[November 4, 2011] KBS Music Bank Highlights + Commentary

Watching today's show made me realize how long it's been since I've watched more than a few cuts from a music show, let alone write a recap. You'll have to excuse me if I'm REALLY rough around the edges and allow me to slowly ease back into this routine, but hey, this is a start! I hope I make it out of this week alive, for the sake of my year-end countdown!

It's really no surprise who won today, but honestly I'm surprised at all the acts I've never heard of before! Oh well. Since it's been months since my last recap, for new readers, my music show recaps focus on idols and idol groups whose singles I've already heard prior to performance.


Video credit goes to UnknownCarrot180.

Boyfriend - "Don't Touch My GIrl"
It may be a quaint song, but my God, these guys really can't sing this song live, can they? It's like they equate singing well to singing loudly. No. They end up sounding like they're whining and/or sing-song-ing, and I'm sorry but that just doesn't really quality as actual singing. I watched one of their earlier performances of this though, and it was even worse, so I suppose this is the best they can do.

The Boss - "Lady"
Stunning song, gorgeous vocals, but inexperienced vocalists. Don't get me wrong, they are lightyears ahead of their peers, but looking at their vocals alone there is much to be improved. Everything up to the part just before the high note parade is perfectly fine - strong vocals, solid, consistent delivery and stunning harmonies - but the guy who does the high note, no matter how much his voice shone on that live video they released the other day, when left to his own devices he's not as sure as Mika or Karam. First of all, he cut the note in half. On one hand I appreciate that he had the foresight to not push the sustain, but after hearing that disaster of a note that came after that pause, I get the feeling that he stopped to "gain momentum" for a train wreck. My throat hurts after hearing it - you're overdoing the husk(y). Not really something praise-worthy. Try again, DGNA.

Orange Caramel - "Shanghai Romance"
We'll talk when you people stop putting out such cheap songs, coupled with horrid choreography and bad vocals, Orange Caramel.

Secret - "Love is MOVE"
I never thought the day would come when Sunhwa would become the second-best singer in the band. I always thought it would be the other girl. But then again, they've all really improved over the years, and Ji Eun can now sing her own songs with that pretty voice of hers! Strong performance this week, very explosive and consistent, except for that girl who now cannot sing. And I really like how the entire thing is perky and fun, but still melodic. It's one of those songs that does best live.

Brown Eyed Girls - "Cleansing Cream"
I finally understand how BEG challenge the k-pop norm, and it's not just in the song, it's in the entire package of the comeback. The song itself isn't anything groundbreaking, it sounds like several other songs, but the way they pull it off, and of course the fact that they're actually mainstream whether they like it or not, makes the entire idea of this release, somewhat off. In a good way of course. And the performance - of course it has to be different from everyone else who prances around stage or stands there - they're sitting down. Thrones, maybe? Again, the outstanding vocals get perfect marks, but the performance as a whole is really something else.

Kim Hyun Joong - "Lucky"
Whoever says that Hyun Joong can sing live clearly has no ears. He's gotten much more stable since going solo, but it's not like he has a voice to start with, so there's only so much he can do before. And why isn't he singing during the chorus? I don't care if the choreography is hard, you are a singer, you SING, you do not dance and randomly chant English. Oh Hyun Joong, when will you ever realize that singing solo is not for you.

SNSD/Girls' Generation - "The Boys"(WINNER)
The only thing on my mind while watching this was how I could accurately describe my rage over the excessive bass on today's performance. Let's just say that no, I haven't found an English word, but I do have a rather stinging rant in my native tongue, which I put on Twitter. As for the vocals, I don't know, there's always something off about EVERYONE's vocals, and I think that has to do with THAT STUPID BASS LINE DROWNING EVERYONE OUT. If everything was evened out on the recording, I'm afraid studio tricks mean nothing in the real world. Seriously, they all sound like they're being strangled, regardless of whether or not any of them are singing well. I'm sorry, but that really puts me off.

