam Payne, Louis (pronounced Lou-ie) Tomlinson, Harry Styles, and Zayn Malik are from England, with the exception being Niall Horan, who is from Ireland. These lads have got a ton going for them: good looks, pure talent, determination, and Simon Cowell's belief.
I don't like singing shows, to be honest. I like my singers to make the rounds the old fashioned way, playing at dives until they catch the eye of a record label. My facebook had an ad with these guys on it when they were still on the X-Factor, with the label, "Meet the next Justin Beibers" I opened it, because I don't like to be behind on the uptake, even if I don't listen to mainstream. (Don't make me relive my school's reaction to me not knowing who The Situation was earlier this year!) I expected a laugh, and some cringes. What I did not expect was to be blown away by the talent these guys possess at their age. When they first got together in 2010, they ranged from 16 to 18 years old.
What's even better, One Direction sound amazing live. At the KCA's they blew Katy Perry out of the water performance-wise. Lots of pop singers are disappointments live, when you discover your favorite artist is nothing without the bells and whistles from a studio. Nope, One Direction are as perfect live as they are on CD. Even better in my opinion. The auto-tune or whatever diminishes their individual voice's sound a teeny bit. I almost couldn't tell Liam from Niall just by listening, and that bothered me, considering they each have little aspects that make their voice unique and wonderful.
Having this gig as a writer, someone gave me a free download of their single, "One Thing" as an acoustic version. I loved it; raw talent just pours out of these guys like water from a spout. In the accompanying video, the lads were singing their super-hit, "What Makes You Beautiful" acoustically. One Direction were slumped on couches, relaxing, most of them not even wearing shoes, and they still sounded exceptional. "More Than This", a ballad on the album, sticks out among the other ballads, it truly showcases how great these guys' voices are. It's heart-wrenchingly despair-filled. "When he opens his arms and holds you close tonight, it just won't feel right, cause I can love you more than this. When he lays you down I might just die inside, it just don't feel right, cause I can love you more than this." Oh, come on, it pulls your heart strings a bit now, doesn't it?
"What Makes You Beautiful" is a made-for-summer hit that sounds like it would be right at home being blasted out of a car with the top down as it heads to the beach. The video is set on the beach, too, confirming my thoughts on it. Another thing I really liked about the video was the girls in it. Everyone has seen the 'music video girls'. You know, the drop-dead gorgeous, enviable figured girls you just know went home with one of the band members due to their shimmying and shaking all over the place. The girls in "What Makes You Beautiful" are very pretty, yes, but they aren't overly made up, nor are they scantily clad, popping and locking all over the camera. They're the kind of girls you see and say, "Hey, I look like that, those boys must like normal girls!" Morale booster a bit?
The next music video was for their next hit, "One Thing." The boys are dressed as almost like a mod-Beatles, and they are gallivanting around London. The beginning shows the boys running around a park, genuinely being cute and adorable. The rest of video shows scores of One Direction's dedicated fanbase, and how One Direction interact with them. One Direction are very loyal to their fans, constantly tweeting, 'how is everyone? how was your guys' day?' to their followers, in addition to asking them questions, like Zayn's 'I've just shaved my head, not sure what you guys will think, I'll post a pic in a few. tell me what you think. x' It was an April Fools Day joke, as Zayn has a signature hairstyle, but you get the idea.
I noticed that there seems to be a more guitar-oriented sound to One Direction. Instead of all synths, and machines, a lot of songs have catchy, smooth guitar lines that give One Direction a nice edge in the competition of pop singers. They don't look like other pop singers either. Everyone is trying to be the next Lady GaGa, or Justin Beiber, face it, it's the sad truth nowadays for the mainstream. One Direction dresses quite sharply, with nice jackets and plain t-shirts underneath, or patterned jumpers, nice trousers, with plain white or plain black trainers. In some shots, they are seen with suspenders, and bow-ties, like a mod-40's look. Very nice, fitting for the good-looking lads, I would say. Simplicity puts the focus on their music and talents, not how 'outrageous' they can seem like some other stars.
Talks were made in getting the boys their own show on Nickelodeon, a fact that many One Direction fans were NOT happy about. Fears that the boys were going to turn into squeaky clean friends, Big Time Rush were happily put to rest by the band themselves. All five members agreed that they are focused soley on their music careers, and not looking to making any forays into the world of acting, beyond making tv appearances as themselves. I'm happy, because really, I like One Direction the way they are, hopeless romantics in their songs, but in interviews, they're dirty minded and and make jokes about each others sex lives. They're 18-20 and they act like they're 18-20. =)
One Direction are beloved (maybe a bit too much, haha) in their native countries, England, and Ireland. They've debuted in America the past month, to much fanfare, and much adoration. Some fans camped outside the Today Show's building for three days merely to catch a glimpse of One Direction making their North America debut! News is still spreading throughout America about the band, but already they have leagues of hardcore fans here.
Good looks, great songs, love for their fans, One Direction seem poised on the threshold to take over the pop world. They've captured the hearts of millions upon millions of fans around the world, and are now taking the United States by storm. Is there anything these guys can't do?
PETA. Look, I’m all for humane treatment of animals, but, let’s get something straight. Humane treatment of animals is not necessarily the same thing as the ethical treatment of animals. Ethical treatment requires a social value judgment. It asks, “Should we?” Humane treatment refers to the actual treatment of the animals we use. It asks, “How should we?” Don’t mix the two up.
There is a story by a fly fishing literature author, I believe it is John Gierach, where he recounts being pelted with rocks by PETA people from the top of a bridge. In the river below he was trying to cast to a big brown trout. The gathered activists screamed derogatory names at Gierach, said he was inhumane because they claimed the hookset caused fish pain, the fight of the fish was panic, and the release to live again after such a “fright” to the fish and removal from its environment, rendered Geirach a monster. Geirach was driven from the water by the bombardment as it put down the fish and became dangerous to his physical well-being. He thought angrily about the specie-ism of the protestors. “You didn’t see any of them protesting the fish when they slashed and grabbed caddis flies off the surface of the river as the flies deposited their eggs, did you?. Where are the ‘Save The Caddis Flies’ activists?”
Why do I bring this up? Well, I listened to B Sides and Seasides, a March 30, 2012, seven track release by Tony Haven from which 20% of all of the income will go to the Animal Welfare Institute. No matter how good the music may be I was not about to promote or support a minority cause that tries to impose its morals on others. Therefore, I went out and did a little research on the Animal Welfare Institute and, based on my research, it appears the Institute is involved solely in the humane question - “How should we?” not the more judgmental ethical question - “Should we?” I’m okay with that. Thus, let me tell you about this outstanding new release since it will only be available for download until the end of 2012.
Tony Haven is an acoustic lap tapping acoustic guitar machine. He was born in High Wycombe and raised in rural southwest England. He supposedly developed his guitar technique to the background noise of the ocean breaking around rocks on the southwest shore.
