DBSK's Vocal Prowess V2.0 - The Intro.

When I wrote my first analysis of DBSK's vocals, I knew a lot but I didn't know enough. I had watched countless performances and heard their entire discography at that point but I didn't really dwell on how their voices have grown over the years because I hadn't heard the same songs being performed year in and year out. This time, I've spent more time and a lot more effort on this - to do these five guys justice.

There's one song in particular that fueled me to re-write and re-analyze their vocals - Tonight off their second album Rising Sun. It's a very difficult song to sing, especially the verses, because of all the vocal gymnastics you'd think the song entails when it's actually harder to sing the melody than scream like there's no tomorrow. These guys have to try and focus on just singing the actual melody while thinking of what to do next - the song gives them the freedom to adlib all they want at certain parts but it constricts them because one wrong note and everyone after you will self-destruct.

People think that the measure of a singer's ability is how many high notes he/she can hit the longest or the highest or the loudest or the quickest. I'll tell you flat out now that it's most definitely not. So what if the guys can hit a High HIGH Si/Ti, can they hit it properly? It's just like running before you know how to walk - you can't do that. No matter how good people say you are at the 'screaming your head off like you're gonna die if you don't' stuff and no matter how nice your voice is, you can't do something bigger than you.

Putting Tonight on their second album was a gamble and even to this day performing it is precarious - they only recently learned how to properly sing it.

Tonight I think taught them control. There's a time to let loose and literally scream your head off but there's a part where they just have to sing the melody and not make any mistakes there. It taught them the importance of getting the melody straight before starting to hit high notes left and right and I think that helped make them good singers. Yes, even Yunho.

The adlib part of this song was brilliantly orchestrated - each member takes pitch from the one before them, they have to learn how to depend on each other and not let any one member down because it's game over once that happens. The whole song will literally fall apart if just one of them doesn't hit a note. It's like that so no one goes all-out and does anything they're not supposed to be doing, which brings us back to the 'walking before you can run' thing - you need to lay down a solid foundation before you go and do all these crazy things.

As I'm writing this now I'm listening to the recorded version - performed in a controlled environment, processed, mixed and mastered. They sound fantastic and it seems like they can really pull off the song.

So let's take it part by part, starting with the adlibs at the beginning. In the recorded version Junsu starts singing a whole+half note (6 counts total) and Changmin bursts in with a haphazardly-hit whole note. Junsu sounds brilliant but Changmin, even on the recorded version that note was bad.

The verses are pretty well-delivered in the recorded version, to tell you the truth. They're on pitch, on key and sound fantastic. BUT, the one thing I noticed was that Jaejoong gets no parts during the verses which is very strange since he's lead vocals. My best guess is that he can't sing it, that simple, but we'll get to Jaejoong later.

The chorus is very, very simple and there's little problem there because Junsu's the one doing the adlibs most of the time and the guy lives for that. The middle 8 between Junsu and Jaejoong is decent as well because duh, it's Jaejoong and Junsu - if that part wasn't flawless I would've given up on DBSK.

Then the first set of adlibs. I rest my case that Changmin is the screamer in DBSK. He is. He screams real high, it's shrill and it hurts my ears at higher registers. Then Jaejoong shows him how it's done and delivers his first set of adlibs before launching into singing the top parts of the chorus and straight into another round of belting. Junsu + Yunho sound good, Jaejoong goes, Yoochun freaks out and Changmin bursts eardrums for the nth time. Then, it comes.

JAEJOONG'S FALSETTO. If there's one piece of technique that Jaejoong knew at the time, it's this. Perfectly delivered, somehow overlooked because the other 4 come in again but brilliant in every sense of the word.

That's the glorious recorded version and I'm sorry to ruin your mood but the 5 guys weren't really able to sing this well live until 2008 and even then the performance was overdubbed. Below are 5 different live performances - in 2005, 2006, 2007, 2008 and late 2008/2009. None of them were mimed but just to show you the difference, the first video is of them miming the song a day before the video below it. Just so you know the difference. (note that there's text after all these videos so if you've seen all of these, just scroll down and get back to reading. Hahah.)

MIMED performance 
(November 12, 2005)

NOT MIMED performances:
November 13, 2005

November 25, 2005

2006

2007 
(but they sang 'Purple Line' in the same concert so I'm guessing this was in 2008 as well)

2008

Late 2008/2009

As you can see and hear, it took a lot of time for them to learn how to sing the song - THREE YEARS. To tell you the truth, the 2007 performance of this was really painful to listen to. I'm not joking - I was cringing every few seconds because they just couldn't sing the damn song. Their 2008 performance wasn't perfect but it was competent enough to do justice to the recording.