Noothgrush - Live for Nothing

This is the aural equivalent of Charles Bukowski (not, interestingly, the German classical he used to write about); I initally thought that Eyehategod was, and, though Hank did live in New Orleans briefly, he is most associated with southern California, and San Francisco-- so the bay area's Noothgrush I'm christening The Aural Bukowski.

Why? They're decrepit, low-budget, oily probably-reeks-of-beer-sweat despondent riffmeisters. Much like Bukowski's poems.

Noothgrush (the name from, of course, the Dr. Seuss classic There's a Wocket in My Pocket! and is it sad that I immediately knew that?) play proto-ancestral sludge; they had broken up before sludge fully emerged as its own form and there grew up tropes around it.

Live for Nothing (on Southern Lord) is two live radio broadcasts from KZSU (in 1996), the other from KFJC (in 1999).

I’d never heard Noothgrush until the recently-released Power of the Riff festival soundtrack, on which ‘Grush had one track, “Oil Removed”– and then I was ashamed of never having heard them.

Live for Nothing is similar, production-wise, to Seven Foot Spleen– a higher-gain, thrashier (though detuned) guitar tone; nowadays there’s generally less overt gain, and a blurrier tone being used in sludge and doom metal, and this sound is a nice throwback change..

Noothgrush are angry, lurching, plodding drunken stumbling punked-out sludge. The best way to describe them, nay, inculcate them to your ears is here:

There’s a break at 2:30 of “Jundland Wastes”; everything slows down… and eventually a riff emerges that is just… Fugly.

Actually, that’s a great album title: Just Fugly Riffs. I would buy that, unheard.

You’re reading this site, so you know, even if unconsciously, what a fugly riff sounds like– indescribable, indefinable, but instantly recognizable.

Like judicial perceptions of pornography.

Noothgrush hit that special spot… deep in your guts, like porn hits your tender, sensitive loins. You may actually riffjaculate during your experiences with Live for Nothing. 

Your milage may vary, however. 

I'm not promising anything. Just sayin'.

--Horn

Twisted Sister - Double Live DVD/Live At the Marquee CD

A few months ago I wrote a frantic, drooling review of the reissue of Twisted Sister's debut album Under The Blade. It came with a bonus live DVD of their hell raising performance at the 1982 Reading Festival in the UK. As great as that package is, 2 others have come out and blow it away.  In July the Double Live DVD was released containing a full live show from 1982 and their reunion at the 2001 NY Steel benefit, and just a few weeks ago Rhino released an audio CD called Live At The Marquee recorded in 1983.

The 1982 show from Double Live is a revelation. There's not a lot of footage documenting Twisted Sister in their club daze and to have a professionally filmed complete show is nothing short of awesome. Everything you ever heard about their show is true. Five guys in fruity satin outfits bashing out some of the most intense metal of the era. If the opening three songs of "What You Don't Know (Sure Can Hurt You)," "Destroyer" and "Tear It Loose" don't kick your ass then you don't have one. Filmed at the North Stage theater in Long Island, it captures Twisted Sister right before the left for England to record Under The Blade with Pete Way of UFO as producer. The energy level is high and the crowd (back when the drinking age was 18) is rowdy. Someone in the front row hands Dee Snider an early issue the infamous Kick Ass fanzine and Dee graciously shows it to the crowd. Kick Ass is one of the publications that helped put Twisted on the metal map back in the day and it's cool that it's documented here. North Stage was supposed to be Twisted Sister's farewell to the club scene but that didn't happen until almost 2 years later when their Stay Hungry album exploded. The footage here documents songs that were retired from their set not long after this show like "I'll Never Grow Up Now," "Lady's Boy," "You Know I Cry" and the anti-disco anthem "Rock N Roll Saviours." The only dud is their cover of "Leader Of The Pack" but, hey, back then the chicks liked it and it gave me time to take a leak and get a new beer before they busted out another heavy one. On this occasion it's a blistering version of "Under The Blade." Headbanging is always easier with an empty bladder and a fresh drink.

