The last person on that planet someone should be talking to about punk is me. Mainly because although I like the genre, I know very little of it. I do have ears though! So, I can pick out the good sounds, and Cain Marko's EP At Sea has the good audio waves going on. The riffs, the drums, the half screaming vocals... Works. Listen to this EP. It's on your bucket list now.
I am a sucker for a good riff. I will listen to the most horrible, disastrous music if the guitars work for me. The guitar work on At Sea is top, it is smooth, heavy, light, dynamic, sexy, cool... I just really don't have the words to describe how good this sounds. It is times like these I wish I could quote music (N.B. I spent the last ten minutes doing that. It got backspaced as it was just a mess of “duh dummmm duh duh duh duh duh”'s). Coupled with the kick arse drums, they have me hooked.
Luckily for my own sanity and the preservation of my ear drums I don't need to listen to Cain Marko only because of their guitars. They pull together the whole deal with ease, making some of the best punk my underexposed ears have heard. Even if I remove the factor of being punk, some of the best music I have heard.
“At Sea in St. Paul” starts the EP I have just been preaching to you. Exactly what you expect after the hype I just gave it. Long enough intro to pull you in, but not too long you start looking to skip into the middle of the song. Then they hit you with their vocals and at first you might feel surprised and repulsed by the screaming coming out of no where and next to those guitars, but stick with it. Another ten seconds and I bet you aren't looking for the skip button no more. Effortless pulling together. Like a heavy punchy ballet for your ears.
“Ralph, I Can't See” is where I will pull in the first quote of their lyrics.
“The light pours in to show these unhealthy relationships with alcohol poisoning Our eyes were wide once, singing songs we meant so damn much it hurt We were alive then”
See? Perfect. Well, no you can't see because you aren't listening to it yet. Hurry!
Things get a little louder, a fuller feeling to the whole song with “I Read This In A Book.”
Then, the finale, the song that made me fall in love with At Sea, “Let's Go Kill The Bastard.” This guitar brimming, drum ridden piece of music was something else. The vocals here are different, still the half scream, but when the opening and parts of the song are sung in this chorus, it transforms it. I don't know how else to put it, but it takes it to a whole new spin. Then they sing-
“He laughed. “Redemption? That's a funny thing. Wait till tomorrow. See what the sun will bring” Alone in silence. Dusk painted overhead. Shrug and sigh traverse back home again.”
Angry, clever, catchy. I can't fault it.
Cain Marko really punched out something that is (excuse the pun) music to my ears. At Sea is worth the time listening to, even if it is for their guitar.
“Girl I have seen your dreams and they were filled with darkness but your eyes turn wide in the bright light I know there is torment in your heart Ooooh, and its swimming around your body like shark Can you not see me anymore? Are you just hot air beneath the floor? Because I cant feel empty anymore...?” (“Sundown”)
I could continue quoting Charlie Simpson's brilliant lyrics but I feel that may be never ending.
Racer sent me the link to his “Don't I Hold You” download (which you will locate below) and I have collected his EP after falling in love with the music that this talented man makes.
All of his music is instantly identifiable by the sweet sounds, followed by the lyrics that would make any love sick teenage boys facebook status seem cold and cruel.
“Don't I hold you like you want to be held? Don't treat you like want? Don't I love you like you want to be loved When your running away...” (Don't I Hold You)
“I get dressed up in my winter clothes, And step outside to look at the roses But they are all covered in the morning snow Just open your heart And the world will carry you home tonight” (Thorns)
“And the nights are so long without And the days speed up, my god I will never let go of you Cause some things are not worth changing” (Down Down Down)
Such a teaming can sometimes result in the artist sounding a little pathetic, but it works for Charlie Simpson and it sounds beautiful. The music work is simple but played perfectly and is clean, the vocals are sharp, in tune and a joy to listen to.