One thing I have to raise though is the issue about Jaejoong's super high note at the end. I personally think he mimes that note about 95% of the time (see: performances in 2005, 2006, 2007 and 2009) because you watch the 2008 performance and he didn't hit the note. If he could do it before, why not then? It's mimed, that's the only logical answer.

I think there's a reason why they keep on performing this year in and year out and it's not just because of the parade of high notes.

Tonight not only taught them this and that and whatever, it shows us how the five have grown vocally. They weren't the best singers, they didn't all know how to sing, they may have had nice, high voices and wide ranges but Tonight is a song that documented how their vocals have matured and how they've learned to actually sing.

Now, what the effin' crap am I trying to say? DBSK weren't as good as they were being promoted at the beginning (all lead singer material? dream team? I think not.) but I think the fact that they were being pushed as insanely brilliant singers better than anyone else in their generation actually made them become some of the best in Asia - they had no choice. At a time when singing wasn't this good in idol bands, it was pretty ground-breaking.

A Sunday Conversation with Engineer Records

Continuing on with our series on the dynamite, independent record labels that are keeping the indy music flag flying high, today we have the masterminds of the purely punk inspired, Engineer Records, taking their spot on the red leather Ripple Interview couch.  Sit back and relax, brew a cup of tea and be prepared to learn all the ins and outs of the indy music scene.


How did you get started running an independent record label?

Dave: It was way back in 1999 that we officially started the label. We’d all been playing in bands up to that point and helping run other labels, zines and gig nights, the usual d.i.y. positive punk stuff and I wanted to do something even more permanent that I could really develop. The label I’d been helping to run, called Scene Police, was doing quite well and had some great releases out, but the two other guys involved, Dennis and Emre, were going to college and wanted to slow things down. Also my band, Rydell, were gigging less right then and it gave me a little more time to do other things. Through Rydell’s touring and the other promotions I’d been involved in I knew a lot of great bands but this was still well before the main internet took off with MySpace and MP3’s with easily burnt Cds, etc so bands really needed help and the word had to be spread. Bands had to work hard to get releases out and it wasn’t easy to find labels. Often it was vinyl singles or EPs and CD albums if they could afford the studio time and even then, getting any kind of promotion or distribution beyond the hand to hand underground methods was difficult. We figured that we could at least help a few of our friends.

We set up initially as Ignition Records and from day one intended to release the highest quality records and treat any bands we had equally and well. We had friends in the UK, Europe and USA and had no real preference on style or clique, just good alternative music. It was mainly hardcore, but more often on the melodic side of things. Leaning towards emo I suppose, but with all sorts of great bands really. Our early releases were all bands I know personally and had either played with, put on shows for or corresponded with regularly. They included Hunter Gatherer and Hot Water Music – our first two releases, both of whom had toured with Rydell. San Geronimo, with ex-members of Lifetime, one of my all time favourite bands and Dead Red Sea, with ex-members of Cross My Heart, another of my fave bands. We also released compilations to get more new bands out there and heard. We produced the Firework Anatomy compilation as our third release to try to get coverage for some great bands who weren’t really well known then – these included Grade, Penfold, The Casket Lottery and Red Animal War – all well known now, as well as Speedwell, Crosstide, A Rocket Sent To You and That Very Time I Saw - all great bands that we later produced their own releases for on the label. We also set up a tribute CD to cover tracks by Shudder To Think, and this included tracks by Joshua and Elemae, amongst others - two more great bands who went on to release their own records on the label too. We just built the relationships as we went along.

The tenth release was Speedwell’s ‘My life is a series of vacations’ CD with a translucent foil printed cover wrap which we ended up having to press the entire run twice due to a mastering glitch. We gave away the entire first press of 1000 free at shows in London as promos as one track jumped. It helped raise the labels profile early on. The Planes Mistaken For Stars CD ep release was in the shape of a skull. The Chamberlain (Ex-Split Lip) albums, both Exit 263 and Five Year Diary, were on both CD and vinyl, with Five Year Diary being a double CD and gatefold double LP. The other vinyls we had were all coloured or specials with fold out sleeves and the CDs all had lyric sheet booklets, etc.

About 6 years ago now, Craig Cirinelli joined me as label partner, and opened up his own USA office in Northern New Jersey. It's not easy to jump into a label, but he wet his feet right away, picked up a lot, namely ANY stock of bands we still carried releases from, and stocked them in his USA webstore for Engineer that enabled North American fans/customers to purchase at a much more affordable rate due to decreased shipping (than only from the UK). Then he started scouting bands, and brought forth a healthy crop of bands that were up and coming in the tri-state area (NY, NJ, PA). Of them were Merciana, The Moirai, My Shining One, The Fire Still Burns, Catalyst, Calm.Murder and was impressed by a Kentucky band called Squarewell, enough to foster a relationship and in-turn assist in 4 releases for the band during their days of bandhood.