On B Sides and Seasides four of the seven tracks feature vocalist Kieta Bennetts. Bennetts’ voice has a Lauryn Hill/Rickie Lee Jones quality. Singer Lara Regini also appears on two tracks. Regini’s voice is more pop - a little like early Alanis Morissette. When combined with Haven’s guitar, a little piano and percussion the whole becomes an engrossing, harmonious trip in to the folk countryside. It is wonderful coffee shop background material. I wholeheartedly recommend it for winding down after a long day fly fishing.
Amy Winehouse's "Body and Soul," even if it weren't arguably the most famous "jazz improv" tune (via Coleman Hawkins' 1939 recording of the standard, where, arguably for the first time, a soloist did not use the main melody of the tune and struck out on his own, ushering in modern improvised jazz as we know it today), just KILLS her version of this song--
I don't doubt for a second (speaking purely sonically, this without knowing her extensive substance-abuse history or recent death) that she absolutely meant what she sang: hers was a voice with genuine and obvious experience.
It's also a great reminder why nearly everyone else on this pretty much sucks: they're all just doing covers-- they don't bother to try and make the song their own, it's just a re-hash, full of over-reverence for the source material.
Lady Gaga (surprisingly?) is actually really cool-- she's one of the only ones trying to do something new with her tune. She's having a lot of fun with "The Lady is a Tramp," and this sense of fun infects Bennett, whose performance seems boosted by this. There's no gravitas here (not that there has to be, just see Buddy Greco's version of this tune for evidence of this), but she's clearly enjoying herself-- and in this, she entertains you. Whereas Winehouse is a singer, first and foremost, Gaga is the most obvious entertainer, and she reminds you what this means as you listen to her with Bennett-- you want to keep listening.
Faith Hill is surprisingly a good (ranged) singer on "The Way You Look Tonight," but is bland overall; it's the Christina Aguiliera problem-- great, nearly-athletic voice, great range-- with nothing to say.
You know-- the polar opposite of someone like Billie Holiday, Paolo Conte, Leonard Cohen, Gil Scott-Heron or Tom Waits.
Especially when considering that there is a truly great Johnny Griffin version of that tune on A Blowin' Session, which also features John Coltrane and Hank Mobley. It's Epic company to try and match up to, and Hill utterly fails.
Willie Nelson, after Gaga and Winehouse, hits 3rd place-- he can barely sing (I love Willie, but don't you dare try and deny it), but is 20x more interesting than the others in his version of Ellington's (via Johnny Hodges) "On the Sunny Side of the Street."
Bennett himself is surprisingly (refreshingly) gracious, in that he essentially "backs up" everyone with whom he sings-- he gives them the spotlight. I already respected Tony Bennett, but this puts him in Ronnie James Dio "I am a gracious, well-mannered badass" territory.
What happened to the Rock? Where did it all disappear to? The once thriving genre of the late ‘60’s and ‘70’s seems to have evaporated for the most part due to intentional corporate interference and genre-ocide. The self-proclaimed ivory tower bean counting experts who think they know what’s best for our tender earholes systematically thwarted and conditioned the collective thinking process and purposefully bottlenecked society’s mass market choice through relentless, pulverizing bullshit marketing. I’m talking about North America specifically of course over the last 20 years or so. Sure there’s still rock, hard rock and metal bands around (God bless ‘em!) fighting the good fight in back alley clubs and yes some of us still get the occasional large venue gig, but for the most part it’s few and far between compared to our neighbours across the pond. Ask anyone of these bands if it’s been an easy ride and you already know what the answer is.
Thankfully things are different in Europe, and parts of South America and Asia as well. There’s a resurgence of rock that’s been stirring for a while. People there just seem to “get it”. They eat it up in a big way. They’re not carpet bombed by the big brother entertainment conglomerates like we are here. Solid band after band I know have gone and are going across the pond, not just once but repeatedly to tour because they know there’s a ready, willing and ravenous audience(s) waiting to eat them up live over there.
This makes me jealous as hell. Remember when you were a kid and somebody down the street threw a birthday party that you weren’t invited to? Yah, that feeling (my shrink assures me the Xanax will help). Just look at the looong list of live shows in countless clubs in countless cities in countless countries with massive outdoor festivals everywhere from Sweden to Germany to Spain to Belgium to jolly old England and beyond. Hell, the UK alone seems to have a big ass live spectacle every other weekend as soon as the warm weather hits. Which brings me to today’s band - “Zodiac N Black” hailing from Britannia.
England’s had their fair share of kick ass rock bands over the same period of our drought - Black Moses, Raising Sand, Span, Firebird, Gentlemans’ Pistols, The Answer (OK, Ireland), Grifter and The Treatment just to name a few. After hearing their entire forthcoming debut release “The Aftermyth”, Z’N’B can take their rightful place in this pantheon of modern British rock. Dare I say… NWOBHR?
What struck me first and foremost about Zodiac N Black is this is the first rock album I’ve heard in a while that’s a true amalgam of instrumentation. There’s no one standout in the lineup. It’s more about the collective than any individual instrument. All of them contribute equally and strongly as a cohesive, restrained unit. What’s the saying? “The whole is greater than the sum of its parts?”... or something like that. Well, that’s what we have here. A real team effort in terms of songwriting, performance, production and mix. So before we press on, I must first tip my hat to engineer/Producer Alex Newport (The Melvins, The Mars Volta, Sepultura) on a job well done.
The other thing that struck me about these guys is their unique, adventurous, spirited approach to the crafting of each song. They make a point of forging down sonic paths not often tread in their genre. What pushes me over the brink with bands on the likeability scale is if they make a point of leaping off and exploring previously unchartered territory both lyrically and musically. ZNB does both. And quite pleasantly and surprisingly. This is the mark of a great record in my books. You know the kind of special album that just keeps on getting better with each subsequent spin? Which in turn, also increases the shelf life immensely. Sure, there’s no mistaking the blend of influences here from greats like Soundgarden, QOTSA and the mighty Zep to name a few. Those comparisons have already been drawn. But like all great bands full of promise, they elevate their sound to another level by making it their own. Let’s dive in, shall we?
BASTINADO opens with some obscure progressive chord choices for a non-prog band. I like! And I like the fact that they’re not afraid to revisit that headspace again on several tracks. This smokin’ ‘lil rocker’s full of sweet ass bass runs and catch-you-off-guard drum fills. The rhythm section in this outfit never seems to take a back seat to the front end. It’s a straight up, balls out package with some choice cut heavy rockin’ hooks and an arresting chorus. Your earholes will drool when they’re treated to the Druid inspired, gothic-like reprieve about 2/3’s of the way through.
Not surprisingly, A NECESSARY EVIL emerges with a haunting, echoed intro. Then just when you’re being lulled into a slippery slumber, the boys drop a tasty in-your-face lick right in your lap. They really show off their song writing prowess here with lots of variety in terms of chord progressions and timing changes with a meaty, bass driven bridge and a refreshing guitar overlay. Not letting up on the gas for a minute, they deliver a nice, laid back ringing reprieve with some nut busting trade off noodling between the guitar and bass. Then they bring it home with a smokin’ hook near the end and wrap up with a pedal to the metal rocker finish. A solid rock song with tight delivery.