The other disc in this package is their reunion show from 2001 that took place at the NY Steel benefit show after 9/11. There was a lot of bad blood between the members up to this point but they put it all aside for a good cause and kicked major ass. It's a little unfair to compare the two shows since the 1982 one is the band at their absolute peak but the 2001 show is also great. Even though they're wearing street clothes the band still puts on a very energetic show. Dee's banging his head like a maniac and bassist Mark "The Animal" Mendoza is is even bigger and scarier than ever. Jay Jay French looks ridiculous in his cheap wig but still plays some great solos. The audio source is from the soundboard so the crowd is very low in the mix and Dee's voice struggles at times. The set list leans towards the Stay Hungry era with the hits "I Wanna Rock," "We're Not Gonna Take It" and "Stay Hungry." They don't let the die hards down with some great oldies like "Come Back" and "You Know I Cry." Chances are you're not going to watch this disc that often but it's still cool to have.

Something you're going to listen to all the time is the killer Live At The Marquee CD. In 1983 Twisted Sister built up a huge following in the UK that could no longer be ignored and they were signed by Atlantic Records. They did 2 nights at the legendary Marquee club in March and recorded both nights for live b-sides of their singles. About 8 songs from these shows were spread across 12 inch and 7 inch singles. Over ten years ago I burned them all to CD and sequenced them into a mini-concert that I blasted all the time. I always hoped they would release an entire show and here it is almost 30 years later and it's happened. Worth the wait? FUCK YES!! I'm not sure if this was intentional or not but some of the versions on the CD are different from the ones that were put out on wax. For instance, the version of "What You Don't Know" on the CD the band is introduced by none other than Lemmy. It's probably for the best this wasn't the way it was put out back in 83 because my head would have exploded.

The performances on this disc are tight, potent and LOUD!  Twisted Sister in their prime could really kick out the jams. "Sin After Sin" is brutally hard, almost like Judas Priest playing "1969" by the Stooges. "Destroyer" is heavy as hell and "Tear It Loose" is pure Motorhead speed boogie. The English crowd goes nuts when they play the (at the time) unreleased "I Am (I'm Me)" and "You Can't Stop Rock N Roll." Dee and Jay Jay deliver some hilarious stage raps that give you some insight into what it was like to be a headbanger back then. I still hate Adam Ant and I'm glad that Dee voiced his opinion back then and that it still holds up. This CD is a limited edition from Rhino Handmade and comes in a very cool TS logo shaped cover about the size of a 10".

Everyone in the NY/NJ area who experienced Twisted Sister in their glory years will tell you at length how great the band was but how the albums never captured their true spirit. The proof is out and there's no denying it. Play it loud forever, mutha.

--Woody

Free Download - Canuck Metal Vol. 1 Presented by Loudtrax.com & Heavy Metal Music Association of Canada (H.M.M.A.C.)

The Heavy Metal Music Association of Canada (H.M.M.A.C.) and LoudTrax.com have teamed up to present Volume 1 of Canuck Metal, a free download compilation part of series to showcase Canada's up and coming head banging talent.

 

 

Canuck Metal - Volume 1. features the following bands and tracks:

3 Mile Scream - Everything Slips Away
22Hertz - Detonate
All Else Fails - This World In Flames
Avery's Descent - Rock n Roll Bitch
Bolero - Pints Held High
Dissension - Set To Kill
Endast - Black Cloud
Fallstaf - The Cost
Fatality - Thrash Fuck Eat Sleep
Kill Matilda - Geisha With A Switch Blade
Ninjaspy - Skaingkh (The Skank)
Scythia - For The King
Slaves On Dope - No One To Blame
Tantrumn - Coward
Titans Eve - Becoming The Demon

To download the free compilation please visit Loudtrax.com at the following link here and type in promo code: HMMAC

 

About HMMAC: HMMAC is dedicated to supporting established and upcoming talent in the Heavy Metal genre and its subgenres and promoting the overall practice of music. The Association will also help with promotional tour support, informing its members of grant support and new and upcoming information concerning the ever evolving music industry of today. We will be representing our Association through Trade Shows, Conferences and Seminars, and our own events.