We also worked as closely as possible with other labels and we still do. The whole thing was about getting the releases out there and the bands heard by as many people as possible so the more labels involved the better as far as we were concerned. We have several split label releases and are working on more even now. Our label partners include Rise Records, Pop Up Records, Deep Elm Records, Schrodinger Records, Koi Records, Samuel Records, Funtime Records, Azteca Records and Embrace Records. We are always on the look out for more partners too.

The releases came out fairly fast, even from the start, as we found that most of the distribution companies would only deal with labels who had ten or more releases. We had to get rolling. I guessed that this reluctance on the distros part to new indie labels was due to the set up costs or admin or something but I have to say that none of the big distribution companies have ever done much to help the label. In fact, we are still owed money and stock by most of those we’ve worked with and any decent promotions we have ever done have been done by ourselves and our bands. It is a tough business out there beyond the underground. A couple of years in we found that out the hard way again as our name, Ignition Records, was starting to be used by the management company of a little known band then called Oasis. They threatened us with court action and costs and although we’d had the name longer we had no contracts or legal proof so had no choice but to change the labels name from Ignition to Engineer Records. Ignition can be seen on all the early releases, about the first twenty, and then it changes to Engineer Records taking us up to date. This also explains our catalogue numbers, all starting with IGN and now appearing on the spines of well over one hundred great releases.

Back when we started we were living in a shared house with a band practice room in the basement and a record store and office on the main floor. We would go to every gig possible to support our bands and sell our releases, giving out flyers and promos every time. We would tour with the bands too and frantically answer post and emails. From sweaty shirts and breathless lungs at shows, to battered fingers and tired eyes in the office from late night promo packing sessions. We just kept on and on, keeping our local post office very busy and pushing our bands to anyone who would listen. It was a passion then and it still is, so it continues how it started.

 What motivated you? Did you tap into a particular local scene or were you aiming to capture a sound?

Craig: I assume the answer to that one would be neither and both. Both David and I enjoy one facet of music together (melodic post-hardcore), yet stray from one another outside of the common bond. We've worked with both "local" bands from our regions, as well as many, many bands abroad. It's more about the music that moves us—for better or worse—not the marketability. We realize our fault, yet stick with it.


Which was your first release?

IGN001 - Hunter Gatherer: Low Standards For High Fives - CD




Who's been your biggest selling artist to date?

David: Hmmm. We don't really have big selling artists, more's the pity. We press a minimum of 1000 copies of each release and repress if we need to as we go along. We do send a lot of promotional copies and we also trade stock with other labels - this often accounts for a large percentage of the pressing but isn't really sales. We also have a lot of stock out at distributors at any given time too - this is awaiting sale. The most repressed release was the Rydell / Hot Water Music split 7" single, we did six pressings of that. We also did ok with the Chamberlain albums, the Canaan and Eden Maine CDs. We have quite a lot of releases more or less sold out now, but can't really justify represses now as everything has gone to downloads.

Craig: Many of our releases that are "out-of-stock" have been not only been sold retail--many need to understand how the underground ways of promotion work. They have largely been traded, wholesaled, given out in contests/promotions. Over the last few years, it's become quite necessary to do this just to get promotion rolling for a band—you know the routine—a D.I.Y. styled label such as ourselves uses elbow grease over income. There is a reward in getting music out there regardless of cost, or return---the awareness a band gets to help them jump to the next level. Whether that be hitting fans across the world they would have never reached prior, getting their CD in various underground distros, getting other labels to hear their stuff, etc...all of this is as important (if not more) than landing an indie band's CD into bigger distribution. We can tell you firsthand, as we do both, that the payoff is in the underground---to better your band. If band's know where they stand and work from the ground up, and rest assured knowing that we do too, we can better climb the rungs of the ladder together. Much better than staring at the stars and expecting to be whisked up by a gust of wind the moment their CD's street date arrives. Better chance at being abducted by aliens if you ask me.

There's so much to learn about running a label, share with us some of the lessons you've learned along the way.

Craig: Distribution is tough. You can get music out there, but you can't expect it to sell. Know who you're working with. We were burned by a few distributors over time, having financial difficulty themselves. (Partially I feel sad for them, partially anger that our stock/bands got roped in the mess. A hit like that is a nightmare.) It was a huge blow to us--knocked the wind right out. Limited resources gone. (BUT--we kept the heart of why we did this and built ourselves back in creative underground ways...every period is still a new challenge. We've tried to make better decisions since then. We are currently set up with a few distributors who are very up front with us. So the past couple years, as selling CDs get's increasingly tough, we are at least in the know of what's going on, and try to make decisions off this.