The unmistakeably inspired scent of Rage Against The Machine’s “Killing In The Name” is all over the beginning of ONLY THE LONELY. But rather than dwelling on Tom Morello’s infectious genius, the ZNB boys again take a path less trodden and make it their own. This is a solid plodding rocker that smacks of the Gracious Few at times as well (it’s all good!). They break open the bass line again in the middle with some distant, ethereal voxwork before hitting an unexpected shift in the bridge. In true ZNB fashion, the lads climb on that train with impunity and simply take it to a whole other musical headspace, changing up the pace and arrangement along the way.
THE JOKE IS ON US again has a mellower bass driven start that thematically lingers almost halfway through the song before it’s obliterated by a punishing riff that kicks in with full band compliment. Not deviating from their overall exploratory musical direction, the boys once again deviate (tricky,n’est pas?) and follow some unexpected twists and turns with the lead chord choices and vocal progressions. A highlight is the sweet, rolling bass stops compounded by a rip roaring solo overtop.
BETTER OFF DEAD takes a more upbeat stance as a drawn out rocker.
SEEMS LIKE BETTER TIMES explodes out of the gate like hellfire on a Harley and doesn’t let up! The band breaks open the relentless gallop about three quarters of the way through with a well-poised bottomed out refrain. Then they jump right back in the driver’s seat fueled by a scorching solo.
WHO’S THE FOOL (PT.1) opens with another mellow, haunting intro. that evolves into a stunning duo with just voice and clean electric. The rhythm section quietly slides in about three quarters of the way through some very subtle chord progressions. This song’s a total Zippo… *cough* /Android/iPhone/Windows phone/Blackberry (it pains me to add those) in the air anthemic rock ballad. What’s interesting about this track is right at the end you expect the song to burst into a whole other secondary sonic universe. I mean it SCREAMS for it damn it! (hence the PT. 1 perhaps?). Opportunity missed IMnotsoHO but gorgeous song nonetheless.
Like some earlier tracks, BAD PILLS pulls the pin right off the top with a solid, funky assed riff and resounding chorus. When you hear this tune, you just KNOW these guys would be great live! The song boasts a couple of nice bridges as the band bend, twist and attack the main hook from a variety of different angles throughout the tune keeping it interesting and engaging. “Bad Pills” is a pounding, thundiferous rocker! MAKING AN ENEMY is probably my favourite track on the album. It starts with a brooding, discordant opening reminiscent of Soundgarden and launches right into a complex, high energy bridge. This is a great, great song. I even detect a coincidental hint of Ripple’s favourite sons Stone Axe in here. Just a hint. Essentially this track is an uptempo rocker that proves Zodiac N Black are capable of laying down some smokin’ chops when it comes to putting ink to paper. They prove time and time again they CAN pull a proverbial sonic rabbit out of the hat. And just when you think they’ve tied a nice bow on it, the lads take it up yet another notch in intensity! They tightly deliver an awesome bottom end with distant, ethereal guitar licks that transition straight into a fire breathing solo.
LIGHTS ON BLUES is a 10 minute and change blues rock monster. The heavy percussive opening is joined by a dissonant, plodding chord arrangement on both guitar and bass. They pull back to an otherworldly, exploratory, heavy rockin’ reprieve in the middle and then suddenly kick it into high gear about 5/6’s of the way through with some bad ass guitar and rhythm section trade- offs, drum fills and a soaring solo. Awesome pounding finish! Yet another example of how often these fearless cats charge headlong down a musical path less travelled. Like I said earlier, it’s taking those kind of creative risks that make a band great.
Zodiac N Black are vocalist Jad, guitarist Jim, bassist Hank and drummer Luca.
My friend and fellow music writer, Racer, forwarded an email from Nick Cooke who records under the name cuttooth. Nick had submitted his new album, Elements, for review by The Ripple Effect and Racer knows me well enough to sense that I’d click with this release and as usual he was right. I tend to like trippy, spacey music and ambient hip hop and Elements hits on all of these styles.
Elements opens with "Intro", a spacey little appetizer reminiscent of Boards of Canada featuring a single spoken line slowed down to eerie effect. The second track, "In A Dream", opens with a bright and echoing guitar chord ringing out as a downtempo beat slowly fades up underneath. Not that it was necessary, as the track is dreamy enough, but a voice chanting “in a dream” repeats in the background. This creates a nice bit of tension in the piece.
cuttooth makes excellent use of ambient sounds, spoken word samples and layers of disconnected sounds to weave a dreamscape. Rather than bore you, dear reader, with a track-by-track analysis I will attempt to describe the album as a singular piece of work:
Are you a fan of lucid dreams? Are you apt to daydream? Do you go off into a reverie when your senses are hit with a certain sound, smell or visual that suggests something beyond our limited physical surroundings?
If you fit the above profile, I’d highly recommend giving this a listen. This is an album for the dreamers among us. This is headphone music. For me, that’s the highest compliment I could pay Mr. Cooke.
As the song suggests, “It’s Beginning to Look a Lot Like Christmas” and I couldn’t be happier. Christmas is easily my favorite holiday of the year. Until recently I had been feeling pretty blue, but luckily the holidays have changed my attitude completely. Although it’s my favorite time of year, it can be my most frustrating and annoying time when it comes to music.
It seems like anyone and everyone has released or plans on releasing a Christmas (or as the politically correct would like me to state “holiday”) album. Whether it’s the cast of Glee or Kenny G, everyone seems to be cashing in on the holiday spirit. In the past five years, there have only been two Christmas albums that have made a lasting impact on this Christmas music Scrooge. Back in 2006, Twisted Sister released their Christmas themed album A Twisted Christmas, putting their twisted spin on holiday classics. A Twisted Christmas is a must listen and must buy for all hard rock/metal fans. Now I have a new Christmas CD I adore, which was recently released by the folk duo She & Him called A Very She & Him Christmas.
She & Him is comprised of award-winning actress Zooey Deschanel (best known for her roles in films like (500) Days of Summer, Yes Man, Almost Famous and Our Idiot Brother) and Matt Ward a.k.a. M. Ward (Monsters of Folk). She & Him also happens to be one of my favorite musical duos. Ever since I first heard Zooey Deschanels’s astonishing voice in the film Elf (2003) I knew she would be an awesome lead singer. Fortunately for all of us, she has done just that with She & Him. When I first heard the news about A Very She & Him Christmas I was extremely excited and wanted to buy the album immediately. During my Christmas shopping (in November) I gave myself an early present and bought the album. I could hardly contain myself as I was extremely ecstatic with my purchase.
Zooey Deschanel is a very underrated actress and singer. Deschanel’s hit TV show New Girl highlights her talent not only as the star of the show, but as the composer and singer of the delightful theme song as well. Deschanel is simply irresistible and the whole package. Much like contemporaries Jack Black (Tenacious D), Jared Leto (30 Seconds to Mars), Adrian Grenier (The Honey Brothers), Billy Bob Thornton (The Boxmasters), Jason Schwartzman (Coconut Records), Juliette Lewis (Juliette and the Licks and The New Romantiques),and Shane West (The Germs), Zooey Deschanel has sustained a fruitful film career while also maintaining a successful music career.