HMMAC Newsletter - Signup - http://hmmac.fanbridge.com/

For more info on HMMAC please email - HMMACanada(@)gmail.com 

Tending Bar - featuring Dan Miraldi, Dansewolf, and Charetta

Late last night I found myself once again behind my bar’s well-worn counter.  Three individuals, a man who appeared to be in his 60s, a woman I’d guess to be around 35, and a young man definitely still in his 20s walked through the door one after the other and sat down.  Each of them looked downtrodden.  While I thought it was unlikely they were family, they clearly knew each other.  After a few moments the older of the two men called me over.

“Good evening folks.  Would you mind if I ask what’s troubling you?  All three of you seem upset.”
“Oh, it’s nothing really,” said the older man.  “I’m just angry that no one makes music with the same spirit of what they created when I was a kid back in the 60s and 70s.”
“I see.  What about you ma’am?”
“I’m troubled that none of the new rock music I hear nowadays is any fun.  I remember in the 80s when hard rock bands were having a good time.”
“And you young man?  Care to share what’s on your mind?”
“Well, I grew up in the 90s and I miss the bottom heavy, groovy hard rock with clean vocals that dominated the charts.  All the yelling and screaming nowadays leaves me cold.”
“Ah, I see.  Excuse me a moment, I’ll be right back.”  I went to the end of bar and took a few CDs from my hidden cache.  When I returned I placed a CD in front of each of my customers.
“What’s this?” asked the older man.
“That sir, is a copy of Dan Miraldi’s newest EP.  That is music written with exactly the spirit you’re looking for.”  I directed my attention at the woman.  “Ma’am this is an EP by Dansewolf, a band that would feel right at home in the 1980s.  You’re going to have fun listening to this, I promise.”  Finally I turned to the young man.  “My friend I feel your pain, and without a doubt this EP from Charetta is going to knock your socks off!  You’ll find it’s so hot, it’s going to scorch your eardrums.”
“What kind of bar is this?!?”

Dan Miraldi  Rock N Roll Band!

Waveriders, when I learned that Dan Miraldi had a new EP out and that I would get to listen to it, I got excited.  I loved his last EP Tease thanks to its three wonderful, retro-tastic songs.  Needless to say my expectations for this new music were high, and I’m very happy to report that Mr. Miraldi’s new release picks up right where Tease left off.  Vintage rock/pop fans rejoice!

Rock N Roll Band! offers up five terrific songs that evoke all the same feelings you get from listening to classic rock and pop from the 60s and 70s.  There are newer influences at work as well, especially in EP opener “We Both Know”, but overall there is an undeniable innocence and genuine purity on display that is notably absent in a lot of modern music.  These songs are upbeat and fun to listen to both musically and lyrically.  My personal favorite track is “You’ve Got To Hurry”, an upbeat bouncy number with good vibes to spare.  The title track is a very entertaining excursion into Mr. Miraldi’s recent musical history.  EP closer “Give & Take” is a rollicking version of the classic guy wants girl who wants different guy storyline featuring some very clever and witty lyrics such as ‘why should we go to a party when you only use my heart for karate’.  Ha!  Love it!

The only problem (and I do mean the only problem) is that this EP ends way too quickly!  Seriously, every time I listen to Rock N Roll Band!  I look expectantly at the speakers in silent entreaty for more musical goodness after it ends.  Alas, the speakers never answer and I’m forced to hit the play button again.  Waveriders, do yourselves a favor and check out Dan Miraldi.  I guarantee your days will be lighter and brighter when you hear this music.

Dansewolf  Smoke -N- Mirrors

Question.  Do you want to know what it would sound like if Gwen Stefani sang in front of a synthesizer-equipped hair metal band?  Answer.  Of course you do!  Why?  Because it’s fun, that’s why!  And because you just don’t hear many bands taking this approach nowadays.  Seriously, listening to this EP makes me wish I had long hair, a full time makeup artist, and an androgynous wardrobe.  Okay maybe that was a bit of an overstatement, but I think you get the point.  The playful spirit of 80s rock is alive and well for every second of the twenty two minute runtime of this EP.