Another lesson is you need bands that are grounded, down-to-earth, hardworking, and don't pose for "rockstardom." Those bands make it more difficult and expect a silver platter, and quite frankly don't do shit. We've made some decisions on awesome bands that are blessed with a gift of music but cursed with traits of need/want/inexperience in getting their hands dirty. We are a tool—bands need to work with us, not against. Many bands though, make each day worthwhile.

One other lesson learned: 24-hour days are very, very, unfair.



Who would you like to work with, but haven't yet?

Craig: An office staff. (hahahaaa)



What changes do you see ahead for the music industry?

David: We are already seeing the changes. Our physical sales are getting less and less and our digital / download sales are increasing. Things are more instant and online now, fast and easy I suppose, but it lacks the depth - the artwork, lyrics, etc. There also seems to be a lot more web based mags and zines for reviews, obviously, but also more internet radio stations now too, which looks set to keep increasing and we may get into.

What's been your label's high point? Low point?


Craig: David and I probably have different views on this, but of recent memory, my personal high-point is assembling the Seaweed Tribute. (IGN110: Hours &; Hours: A Tribute To Seaweed). Such a rewarding experience. Labor of love for a band I hold in high regard. Most of the bands on there were a pleasure to work with and turned in what made a worthwhile album.



What's the biggest challenge facing you today as an independent label?

Craig: Selling Music. In-turn, funds for promotion, upkeep, etc...on the bands and label. I'm honestly not against the whole downloading for free trend. I'd by hypocritical to lead on that I haven't been passed many albums by bands I would have never heard of, and become quite large fans of. I talk to other indie labels--often trading goes on at all of them, even back/forth. I'm still such a music fan, I go to shows. I buy shirts and albums at gigs. So I can't deny the theory that using an album as promo, still helps out the band. Until someone finds a way to download shirts, merch and physically transport people under the radar of on-line tickets and door entrance fees, the band's still have an aim to make it. They just need to conduct their main business from the street. (merch stands, gigs/tours) Bands that play more, are further rewarded in on-point sales, and eyes set upon them. For the label though, the purpose of providing the band with an album release and to back it with gaining a fanbase is a labor of love.


How is most of your product sold? Mail order? Web-based? At shows? Is this changing?

David: Certainly if we have the personal time, we sell most of our product at shows, the old fashioned (and still the best) way. Though we have less time now, we're older, family obligations, etc, yet it's good fun too. We sell some through the label website by mailorder and some through distributers too. We are now starting to mainly sell through online digital downloads of tracks though.

Craig: Digital sales can't be returned - amazing fact that is importantly different than the physical CD sales. Returns on CD's from stores/distributors that stock are a main source of deprivation from the label. In turn, digital sales are more covering for these losses, and hopefully down the line will afford us to keep going with both formats without regret.



Seems that the sound of the bands you sign keeps evolving. What do you look for in your bands?

Craig: We just look for a connection to bands in something that moves us. That's a broad answer, I know, but their truly is no formula. We don't look for commercialism, we look for personality. We have so many releases &; styles across the board, we can only define ourselves as "Alternative" and not so much else. David and myself have a background we share musically, that brought us together years ago. We've both evolved since then, in different directions. I think this has aided in our diversity.


How do you find your artists?

Craig: Word of mouth, demos, already established Engineer bands whispering in our ear on other bands they've toured with, etc... Pretty much the norm.  Online music has made less "clutter" around, in terms of presskits, yet way too easy to be solicited via copy/paste from everyone's band in the world. There are far too many of these happening, and I've been copied into careless bands soliciting to a hundred labels at a time. Do these bands really think that "looks good." Presentation goes a long way.


Are you a club rat, constantly searching live venues for cool acts?

David: I used to see at least two or three shows every week, and that was when I wasn't playing at them myself, then it could be even more. Now it is more like one or two a month. I still really enjoy them but have other priorities on my time. We mainly get new bands through word of mouth and demo Cds sent, and then if we like them we go and check them out live.

Craig: I still go out and see live shows all the time. It's the fuel that feeds these inspirations, I suppose. These are namely shows I seek out--but as far as seeing new acts and scouting for the label, that has and never will be a priority. As David mentioned above, we hear of bands all the time, get solicited daily by the over abundance of bans out there and have a lot of friends telling friends telling us type of thing going on. the more action a band has, gigging, in the press, etc.. the more chance they'll have in getting on our radar.


What are you looking for now?

Craig: David and I have decide to slow down. We need to pull in the reigns, take care of what is already in motion/on the plate for the both of us and not take on any new artists for the immediate future. There is label "clean up" such as web maintenance, label compilations that need to be tended to. We have a few releases in the pipeline, mostly on the UK end right now.


Are you involved in all the creative decisions?