After releasing their critically successful debut album Volume One in 2008 and their sophomore album Volume Two in 2010, She & Him continue creating quality music. Besides being the primary lead singer, Deschanel also plays piano, banjo, percussion, xylophone and ukulele while Ward contributes guitars, mandolin, vibes, synthesizer and organ. She & Him released their sweet and satisfying A Very She & Him Christmas before Thanksgiving. The album consists of 12 impressive tracks, which are hip and awesome renditions perfect for the whole family. Zooey Deschanel is absolutely adorable throughout and proves why she is an indie darling.
The album kicks off with “A Christmas Waltz” and “Christmas Day,” but its track three when the album truly begins with a soulful, subtle rendition of “Have Yourself A Merry Little Christmas.” Originally performed and introduced by Judy Garland in the musical Meet Me in St. Louis (1944), “Have Yourself A Merry Little Christmas” is best known for Frank Sinatra’s version and has become one of the most iconic Christmas songs of all time. This slow, sexy performance is an interesting interpretation.
Bing Crosby’s “I’ll Be Home For Christmas” is iconic, but She & Him do it justice with an equally moving version in their own right. I love this impressive indie take on a classic song I adore. The interactions between Deschanel and Ward on “Christmas Wish,” “Silver Bells” and “I’ll Be Home For Christmas” are remarkable and warrant rejoicing. Their happiness creates undeniable warmth on this solid Christmas album.
Deschanel’s bouncy voice on “Sleigh Ride” is one of the album’s highlights. When Deschanel and Ward are singing together, the sweet sound of their voices is the perfect gift for this Christmas. Another delightful track worth mentioning is "Rockin' Around the Christmas Tree." Brenda Lee’s version is phenomenal, but She & Him’s version gives me goose bumps. Like a light switch, this version turns me onto the holiday spirit. The first few times I listened to it I was dancing around my house because I was super excited. I love that feeling!
No one can beat Bing Crosby’s version of “Silver Bells.” However, how many awesome versions are played with the ukulele and sung by an angel? Only on this album does that happen. This version is a subtle, sincere rendition for folk fans to enjoy this holiday season. She & Him have mastered making merry Christmas covers in their own unique way. The affectionate endearing "Baby, It’s Cold Outside" showcases both Ward and Deschanel’s singing capabilities. This delightful duo demonstrates what beautiful music they can create and I love every moment of it.
Every single time I hear “Blue Christmas,” I immediately think of the Christmas special The Year Without A Santa Claus. Elvis Presley popularized the tune and it has since become a Christmas staple in country music. Even this rendition feels very folksy and country-like with its super slow pace, but extremely effective and emotional. Maybe it’s just because I’m recently single, but this song really resonates with me. Nonetheless, it’s a touchy song I thoroughly enjoy.
Not many people can create a catchy cover, but somehow She & Him accomplish that with “Little Saint Nick.” Much like “Silver Bells,” the ukulele is utilized and perfectly captures the energy and originality of The Beach Boys’ classic. Brian Wilson and Mike Love’s cool Christmas classic remains fresh, catchy and feels like you can play it all year round.
A Very She & Him Christmas concludes with arguably the most famous Christmas song of all time, “The Christmas Song" better known as "Chestnuts Roasting on an Open Fire." Nat King Cole made this song famous in the late 1940s. Much like the original, this charming rendition is worthwhile. A Very She & Him Christmas is not your traditional Christmas album, but it’s perfect for creating holiday cheer. Even the liner notes/CD booklet act as a Christmas card from She & Him writing, “Best Wishes for your Happiness this Holiday Season.” If you’re looking for a quirky, cute Christmas album worth discovering than A Very She & Him Christmas is that album.
Man, sometimes I really wish I could afford to pack up and move to the California desert. For almost 20 years, many of the bands who I love the most have come from that area, but I'll never have the chance to see any of them play a live show where I'm at now. Who the hell comes to Nebraska? A lot of my favorite groups won't, but sometimes their cd's will.
Warts And All, the debut by Ogressa, is the latest prize possession I've greedily snatched out of my mailbox with my grubby hands. "Dali's Llama Records, Palm Springs, CA.," I'm reading on the big yellow envelope. Oh shit. I'm like a skinny, strung-out junkie fumbling with his stash I'm so excited. I wanna get this in the stereo and pumping through my veins as soon as possible.
I know...I have a problem. Admitting it is the first step, right? You wouldn't understand unless you're an addict like me because Ogressa are not just another spin-off. Some of my favorite all-star players in the game make up this rock band.
First, we have the one-and-only Zach Huskey (Dali's Llama) on guitars and some vocals and such. He wrote all the songs on Warts And All - except 1 cover - and I shouldn't have to tell anyone about the riffs commanded by his hands. Trent Ramsmeyer (Whores of Tijuana) supplies his 'spellbinding throat' on lead vocals. He's also the producer/engineer for the album. Then there's...wait for it...desert rock legend Scott Reeder (Kyuss, etc.) on bass for 3 songs. Ian Dye (Ape Has Killed Ape) is the main skin-slapper and Mike Jacobsen (Hot Beat Pussy Fiend) provides the bottom-end on most of the tracks.
"Ogressa is a heavy-sounding band and the name of Shrek's evil blue-headed stepmother. Ugly human males yelling and singing loud; rumbly low sounding doomy noise, with guitars and pounding and thudding things." according to the band. "Heavy, down-tuned rock and sludge." Sure, it's part desert-rock. It's rock music from desert, isn't it? But it's also part doom. It's part...DESERT DOOM. Yep. That's a new term for me; heard it from another music-lover a while back and I'm sure I'll be talking about it again.
"Lady Ogress", "Snake Head" and "Animal Mask" are perfect examples. They're what I would consider pure desert doom and I believe they're some of the heaviest songs by Ogressa. Think of sand turning to glass. That's what desert doom is to me. The elements can be that extreme.
It's definitely not all sludge, gloom and doom; ogres and witches, though. "Sonoran Desert" is a real place in the southwest and it's also one of my favorites on Warts And All. It's mainly acoustic and it's beautiful, just like the desert sunflowers I'm picturing in my head as I'm listening. I hear the site-seeing there can be amazing. "Rational Man" is yet another fave. It starts spooky and gloomy, but grows funky and up-tempo as hell after the first 40 seconds and I find it hard not to start shakin' my ass. Oh...piss on it. Let's boogie down.
Know something? I'm feeling a little ashamed after listening to Warts And All for days on end now. You see, I practically begged Ogressa for a copy after hearing the first 2 songs, "Give Me Some Space" and "Mange", which I've included below for you listening pleasure. The band obliged, but I shoulda forked out my hard-earned bucks because this album is a 10-track, 50-minute precious bounty of heavy rock music. I'm sorry, Ogressa. I'm making it a mission of mine to save up enough money to get at least a few more releases from Dali's Llama Records. And a t-shirt, too. Extra-large.