If I could, I’d like to make one thing clear.  I think this is a very good band that writes songs filled with great and memorable hooks, but in my humble opinion this music really revolves around vocalist Juls D.  Her melodious voice effortlessly takes center stage in each composition, and her level of charisma is off the charts!  Again, I don’t want to take anything away from the rest of the band (Andy Lagomarsino and Grant Webb), but these songs would simply not be the same without Juls D’s singing.

Musically speaking the six songs offered on Smoke -N- Mirrors cover all the bases.  You have your guitar heavy rockers like opener “In L.A.”.  You have your power ballad “Shut You Down”.  There’s the bluesy-groover “Smoke N Mirrors”, the feel good closer “Like A Ghost”, and the infectious power pop of “I Think Maybe”.  All great songs, but my favorite has to be “Love Hate Heartbreak”.  Fantastic!  Waveriders, take a listen to Dansewolf and inject some fun into your listening life.

Charetta - A Nation Distracted

Attention waveriders.  Do you enjoy heavy post-grunge 90s-era alternative rock?   Do you think you would get a kick out of hearing “Alannis Morrisette punching Chevelle in the face” (the band’s own words)?  If so, boy do I have a band for you!  Their name is Charetta and they have a new EP entitled A Nation Distracted that’s been made just for you.

Charetta is a five piece band out of New York, NY.  Bass player Richard Mollo and drummer Adonis Sanchez lock together to lay down some wickedly solid grooves.  Guitarists Pablo LaFrossia and Chris Fullam take every opportunity to bludgeon the listener with immense, monstrous riffs.  Last but not least we have the group’s gifted vocalist Angelina DelCarmen, who puts her powerful voice at the forefront of every song.  The most impressive thing about Ms. DelCarmen’s voice is that it can easily blow the front door of your house down, yet she never resorts to actually yelling / screaming her vocals.  Impressive stuff!

The EP is made up of a short introduction and four proper songs.  My ears agree most with the first two songs, “Distraction” and my personal favorite “Lights Out”.  Both songs get my head banging rather easily.  That said I don’t mean to imply the final two songs, “Fighting Blind” and “Bully”, are inferior in some way.  They are quite good in fact and the full EP does its job rather well.  I want to hear more from Charetta…right about now.  I think you waveriders might as well.  Mission Accomplished!

--Penfold

PILE sign with new label Exploding In Sound Records

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.”

Stream and download PILE’s music at pile.bandcamp.com.

 

PILE on TOUR:

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

 

John Amadon - Seven Stars

 

My favorite Beatle was John Lennon.  To be sure, John was a tortured soul.  His soft side seen in such songs as “Imagine,” “Beautiful Boy,” “Mind Games,” “Gimme Some Truth” “Steel and Glass” and their ilk represent a contemplative Lennon quite at odds with the combative John that penned “Working Class Hero,” “Woman Is The Nigger Of The World” and “Whatever Gets You Through The Night.” I thought I would grow old with John.  I miss him and can’t help but think how he might have changed this world if he had not been gunned down.

Memories of Lennon came flooding back when I first heard John Amadon’s release called Seven Stars.  While he lacks Lennon’s harder combative side,  Amadon can channel much of the feeling of the contemplative Lennon.  Yet, this is an indie rock album. Amadon spent seven years as the bassist for Fernando and he calls upon a Who’s Who’s list of indie rockers to help him out -  Scott McPherson (live and session drummer for acts including Beck, Elliott Smith, Neil Finn, M.Ward, She & Him, Bright Eyes, et.al), Mike Coykendall (M.Ward, She & Him), and William Slater (The Grails).

Before this release Amadon took a five year hiatus from music and songwriting.  In fact, he had expected to give it up.  He started to write again when he became obsessed with a woman and used music to help him sort it all out (Oh, Yoko!).  Those songs make up Seven Stars.

I can’t help but wonder if, like with John, his soft side came out only after he obsessed about a woman, split from his successful band and gave up writing for a couple years.  Sounds like Amadon has followed Lennon’s path with similar results, only on an admittedly smaller scale.  He and John both may have suffered and music is better because of it.

- Old School