Craig: For the bands...Involved? Yes. Dictating them? Definitely not. We try and make sure that things are professional and up to par but the bands manifest their own presence pretty much. David and I could care less about the frills and the fashion. The resolution on a printed piece of artwork, yes.



What would you like to see happen for the future of the music industry and your label in particular?

David: I'd like to see more tours for our bands. Getting gigs has become the hardest part as there are so many average bands all after the same shows. Things will keep developing and changing but the underlying message of independence and creativity is always there. Big labels will look for ways to charge more for online content, but I have to say, I think the kids expect it all for free now. There may be some life in merchandise such as shirts, but unless the kids get into it in an underground way of their own, even that will be controlled by big business. I'd like to see more d.i.y. punk underground ethics with small labels all helping each other.



Thanks guys.  Really, amazing, insightful answers.  Thanks for coming.

Craig: Thanks very much for the interview. We enjoyed it. Come see us and chat at www.EngineerRecords.com

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Vocal Commentary Special re-briefing

It's been a while since my last vocal commentary, due to everything that happened late last year, so I thought it would be apt to have a re-briefing. There are a few very important things I have to discuss and they'll pretty much be the basis of all my vocal commentaries for the rest of the special.


There is a big difference between having a nice voice and being able to sing, A VERY BIG ONE. Having a nice voice is great and all but you don't necessarily have to have a drop-dead gorgeous voice to sing well. You do however need technique and training to be able to use a beautiful voice.

Last last year I was watching over some old DBSK performances and I came across this performance of Tonight (we'll get more in-depth about their vocals on this song when I publish the re-written version of my DBSK commentary):

It literally hurt my ears and my throat just listening to it. I know I like DBSK and I know I've said that they have gorgeous voices but back then, they had no idea how to use them. No wonder SM had them mime - they simply didn't know how to sing. Yeah sure the recordings sounded fantastic but recordings are nothing compared to live performances when you're looking at vocal ability, they always have and they always will be. Doesn't matter if the song is processed like crazy or not, when an artist sings in an uncontrolled environment without any machines changing the sound of the vocals that's the true measure of ability.

Although with the advent of studio technology namely overdubbing, live performances have been demoted - they're just as vague as recordings are when it comes to vocals. Overdubbing is an industry standard now, my dad says that most of not all pop concert DVDs are put through that process.

What is it? So let's say you have a concert with the audio (already processed on the spot, but not so much) and video recorded. Before that goes on a DVD the artists go back into the studio and RE-RECORD THE VOCALS. They're not put through as much processing as album recordings go through but they're still recorded in a controlled environment, mixed and mastered - those things make the recording as far from 'live' as you can get. They then mute the video and then slap the re-recorded vocals mixed with the sound of screaming/chanting fans on top of it. That is your standard pop concert DVD. So years after that performance of Tonight, here's a studio-processed and leveled 'live' version:

Spot the difference? Yes, the boys may have learned some form of technique over the years and they really have improved but the audio is too clean, too leveled to be 'live' and not put through some kind of studio trick. Say what you want to say that this wasn't put through anything but if you've been to a live concert you know what it sounds like and you know the difference between un-processed, raw vocals and vocals put through God knows what process.

But I'll save the rest of my ranting about DBSK for version 2 of my vocal commentary of them. SO ANYWAY.

In the same way that there's a difference between having a nice voice and being able to sing well, there's a difference when I say this person is a good singer and/or has a nice voice. A good singer has technique. He/she may not necessarily have a nice voice but knows exactly how to sing - whether or not the voice as a voice is nice, the end product will be decent.

If you have a nice voice, you may or may not be a good singer. A nice voice will do if you're young and all but as you get older you're expected to learn technique - if you don't you're not a good singer, you just have a nice voice. That voice has to be used properly because if it's not, then the end product will NOT be decent.

Which is why when I do my vocal commentaries I always say 'my favorite voice in *insertnameofbandhere*' and NOT 'the best singer'. I judge vocals on those posts - not technique or whatever else.

Ripple News - Win a chance to shred with HYPNO5E at Ultimate-Guitar.com

We have more exciting news on the Ripple Effect sponsored tour, Metal as Art.

Tour headliners, HYPNO5E, and the METAL AS ART Tour have teamed up with one of our co-sponsors, Ultimate-Guitar.com to unleash one of the coolest contests around.  Here're the details, so make sure you head over to Ultimate-Guitar.com for your chance to win: http://www.ultimate-guitar.com/contests/maa_contest.htm

GRAND PRIZE = 2 Lucky Winners win the chance at a brief guitar shredding session with the guitarists of HYPNO5E (Emmanuel Jessua), Revocation (Dave Davidson), and The Binary Code (Jesse Zuretti), a free ticket into the concert closest to their winning location, and a meet-and-greet with each band.  Those 2 winners will also win a METAL AS ART prize pack, which consists of a CD from each band.