You can also buy Warts and All from iTunes, Amazon and CDBaby. Hell, you can probably get it most anywhere and I highly recommend that you do. I should get you a copy 'cause I didn't pay for mine, but I can't afford it right now. Seriously.
Entering the studio in the spring to record their highly anticipated follow up to last year’s Magic Isn’t Real.
Exploding In Sound Records is beyond thrilled to announce that the first band signed to the freshly launched label is none other than Boston favorites PILE. The label will release the band’s next album on vinyl, CD, and digital formats in the summer of 2012.
One of the absolute best bands in the North East, PILE have made a name for themselves with a persistent touring schedule and their inherent ability to turn the uninitiated into diehard fans. Combining equal parts crushing post-punk, brilliant pop melodies, and a soaring fusion of early 90’s grunge, indie, and swampy blues, PILE’s sound is immediately accessible and impossibly catchy. Through abrasive guitars, enveloping bass riffs, intricate stampeding drums and triumphant vocals that range from woozy mumble to infectious howl, the band create a magnificent noise that simply can’t be ignored. Rising from the impeccable Boston basement scene that has flourished over the past few years, PILE are the kind of band that will appeal to everyone from hardcore punks to elitist indie kids, and everyone in between with their diabolically loose complexity and feverish charm.
Formed in 2007 as a solo project by frontman/guitarist Rick Maguire, Pile released the raw “Demonstration” a lo-fi recording showcasing Maguire’s knack for songwriting. “Jerk Routine” followed in 2009, an eclectic album once again written and performed by Maguire. That summer found PILE expanding to a trio, as drummerKris Kuss and bassist Matt Becker became the band’s dynamic rhythm section. In the fall of 2010, the band self-released “Magic Isn’t Real,” a genuine masterpiece that has inspired a growing obsession in the band all across the country. Shortly after the release of the record, Becker left the band to focus on his growing family, while Matt Connery was brought in as the band’s new permanent bassist. Ready to make an impact, they did just that and hit the road, organizing their own tours resulting in over 100 shows in the past year to ecstatic and rowdy audiences across the country! This fall saw the release of the “Big Web Seven Inch” single, comprised of three tracks recorded during the “Magic Isn’t Real” sessions. Head over to the band’s official Bandcamp page where you can stream and download all of the band’s music. While Boston will also be home, the band is eager to hit the road and expand their rapidly growing audience.
PILE is: Rick Maguire – vocals/guitar Kris Kuss – drums Matt Connery – bass
“I honestly couldn’t think of another band in the world I’d rather have as the premiere Exploding In Sound Records artist. As a label there are certain qualities you look for in a band, and PILE possess every last one of them. Aside from my uncontrollable obsession with their music, the band’s dedication and easy going nature is truly something special. I believe in PILE, and look forward to working with them,” said Exploding In Sound Records creator Dan Goldin.
Exploding In Sound Records is a new venture spearheaded by Dan Goldin and co-owners Ty Griffin and Dave Spak, the minds behind the diverse taste-making blogs ExplodingInSound.com, EscapingTheOrdinary.net, and StereoTypingMusic.blogspot.com. The three have spent a considerable time working in and around the music industry and are ready to put their collective knowledge to good use with Exploding In Sound Records.
When asked about his thoughts on the new venture, Griffin said ““I’m really excited to be working with Dan and Dave, on Exploding In Sound Records. I can’t think of any others I’d rather work on the label and honestly believe we can bring PILE to the next level, spreading their music to the masses”.
Spak added, “I am really excited to work alongside two forward-thinking minds that have the grasp on the music industry necessary to propel a band as promising as Pile to the status that they deserve.”
11/28 Philadelphia PA – Kung Fu Necktie w/ Ugh God, Psychic Teens, & Wives 11/29 Richmond VA 11/30 Somewhere NC 12/1 Charleston SC 12/2 Savannah GA 12/3 Orlando FL 12/4 Gainesville FL 12/5 Tallahassee FL 12/6 Atlanta GA 12/7 Athens GA – Caledonia Lounge w/ Gift Horse’s Hunter Morris 12/8 Charlotte 12/9 TBA 12/10 New Brunswick NJ 12/11 Brooklyn NY w/ Quilty, The Library is on Fire, Ovlov 1/28 Allston MA – Berfest
Jake: I usually have musical epiphany’s randomly. Sometimes I’m at work, in the shower, and most appropriately during a practice or jam too. But I’ve accepted inspiration is everywhere. Not just black and white.
Talk to us about the song-writing process for you. What comes first, the idea? A riff? The lyrics? How does it all fall into place?
Jake: To be honest, most of the songs I write are usually based off of a riff first. However, every once in a while, I just start writing words and take that route. Everything works itself about after about the third time I play/revise everything
Who has influenced you the most?
Jake: This is a tough question. I have so many influences in soo many different ways, songwriting wise- Glen Hasnard, voice-Robert Plant, stage presence- Freddie Mercury, the list can go on and on really for days.
Where do you look for continuing inspiration? New ideas, new motivation?
Jake: Most new inspiration comes from simply listening to many different types of music. I like hearing new ideas or just an arrangement of a song I’ve never heard before. If I can’t find a different source of stimulation, creatively, I’ll actually vehemently seek out new music.
Genre's are so misleading and such a way to pigeonhole bands. Without resorting to labels, how would you describe your music?
Jake: I’d say we’re a new age soft rock alternative. We have elements of folk and indie because of the way we work and write, but overall we use pretty simplistic raw instrumentation to create a bigger sound.
What is you musical intention? What are you trying to express or get your audience to feel?
Jake: My musical intention is really to be able to give the audience great music, write that music, and perform that music to eventually live full time. Don’t really need to be rich, just want to play my music. Come on, share with us a couple of your great, Spinal Tap, rock and roll moments?
Jake: We definitely have some secret practice tracks where I mumble words, or really get off topic. For example, a song that we play called “Armistice” was originally dubbed Carburetor Song, because I kept mumbling those words.
What makes a great song?
Jake: This is very open to interpretation, but I think a great song is a song that can connect to more than one audience and usually span across at the least a generation of satisfied listeners. I’m sure not all would agree, but most classic rock and soft rock tends to fall into this category.
Tell us about the first song you ever wrote?
Jake: I’ll tell you that it was not as interesting as what I write now. I definitely wrote some grade A bologna, mostly because I was learning and developing my songwriting and overall ability to listen and arrange accordingly. I think the first song I wrote had like three Goo Goo Dolls style chords, jeez.
What piece of your music are you particularly proud of?
Jake: I am most proud of my professionally recorded material. I feel like when I created music for my groups in a real studio with real great hardware, mic’s, etc. I knew that I had to rise to a certain level and bring it on each take.
Who today, writes great songs? Who just kicks your ass? Why?