Ok, here’s the truth. I know music is going digital, but here at the Ripple office, we get so many cool CD and vinyl submissions that the digital promos tend to . . .er . . . wallow on my hard drive for some indeterminate amount of time before I get around to playing them. Sorry, that’s just the facts. In the car, I play CD’s. In my office I play vinyl. I play digital . . . when?
Then something like this happens and I get all flustered. See I just pulled up and hit the play button on this 3-song EP by UK band, Thulium. I don’t have the slightest idea how long this set has been languishing amongst the 1’s and 0’s of my desktop. A month? Six? 97?
What I do know is that I’ve been depriving myself of some killer music. A hard band to classify, Thulium do it all on these three songs and do it with major aplomb! “Running” kicks this affair off with major adrenaline. Copping a riff sequence that reminds immediately of the Sex Pistols, the boys drop into a monter TSOL/New Model Army type of gritty, poppy, guitar post punk madness. Damn it! This song smacks me upside the head and calls me Suzie! Love the gruff voice, the bellowing bass line, those crunchy guitar chords. Why haven’t I been listening to this for years?
Recently, (and often) I’d hailed the chops of Portland’s The Estranged, one of my favorite post-post punk, punk bands. Let’s add Thulium to that list now. Aggressive alternative? Post punk metal? I don't know what to call it. Just play it..
But the boys prove right away that they’re no one song ponies. “Craving” keeps the intensity at full throttle with their post-punk meltdown of jangling guitars, street gutter chords, step-infected vocals, and killer chops. Just like “Running”, “Craving” wraps all this aggression into some mighty tight, hook-laden pop smarts. Another pure winner.
The boys, who hail from France, England, Canada, and Hungary, cite bands like Audioslave, Nickleback, and Foo Fighters as influences, and I suppose so, but I hear so much more and less than that in their sound. More, in the terms of aggression and punk attitude, less in terms of commercial bowing to the mainstream. And certainly (thank God) no Nickleback. This is pure, spittle rock and roll.
The EP ends with the piano and acoustic guitar driven “90 Days of Sorrow,” a beautiful downer of a ballad. It serves to showcase the band’s scope and talent, even if it ends the EP in stark contrast to the blitzkrieg of the opening songs.
Personally, I can’t wait to hear more from these guys. If this EP is a true testament to their talents, a full-length Thulium album will be eagerly anticipated around the Ripple office.
A while back, Pope and I talked about how cool it may be if every once in a while, we both reviewed the same album. Two different opinions from the same site on the same work. It may be cool to see how each of us responded to the album and as a waverider, you may find it helpful in deciding if you want to check it out or not.
But being inherently lazy, we never did it.
Until now. Unbenownst to Old School and Mr. Brownstone, they each got a copy of this dramatic new album by City and the Sea, and both responded with . . . well, we'll let you read on.
The EP Leave A Light On by City and the Sea contains only four tracks and I can’t stop playing it over and over and over again. If this EP, released September 21, 2010, had been on vinyl, by now I’d need a new needle and a new pressing - and I would immediately go out and get it. It is available on CD but is also downloadable for free in high quality digital formats, so fortunately, I can listen and listen and listen without wearing it out (however, I sure would like to hear this one on vinyl.)
I love Leave A Light On. I hear lots of original music. I play lots of original music. But, this - this is highly original World-Class Motown soul and kick ass rock. The band started in 2006 as The Mississippi Kings, but then decided to change its name and sound. Now, as City and the Sea says on their website biography, their sound is “Part Detroit, part steel town Hamilton [Ontario, Canada] and part Manchester, England.” The four person nucleus of the band is: Nick Cino (lead vocals), Mike Ventimiglia (lead guitar), Dave Marini (bass) and Dano Stajduhar (drums). All four tracks are originals. The writing and performances are amazing. The EP was produced in Hamilton, Ontario by Glen Marshall (Feist, Apostle of Hustle) and Michael Keire (Dark Mean, Wildlife.) The band and producers have crafted four masterpieces.