2ND PRIZE = 4 Lucky Winners win a METAL AS ART prize pack of each band.  Also a free ticket to the show, and a meet-and-greet with the bands.


Ultimate-Guitar.com is also featuring HYPNO5E’s live performance video for “Tutuguri” which showcases the band’s incredible stage presence, which is also backed by a video projector screen that showcases the conceptual ideas from their music: http://www.ultimate-guitar.tv/misc/hypno5e_tutuguri_live.html

While on the subject of contests. . .

Make sure you head over to KillerTours.com for your chance to win a pair of free tickets to each gig: http://www.killertours.com/contests


Also, when you’re at any METAL AS ART date, make sure you head over to the merch tables for you’re chance to win an exclusive Ed Stone Rockear / METAL AS ART Exclusive t-shirt!


HYPNO5E also will enter Sterling Sound Studio in New York City to work on the mastering for their new as-of-yet untitled album. While their debut Des Deux L’une Est L’autre mirrors life’s highs and lows and harmonizes classical music, expect their upcoming album to be much more violent and futuristic.  While you wait for that, their debut Des Deux L’une Est L’autre can be streamed in its entirety here: http://www.myspace.com/hypno5e


The Ripple Effect

“Experimentally proggy, technically over the head, and brutal all at the same time, these guys hear music in their own unique way and aren’t afraid to stretch their sound to distant and, as of yet, unimaginable dimensions... This is the type of album that will make you question all that you know, or think that you know, about music… ”



Metal Underground

“From breakdowns behind classical female vocals to gut-wrenching screams and syncopation, the band covers more ground than Rambo ripping through a jungle…  A surrealistic venture through several genres of haunting ass-kickings, because this is an album meant to frighten, impress, and envelope the listener.


Wednesday, January 6 - Brooklyn, NY @ Knitting Factory

Thursday, January 7 - Allentown, PA @ Crocodile Rock

Friday, January 8 - Buffalo, NY @ Broadway Joe’s

Saturday, January 9 - Akron, OH @ Annabell’s Bar and Lounge – FREE

Sunday, January 10 - Mt. Clemons, MI @ Hayloft

Monday, January 11 - Chicago, IL @ Empty Bottle – FREE

Tuesday, January 12 - St. Louis, MO @ Fubar (w/ LYE BY MISTAKE)

Wednesday, January 13 - Fayetteville, AR @ George’s Majestic Lounge

Thursday, January 14 - Oklahoma City, OK @ Conservatory

Friday, January 15 - Dallas, TX @ The Lounge on Elm

Saturday, January 16 - San Antonio, TX @ Zombies

Sunday, January 17 - Austin, TX @ TBA

Monday, January 18 - Amarillo, TX @ War Legion

Tuesday, January 19 - Gallup, NM @ Juggernaut

January 20 - TBA

Thursday, January 21 - Los Angeles, CA @ Cobalt Cafe

Friday, January 22 - Ramona, CA @ Ramona Mainstage

Saturday, January 23 - Santa Cruz, CA @ The Parish

Sunday, January 24 - Sparks, NV @ New Oasis

Monday, January 25 - Portland, OR @ Ash Street Saloon

Tuesday, January 26 - Seattle, WA @ Studio Seven

Wednesday, January 27 - Spokane, WA @ The Cretin Hop

Thursday, January 28 - Boise, ID @ Gusto’s Bar

Friday, January 29 - Salt Lake City, UT @ The Outer Rim (w/ GAZA)

Saturday, January 30 - Denver, CO @ Lion’s Lair

Sunday, January 31 - Lawrence, KS @ Replay Lounge

Monday, February 1 - Des Moines, IA @ Vaudeville Mews

Tuesday, February 2 - Kansas City, MO @ Riot Room

Wednesday, February 3 - Nashville, TN @ The Muse

Thursday, February 4 - Cincinnati, OH @ Dirty Jacks

Friday, February 5 - Baltimore, MD @ Sidebar

Saturday, February 6 - Trenton, NJ @ The Championship

Fallen Martyr - The Six Roots of True Will

We’ve made it a policy here at The Ripple Effect to never post negative reviews about a band, especially if it’s an unknown unit who no one would care about anyway. Really . . . what’s the point of railing on a group that you’ve never heard of in the first place? It’s a rather pointless act. However, in recent weeks, something has come over me and I’m taking it upon myself to bend the policies that we’ve worked hard to enforce. Always the rebel, I know. This case is a little different because this band is not terrible, in fact, as far as musicianship goes, they could play scales around me with their eyes closed, pack me in a box and mail me to Madagascar, and beat me with a lead pipe before I could utter my name. But most importantly, there are some ideas within this EP that have some serious potential. I hear what they’re trying to do, but it’s almost like they’re missing that last, all important piece to the overall puzzle.