Jake: I think right now bands like Airborne Toxic Event, Swell Season, Phoenix, Mumford and Sons, Avett Brothers, Muse, and tons of others actually have some very intense and relatable lyrics and songwriting in spades.
Vinyl, CD, or digital? What's your format of choice?
Jake: I actually prefer either digital or CD. I feel like most Vinyl can be a novelty in the US. So if I lived somewhere I else, I might think differently.
Whiskey or beer? And defend your choice
Jake: I can’t have both…?
We, at the Ripple Effect, are constantly looking for new music. What's your home town, and when we get there, what's the best record store to lose ourselves in?
Jake: Roll Acosta is native to Tucson, and I think the best place to look for music is either the Chicago Store downtown, Zia Records or online.
Any final comments or thoughts you'd like to share with our readers, the waveriders?
Jake: I guess I would say just listen to as much music as possible. We are in an age now where we can pick and choose, so don’t get stuck on one group. Explore it all, and in the meantime I’ll keep working to make sure you have more to listen to.
Waveriders, Penfold here. As you may or may not know I love me some experimental, genre-blending, wild music performed by experimental, genre-blending, wild bands. Love it! But there are times when this type of music just won’t do. Here’s a perfect example. I’m driving in my car on my way to work. What do I want to listen to? Do I want to listen to that stunning new black/death/thrash/etcetera hybrid band that takes all of my attention to enjoy to its fullest? No. I can’t listen with my full attention in the car. There would be an endless parade of damages to my automobile and several unfortunate fatalities. Plus, I can’t really sing along to all that growling/screeching/yelling stuff that seems so prevalent with extreme music today. To be clear, I want to sing along. Oh please…as if you don’t sing while driving. Yeah okay, I guess I’m the only one. Right.
So, I need some road music with clean vocals feeding strong melody lines that will allow me to sing along and maintain a groove, all the while keeping my attention on the road. What’s that? Why don’t I just listen to the radio? Who said that? If I find you I’m going to smack you! Seriously. Don’t provoke me like that. Anyways, thankfully I’ve found a couple of acts recently that really fit the bill. Let’s talk a bit about them, shall we?
Redefine - Blur On The Horizon EP
This five piece rock band hails from Dallas, Texas. Perhaps simply living in such a large state affects these guys. Perhaps it does not. Regardless, the band has a massive sound. Redefine’s music is hefty, in your face, and consistently shifting to keep the listener on their toes. On this EP, their third release and second with singer Scott Headstream, they come roaring out of the speakers like a bat out of Hades! Guitarists Chris Apaliski and Ryan Maynard lay down riff after righteous riff, along with several frenetic technical passages worthy of study. The rhythm section of drummer Daniel Taylor and bass player Mike DiQuinzio join together in perfect lockstep to anchor the musical pyrotechnics while managing to provide excellent and tasteful flourishes throughout. Oh, and the singer? Let me tell you; this man can sing! It is abundantly clear that Mr. Headstream puts his heart and soul into his performance. The term emotive does not begin to do this man justice.
Alright, that’s enough talk of personnel. Let’s get down to the nitty gritty. The main reason I find this band so satisfying is that they effortlessly jump from influence to influence, all the while maintaining their own identity. Listening to these songs I can clearly identify moments which evoke strong comparisons with other bands of note. For instance the first song, “Arcana”, exhibits verses that have a significant Mars Volta feel to them, but then the song transitions to a thrashy bit reminiscent of Megadeth. And that’s just the first song. Track two, “Motorcade”, has a gang vocal chorus towards the end that has Belladonna-era Anthrax written all over it. “Like A Vision, A Ghost” has guitar lines that scream Dream Theater. “Take Your Medicine” offers up some rapid fire start-stop riffage reminiscent of Tool to my ears. Keep in mind that all of this is wrapped neatly into an ear pleasing modern rock bundle. No song ever sounds disjointed, and no individual moment sounds unnatural. Everything flows together flawlessly.
The bottom line here waveriders is that I recommend checking into Redefine. Heck, I’d even go so far as to say that this music should be played on the radio!
Well hey there! Say, do you like your rock ‘n roll with a heaping dollop of soul? You do? No kidding?! Me too! But wait…what’s that you say? You demand this new music to be unique and memorable? And you want it to be filled with heartfelt emotion? Okay then. You do realize that this is a pretty tall order to fill right? Whoa, calm down! Look, I was just kidding around. I’m going to see if I can find exactly what the doctor ordered…no, I’m not skipping over you. There is no actual doctor. You ARE the doctor! Look, I know just what you need. This is the debut EP from Brandon Jarod, and it is going to rock your world! Pay attention.
Brandon Jarod is a self-taught guitarist from Virginia. Together with drummer “B.A.” Bryan Adkins he recorded The Crush EP. In a live setting the group is completed by Tyrone Jordan on bass, but the EP in question was recorded without him (perhaps before they even met). I mentioned that Mr. Jarod is self-taught on the guitar because I think it is of the utmost importance. According to historical record he learned to play by imitating other guitarists whom he admired from all walks of music, and it really shows. His playing sounds fresh and organic and is clearly not limited by established stylistic structures. I think the only rule he applies is that no matter what the music has to sound good, and boy howdy does it.
The six songs that make up The Crush EP run the gamut. An insistent drum beat opens “Falling Into Place” before the guitar and bass kick in to bring on the good times. “No Solution” is the heavy rocker of the collection with a slithery guitar line preceding the main crunchy riff and a huge bass presence. There’s also this really cool bluesy flourish thrown in every so often that always draws a smile to my face. “Luv ‘Em And Leave ‘Em” is a fairly short instrumental (excluding a message at the beginning of the song) that reminds me of Led Zeppelin and Chicago (“25 or 6 to 4”). “Put It In A Love Song” is a darn near perfect pop-rock gem. “The Crush” is a wonderful rock/r&b hybrid ballad that swings like a wrecking ball, and “Cream” wraps things up nicely with some killer up-tempo blues rock. All of these songs are great, but there is something else that stands out. Brandon Jarod’s vocal performances are something else! He mixes your standard rock vocals heavily with what you might hear from an r&b/soul singer. The result is unique and decidedly memorable.
Waveriders, Brandon Jarod is an artist you need to check out right now. Think. If his debut EP is this good, what does he (along with his musical cohorts) have in store for us down the road? I’m eager to find out and after you listen to The Crush EP, you will be too!
When I find a band that I fall in love with it is usually their debut release and I have to wait another year or more before I get new tunes from them. So, imagine my delight when I am given The Uglysuit. Six friends making delightful music, been together since '06, their debut album came out in 08' another release this year... Then a bombshell drops...
They are splitting up! I wanted to keep listening to their music, get excited about their next release, harass my neighbours with their tunes blaring loudly but no...
Although, they have left a consolation gift.
Awwww Shucks was released June 14th and is a fabulous way for them to sign off. Their funky psychedelic sounds are sure to please even the most fussy listener.
“On We Go” opens things up with groovy funky beats that bring you into their way of playing, if you don't dig psychedelic music, you will after this song. It starts by sounding sort of like how you would expect any pop song to- clever, fun, rhythmic, fresh notes, then it transforms into something more synthetic and adjusted and the sounds work.