The EP starts with “Fool’s Union,” a gritty hard rocker that sports a struttin’ attitude and killer guitar and bass riffs. The band provides lead singer Cino with high intensity background vocals that accentuate the power chord display. The tune out bads Bad Company, outdrives Bachman Turner Overdrive and is hotter than Hot Tuna. “Fool’s Union” is not even the best track on “Leave A Light On.”
The band turns to modern Motown and competes with Detroit’s best on the second track “Hundred.” By adding a horn section (Scott Neilson on saxophone, and Ellis Marsalis-trained William Sperandei on trumpet) City and the Sea cooks up a soul blues with guitar parts as good as Eric Lindell and a sound that would make Harold Melvin and the Blue Notes melt. This isn’t even the second best track on the EP.
The third track is “Leave A Light On,” the song for which City and the Sea names the EP. It is an introspective, emotional, power rock ballad. It is the kind of tune that will have you raising a fist and singing the tag line “Please leave the light on for me.” It is arena rock at its best.
The final song - last, but, certainly not least - maybe even best, is “Gimme Back My Soul,” a modern Detroit soul rock piece with a downright infectious riff. Sharon Jones and the Dap Kings have nothing on this City and the Sea tune. Even when the track is over I am still humming “Gimme Back My Soul.”
Then, comes the worst part of the EP - it is over. In a little over twelve and a half minutes I fell in love and now it is over. I miss this music. City and the Sea, I want more and I want it now! So will you.
- Old School
Four dudes and kick ass music, what more do you need? City and the Sea shows how to rock n’ roll the good old fashioned way. They’re a little bit of everything and have that perfect mix showing soul, remarkable rhythm and loud guitars that totally have a Detroit/Southern rock sound.
Letting loose on the “Leave A Light On” EP, City and the Sea showcase soulful, bluesy country rock that was previously established on their debut album “Long Time Comin.’” Their passionate playful sound seems reminiscent of songs you have heard years and possibly even decades before, but somehow they aren’t. On their debut, they have been compared by some as a “Marvin Gaye meets the Rolling Stones” and I can completely see that. However, I get more of a Kings of Leon, Black Crowes, Lynyrd Skynyrd, and Kid Rock (2007 to present) sound. They are a little bit country, a little bit rock n’ roll and a whole lotta soul.
The band is comprised of Nick Cino (lead vocals), Mike Ventimiglia (lead guitar), Dave Marini (bass) and Dano Stajduhar (drums). “Fool’s Union” sweet soulful sound leads off City and the Sea’s Leave A Light On” . Call me crazy, but Cino comes across like Paul Stanley on the beginning part of this track and take the intensity one step further. It’s like Kid Rock, Marvin Gaye and Paul Stanley’s vocals are all combined into one exquisite voice.
They are complete badass rockers you can’t help, but want to sing along with them as though they are “already rock anthems.” Almost every time I listen to the songs off this EP I feel like I am listening to a modern classic rock song. As the lyrics point out, I feel “like a fool” saying that, but their “southern” spirit just overpowers me when thinking about this band.
Horns heat up the song "Hundred" and captivates listeners in a whole new way proving their versatility. They say heart no longer exists in modern music, especially rock. Obviously, those people have never listened to City and the Sea and are truly missing out on a passionate playful band. Their melodic music is fused together to create a simplistic splendid style all their own.
Pop penetrates this EP in “Leave A Light On” showing their softer side and a mature modern outlook on life. This is a great single and one of my favorite songs of the year. I hate do that in a review, but it’s just so sweet and sad. It’s an effective emotional song that leaves you on the edge of your seat building up until the very end. No doubt in my mind, City and the Sea definitely wear their heart on their sleeves and are damn proud of it! More modern rock needs to be like City and the Sea.
The EP concludes with “Gimme Back My Soul,” a pitch-perfect song that is irresistible from beginning to end. Each song, especially “Gimme Back My Soul,” are perfect examples of great music that should always be on the radio. They have captured my soul and should be checked out immediately.
--Mr. Brownstone
There you have it; two totally unbiased opinions that make the same conclusion. An album worth checking out.