Fallen Martyr’s EP The Six Roots of True Will is jam packed with riffs that will boggle the mind in their complexity, but unfortunately, the overall sound is mired in a constant one dimensional blast beat and vocals that sway from angst ridden bellowing to off key crooning. “All In” shows the greatest potential with the band incorporating some nice dimensional qualities . . . breaking down the riff, changing it up by adding more clean tones and subtle textures, but the off key clean vocals make the hair on the back of my neck stand straight up, and I grit my teeth through the pain. Again, I hear where they’re going with this, but the execution misses the mark. I’m not exactly sure if one would categorize their sound as metal-core or demonic math-rock or what, but it’s pretty straight forward and doesn’t deviate stylistically from one song to the next. If you like it flat out brutal and ugly, well, Fallen Martyr should fit the bill and may intrigue you with their more progressive leanings. And like I said, it’s not all bad and there’s enough positive stuff going on that I think these guys can build on what they’re doing, specifically in the use of dynamic changes. Keep an eye (and ear) out for these guys. I wouldn’t be surprised if their next release is a major step in the right direction. - Pope JTE

www.myspace.com/fallenmartyr

10 things to look forward to in 2010...

2010 will once again be my year and I think I can make it even better than 2009. I'll be a senior this year and I'll be taking the biggest exam of my life - it'll dictate my future and also the amount of free time I'll have this year. But that also means that I have to work extra hard on PRN AND omgkpop to build a body of works good enough to rival other high school seniors. Yes, I'm still extremely shy about my writing. But we'll save that for another time.

So, here's what to expect from me this year:

1. Reviews, reviews, reviews and MORE REVIEWS. It's the main focus of this blog so duh, there will be heaps of reviews. As always. I wanna be able to cover everything this year - American pop, Brit pop AND Kpop because I don't think I did it that well last year. Time to make up for everything I didn't get to say last year. Hahah.
2. The continuation of the vocal commentary special. I discontinued the vocal commentaries late last year because I was just starting a new writing job at omgkpop and I had to make an extremely good impression on the editors and senior writers (which I think I did). This year though, I'll restart the special because I really think it'll look brilliant on my portfolio and you guys seem to have fun arguing over my analyses. It'll start with a re-written version of my very first vocal commentary - DBSK. A more critical, less biased and better commentary, I think. And commentaries on Super Junior, 2NE1, possibly all 3 generations of the Sugababes and a few other groups.
3. Interviews. I have quite a few spill-overs from last year and I'm really excited about them, mainly because I've successfully moved over from all-indie artists to major label AND indie artists. Interviews to look out for early this year are with The Red Blooded Women, Jem, VV Brown, Priscilla Renea and EFFIN' DARIN. LOL. These are big.
4. A more mature writing style (WHOA. LOL). I may not notice it myself but I bet this year my writing will change somehow - I just don't know exactly how but it will.
5. More omgkpop articles. I'm one of the resident writers now so expect A LOT of news from me, OK? OK. There will be times that I'll chose omgkpop over PRN when it comes to my time during school days but I promise to at least fulfill everything that's written here.
6. My continued coverage of the DBSK saga. Yes, I've already had 4 mental breakdowns and I was on the verge of having another one yesterday morning but I didn't. I just hope these guys hold on this year and solve all their problems.
7. I can't promise this, but I can promise to do everything in my power to make it happen. POP REVIEWS NOW WILL BE A FINALIST FOR THE PHILIPPINE BLOG AWARDS AGAIN. I can't guarantee you guys that I'll win, but I at least want to get PRN out there again this year.
8. There's something I want to happen and it's probably what everything I'll be doing this year will be for - I want to establish PRN as one of if not the leading kpop review blog. There are very few kpop-based blogs that review the music side of things critically, everyone just posts news and short, brief reviews. No one really takes notice of musical growth or the technical side of things so I wanna be the first to do that. I want to make this blog legendary in kpop and I want to make fans more critical about not only the image and the advertising but the music itself.
9. In order to fulfill #8, there's something I have to do - I have to master my kpop history. I don't care how hard it is to dig for older acts and biographies of influential people but the kpop industry is small enough for me to master in a few more months. I have to be able to take any random piece of kpop history, explain it throughly and infer about future events from it. That's what I want to do - I want to know as much about kpop as I do about US and UK pop. I think if I just keep on writing about it here, it'll help a lot.

Now, this is something I've been thinking about for quite a while now but can't promise to see through.

10. The 50 most influential singles of the new millennium (2000 - 2009). They aren't the songs I necessarily liked or adored, they're the singles that defined the decade - the songs that the 2000's will instantly be linked to. This will start once I finish my vocal commentary special. I have a list of about 30 singles right now but there's tons of time to fix it so hopefully by summer I can get to writing it.