“The Free World” is next and The Uglysuit doesn't ease you in this time, be ready for the good times!
“1902, Deep Ocean” starts with the sweetest finger picking on a guitar I have ever heard. It is a fresher, cleaner song making a beautiful change. It should be noticed at this point, that the vocals on Awwww, Shucks are immaculate. “When I caught caught a glimpse in my eyes I noticed everything that is beside me Also is around me”
“The Colour All Around” continues with “1902, Deep Ocean”'s freshness, but is a little heavier, preparing you for...
“Oh The Tides” with a fast pace, heavy psychedelia, and rock into the mix it is a surprise and a half. A brilliant surprise and a fabulous song. Opening with a synthetic keyboard, moving onto a heavier, fuller body, then slowing off again it is brilliance.
“Pen and Self,” and “The Part of a Corner” take you back to the earlier sounds on the album and slow things back up as you put your feet up and relax.
Tying things off is “Two Shots Of Sunshine” with clicking, clapping, harmonica, tambourines, it is fun and funky, one of my favourites of the album. I couldn't think of a better song to tie off their final gift to the music world.
The Uglysuit sounds oddly familiar but I can't quite put my finger on who they sound like. What makes this feeling worse is, they are unlike anything I have heard too. The familiarity and new shiny feeling of Awwww, Shucks is surprising and slightly frustrating. I really did love this album because of its individual, fun, heavy, light, crazy, deep, beautiful music. It is a shame that The Uglysuit won't be making more of this, but their final “Hoorah!” is not to be missed. Long live good music!
Sometimes things are better if you do them yourself. That is exactly what Norway’s Tomas Dahl appears to believe with his one man power pop band release “Electric Hero.”
Dahl calls his solo band endeavor “Caddy.” It is an apt name. A caddy in golf is one who carries a player's bag and clubs and gives advice. On this release Dahl carries all the instruments and vocals. He is the “Caddy” and the player. Before inventing Caddy Dahl was a member of two noted power pop bands - The Yum Yums and Wonderfools. After listening to “Electric Hero” I could not help but speculate that the album came about because Dahl couldn’t get those bands to play his music exactly how he wanted it to be played. Caddy is Dahl’s opportunity to “have it his way” and he delivers it with relish.
Although he calls Caddy’s music “Paul Stanley and Bryan Adams writing songs together . . . in Brian Wilson’s house” that is not what I hear. Rather, my aural palette tells me the sound is Blue Oyster Cult meets Fountains Of Wayne at a party thrown by The Black Keys. When I realized Dahl wrote all the songs, played all the instruments, produced the album, and sang every note, I was flabbergasted. He is truly a musical army of one.
What you get with “Electric Hero” is an amazing array of catchy lyrics, blazing multi-layers of guitars, blistering drums, perfect harmonies and vocals with true grit. The melodies are infectious. From “Hanging On To Nothing” through “Long Way Home” Dahl takes the listener on an accessible and astonishing power pop journey. Just when you think the music is becoming too sugary sweet Dahlchanges it up and crush rolls you into submission.
This is not a concept album. Each of the fourteen tracks stands on its own and each could have easily been released, and been successful, as a single. These days Norwegian bands are generally known for “black metal” music, but none is found on “Electric Hero.” Instead, you get some of the best power pop of the past decade. The slogan of Norway may be “Norway, Powered by Nature.” However, after you listen to “Electric Hero,” you might suggest that it be changed to “Norway, Powered by Dahl, a force of Nature.”
This is fun stuff. I wrote the first draft of this review almost immediately after listening the whole album the first time. I wanted to capture my thoughts right away, and I rarely do that.
I've listened to it five times now, in less than 24 hours.
"High John the Conqueror" lurches to and fro, radically detuned, taking its time.... "Vesuvius" with its tribal drumming opener: dig that distorted bass riff, dig that thick-ass riff over top of it, dig that double bass coming in just then, dig the feedback and double-tracked vocals at 1:15... a heavier Kylesa meets Helmet.... "Cyclone" fires up one helluva simple thick-ass riff which segues into a pedal-tone-tastic instrumental riff fest.... "Shark Valley," mandolin-intro'ed, folk-sludge crusted riffer, similarly-instrumental.... "Oubliette," a remorseful Gothic instrumental...
"Baying of Jackals" starts tribal --"Rise from the place where you hide!"-- hits a semi-syncopated odd meter (i.e., you can't dance to it and headbanging might be a challenge); the two facets compliment each other and make the tribal more tribal and the quirky more quirked. "Sinister Hunt," the more riffy, stomp-laden brother of the previous piece-- ending with a mantra and slowing slowing slowing slowing feedback....
"Hands That Prey" (see what they did there?) a one-minute, acousticed, phased, delayed intro to "Pale Rider" and its riff-armored war horse of a tune, complete with gang (really prolly just multi-tracked) vocals, raises images of an army, invoked shaman-style, chanting a victory cry. THEN: around 2:00, becomes a quiet, drum-launched fireside chant, THEN: takes off again with the screaming war-painted masses.
They’re angry. No doubt about that. They’re talented. No doubt about that either. It’s punk, sort of. This is a ragged hint of reggae, a little bit of blues, wave or two of surf music and a whole lot of venom.
Vic Du Monte’s Persona Non Grata’s new release “Barons & Bankers” crosses musical boundaries. It shifts the focus of hard rock style and wraps it in punk fury. The gravelly slurry vocals sometimes reminiscent of Eric Burdon, sometimes Jim Morrison, and sometimes UFO, are those of Chris Cockrell , a California desert denizen and former bassist for Kyuss, who goes on stage as “Vic du Monte.” du Monte also plays guitar, piano and blues harp. He is backed by James Childs on guitar, keyboards and background vocals. Childs also produces the band. Alfredo Hernandez, the former drummer of Queens Of The Stone Age, sits behind the kit. Persona Non Grata’s most recent addition is bassist Dylan Roche.
The album “Barons & Bankers” starts off with an infectious song about one guy getting in the way of another guy’s pursuit of a woman. It is aptly named “Cockblocker” and could easily become a classic. It is followed by “Raising To The Ground,” a tune that harks back to early rock blues of the 1960’s. It is a crowd ready song that will pump the audience into a head banging call and response. The next song “Never Home” drives to the limit, pulls back on the throttle, and then again hits the gas. It is about an attempted hook up that never quite occurs.
When the band starts up “Barons & Bankers” you are transported to the roadhouse that Jim Morrison sang about in the Doors’ “Roadhouse Blues” and you can hear the call of the Rolling Stones’ “When The Whip Comes Down.” “Chief Running Scams” queues up next and is a classic punk type song with staccato delivery, banging guitar, screeching leads, and screamed lyrics. A slow tune embellished by du Monte’s blues harp, “Truth And Consequences” is a quieter journey in 4/4 time. The track that follows, called “Wog Box,” is a fun anthem about the sheer happiness of the Ghetto Blaster. The song morphs from rock to punk rock to reggae to classic rock and it all works magnificently.