That's all for now - I don't wanna promise anything I can't deliver. Hahah.

The schedule for the coming days:
3rd: Vocal Commentary Special Re-briefing
4th: DBSK's Vocal Prowess V2.0 - The Intro
5th: DBSK's Vocal Prowess V2.0 - The Individual Analyses
8th: Review of Ke$ha's Animal
11th (?): Another Vocal Commentary (possibly f(x))

On Racer's Desk - Featuring The Love X Nowhere and Ring of Truth

Sometimes very, very good CD's just seem to get lost in shuffle, buried under the mounds and piles of submissions slumped into the Ripple Office by our trusty postman, Sal.  And it's a shame.  As deadlines approach, it seems that some very deserving CD's keep getting missed.

No more!

In an effort to make sure no deserving music ever gets denied the full Ripple Treatment, we're going to start a new series of reviews to bring to light some more great Ripple bands that have waited far too long for some Ripple Love.

 

The Love X Nowhere – High Score Blackout

Crafting a sumptuous delight of lush indy, alt-pop, Love X Nowhere have been making waves in the S.F. underground for some time now.  Alternating at times dreamy and delicious, other times pulsating and direct, Love X Nowhere serves up a seductive blend of dream-pop and shoegaving beauty.  This is an album the reveals itself slowly, offering intense rewards for repeated listens, as each layer gently peels back, one after another.  A richness of intent crawls out of every note, every delicate arpeggio, every pulse of the bass. 

In the first three songs alone, you can find a whole bagful of pop treats, each of varying warmth and texture.  “Tomorrow’s Retreat,” positively leaks out of the stereo, riding on the wave of heavenly melodies and rich production.   This sounds like what the Mamas and the Papas (minus the female vocals) would have created in the post-punk generation.  Huge, layered string sounds, trickling piano, and a melody to make John Phillips drool.  “Din,” changes the mood on a dime, bleeding in a direct, stampeding bass line reminiscent of the best of The Sound.  Listen underneath that captivating bass for signs of  "Tomorrow’s” richness.  Diaphanous guitar lines; swirling, atmospheric synths; and another melody to kill for.  Darker in intent, the song loses none of its richness.  Not only is this my favorite song on the disc, it’s so hypnotically captivating that it’s nearly imprisoned me. It’s nearly impossible to get out of my player.  Ever.

But get it out I must, or else I’d miss the unspeakably gorgeous fragility of “Northern Time,” and it’s early-morning awakening melody.  There’s no words to describe this one but gorgeous.  Simply gorgeous.

And that’s just the first three tracks.  Many more surprises of blossoming enchantment await deeper inside. Don't miss it.

Buy here: High Score Blackout

www.myspace.com/thelovexnowheresf


Ring of Truth – Everything’s the Same But in a Different Place


Sometimes it’s great how an album can take you back and throw you forward all at the same time.  That’s the way it is with me and the Ring of Truth.  Being in radio back in the eighties, I hear so much in this crisp album that I grew up loving; the passion of New Model Army, the anthemic drive of the the very first Alarm record; the rhythmic intensity of early Midnight Oil.  Echoes of The Clash.  All  early favorites of mine, and all here.  But this is no pure retro band.  Ring of Truth infuse their impassioned tirade rock with enough modern indy rock and spirit to launch this baby right into the current day.

Still, the band’s hefty lineage is apparent from the very first cut, “There But for the Grace of God,”  with its ringing guitars, marching drum beat and anthemic lyrics.  “Trust in your intentions,” they sing in distinctly UK accents right to the fist-pumping, sing-along chorus.  This is early Alarm in full, raging glory.  “Why Should This Be,” keeps the righteous indignation fuming, a new punk intensity brimming in the vocals.  New Model Army fills the sound here, pumping and churning in ale flailing swagger.   Another pure, stark winner.  Then just as quickly, the lads change gears, dropping into a stunning Midnight Oil-esque alt punk-funk burner, “Never Compromise.”  With it’s rampaging funkified bass, crashes of slashing guitar, and mildly distorted Peter Garret-esque vocals, full of spit and sneer, this one’s gonna get lots of Ripple airplay. 

From there the album’s one consistent glittering jewel, shimmering with vim and vigor, all wrapped up in a dirty, tattered package.  If the names I mentioned do anything to get your heartbeat pumping, this disc is one to check out.  And even if you’ve never dug into those older bands catalog, there’s enough adrenaline in Ring of Truth’s music to jump start even the coldest heart.

--Racer

Buy here: Everything's the Same But in a Different Place


www.myspace.com/ringoftruth


The Love X Nowhere