As the band plays “Running To The Moon” you start to feel that this band could quickly become the next “big thing.” Like Green Day did on their way to superstardom you can hear Persona Non Grata evolve toward a more accessible punk sound with a heavy rock crossover. “Running To The Moon” is followed by a rock anthem - “Vanished From The Scene.” It is a catchy well-written tune that quickly bops along within the echo of the wind with interesting orchestration. The band then does “Invisible,” which starts off with a howl Wolfman Jack would have admired. This tune is classic rock and roll and would sound right at home on the harder rocking radio stations. Vic also uses thesong as an opportunity to show off his blues harp chops. The album ends with “Man Trap,” a more traditional punk song, if there is such a thing. Large amounts of air are pushed through amplifiers as the band goes into high intensity overdrive. Feedback, guitar bursts, rills, drum volleys, breakdown, anger vocals - it’s all there.
This release is an unexpected guilty pleasure. It shouldn’t take long for Vic du Monte’s Persona Non Grata to cement itself as an iconic rock experience. This is definitely a band that will bend your ear.
In the beginning there was Link Wray. The noise that he started has been used, abused and loved by many over the years since he started the Rumble heard round the world, but few have been willing to take it to maximum like Motorhead have. 36 years into it Motorhead deliver their 20th studio album and it’s much better than it has any right to be.
Since 2004’s Inferno, Motorhead has been on a roll of putting out strong albums to support their always killer live show. Are they the equal of all time stone get-off classics like Overkill and Ace Of Spades? No, but hardly anything does by any band ever will. The World Is Yours and 2008’s Motorizer are kick ass rock n roll albums from start to finish. What more could you ask for?
Producer Cameron Webb seems to be able to get the best out of Lemmy, guitarist Phil Campbell and drummer Mikkey Dee and is insane enough to have done 4 albums with them. The band have praised him for not allowing them to write second rate songs and his ability to get a great sound and performance from the band. Anyone willing to endure their massive alcohol consumption, ear splitting volume, arguments and pranks deserves a lot of credit. He obviously knows what Motorhead fans want to hear.
“Born To Lose” starts things off in classic Motorheadbanging fashion – big drum fill, riff similar to their classic “Shoot You In The Back” and them Lemmy’s haggard growl. Sure, they’ve used the riff before and even the title way back in 1975 on “Iron Horse/Born To Lose” but who cares? By now you know where you stand with Motorhead – you love them or you cover your ears and retreat to the safety of your Wilco albums.
Most of the songs on The World Is Yours bear resemblance to some of their classic jams. “Brotherhood Of Man” is musically and lyrically an update of the world is doomed classic “Orgasmatron” and “I Know What You Need” reprises “Nothing Up My Sleeve.” The first single “Get Back In Line” is basically “Don’t Need Religion” part II. But that’s not to say that they only pinch from their own catalog. Lemmy was good friends with Phil Lynott and Thin Lizzy’s classic brawl starter “Are You Ready” shows up in “Devils In My Hand.”
Motorhead’s on tour right now in the USA playing to generations of fans and enjoying a big swell in much deserved popularity. Part of that is due to the new documentary of Lemmy’s life, but a more important part is that they play kick ass rock n roll and hardly anyone else does. If you haven’t bought a Motorhead album in awhile, don’t snooze on this one. If you can afford it, pick up the deluxe import version that comes with a special all Motorhead issue of Classic Rock Magazine. The album cover may not be denim jacket worthy, but you already have Overkill or the classic warpig logo done in acrylic on yours, right?
There is magic in music. In what other endeavor can you subject people who don’t love you to poetic, emotional and personal thoughts and get them to listen? Without magic there is no music and without music there is no magic.
The magic starts when a songwriter, singer, instrumentalist scratches out a few songs about life on the back of an envelope. The songs express an inner-vision from the writer’s experience that shaped the words written and the melody later employed.
Or, the magic may come when a musician strums a progression, plays a memorable lick, beats a compelling rhythm, or finds an intriguing tone or sound. Some artists fit words to music. Some fit music to words. Some do both.
It is not, yet, necessarily “music.” Now, the artist may choose accompaniment - instruments, percussion, and harmonies. Today, technical magic is needed to make songs into music. The songs must be produced - the tone of the instruments, the recording technique and sound processing all must be planned and executed. The technical arts are applied. The result may be mixed, re-mixed, mastered, remastered, scribed, formatted, pressed, compressed, expanded, sparkled, equalized, etc., before we, the public, ever hear the final product. Music is not only built with many varieties of magic it can become magic itself.
Take, for example, singer, songwriter Marc Robillard and his new CD “Left London,” scheduled for release on March 29, 2011. Robillard is a Canadian born, Los Angeles-based singer songwriter and this is his second album inspired from his time living in London. The songs are all Robillard. The technical magic came from Andrew Bojanic and Liz Hooper of The Wizardz of Oz. These “wizards” have also worked with Vanessa Hudgens, Avril Lavigne, Britney Spears and Krystal Meyers. Here, they add a “pop sheen” to Robillard, an alternative rock balladeer in the vein of David Gray. The results are phenomenal.
The words and feelings in the music are introspective. Just the names of the songs are illustrative - “So Much More,” “Crazy,” ”Fall Away,” “Bleed,” “The Worst Day Of My Life,” “Conclude,” “Okay,” “EverStop,” “Without You,” “Ghost,” “Unfold,” “Love Song,” “Contagious.” Based solely on the titles, without production, most of this stuff would be considered dark poetry. (We have got to say Marc your London experience must have been one hellish event!) No doubt Robillard has a great voice. (You probably heard part of “So Much More” on a recent Sun Chips TV commercial.) Yet, when the wizards get a hold of it, orchestrate it, mix it, produce it, and give it a pop sheen, it becomes accessible alternative rock music and it is transformational. There is emotion and there is substance to the words and to the music.
Bojanic and Hooper deserve credit as great magicians. They apply their craft in a way that makes Robillard’s lyrical songs music. There is magic in this music and the music itself is magical. Listen and, if you play your cards right, I think you can even hear the wizards pull a rabbit out of a hat.
This five piece rock band hails from Dallas, Texas. Perhaps simply living in such a large state affects these guys. Perhaps it does not. Regardless, the band has a massive sound. Redefine’s music is hefty, in your face, and consistently shifting to keep the listener on their toes. On this EP, their third release and second with singer Scott Headstream, they come roaring out of the speakers like a bat out of Hades! Guitarists Chris Apaliski and Ryan Maynard lay down riff after righteous riff, along with several frenetic technical passages worthy of study. The rhythm section of drummer Daniel Taylor and bass player Mike DiQuinzio join together in perfect lockstep to anchor the musical pyrotechnics while managing to provide excellent and tasteful flourishes throughout. Oh, and the singer? Let me tell you; this man can sing! It is abundantly clear that Mr. Headstream puts his heart and soul into his performance. The term emotive does not begin to do this man justice.
