IT'S THE POP REVIEWS NOW ANNIVERSARY GIVEAWAY!

Yes, you've got it right, I'll be doing a BIG giveaway in celebration of 2 years worth of music and writing. I've gone all-out for this and I've been teasing you guys via Twitter, so for crap's sake let's get right to it! wahahah. OK, OK, I know it's late, but would you rather I don't do this?

I've spent the past few months contacting PR companies I've worked with and who've shown interest in PRN during my 2 years and I must say, the amount of support I got surprised me. SO, thank you to the PR companies who're helping me out with this giveaway - it's greatly appreciated!

Let's get to business, shall we? I'm giving away a few LPs, EPs and exclusive merchandise from several artists you may or may not know of - so they deserve introductions, right? Hmm. Part 1 of the PRN giveaway was via Twitter, so if you were one of the three winners, you can't win the prizes below anymore.

Tristan Clopet

Official / Myspace / YouTube

I'm giving away 3 t-shirts and 3 copies of his EP Purple. So you guys get familiar with him, I got to pick his brains in a short interview! Seriously, it's really short.

1. How would you describe your music and what sets it apart from other indie or even major label acts?
Musically, it's like your younger brother- sometimes he wants to play and have fun but other times, since he's just a kid, he's liable to get really sensitive from time to time. Lyrically, it's like your older brother- the experienced realist who always makes sure your not too full of yourself and have a firm grasp of reality.

2. What do you hope to achieve with this EP?
I hope listeners can enjoy it for whatever combination of family members they want it to be.

3. What do you want to be remembered for in the next 10 or 20 years?
Ideally, the guy who cured cancer. Realistically, I'd still like to be completely relevant in the entertainment scene in the next 20 years. Either making music or working in film.

Blue Angel

Myspace / Facebook

Another new introduction, I got the duo to answer a few questions via video. Yayyyy!

Whoot! So I'm giving away TEN (10) SIGNED, collectors' edition promo CDs of 43 Days with a unique b-side. You so don't wanna miss this.

Ju-Taun

Myspace / Facebook / Twitter

Ju-Taun was one of the first artists I got to talk to on Twitter and all, after an interview and gushing-session. To be completely honest with you, they're probably one of the best a capella bands I've heard, ever. I love my DBSK and Westlife when it comes to a capella and all, but Ju-Taun are in a league of their own. SO, I'm giving away FIVE (5) copies of their album Love Changes Things. Weehee!

VV Brown

Official / Twitter / Myspace

The simple fact that I snagged something from VV Brown should be the surprise, but it's not - it's what I actually got. *grins* I'm giving away a 7" and a poster, but only to US residents. Less competition then for you guys! hahah.

AND, last but not the least, a special package from Sony Music. *dances around room*

Becca+Kate Miller-Heidke

Becca: Official / MySpace / Twitter

Kate Miller-Heidke: Official / Myspace / Twitter

I got to interview Kate Miller-Heidke late last year, and I'm pretty sure a lot of you know who Becca is. So, I'm giving away ONE (1) set of CD+Posters of Kate Miller-Heidke AND a copy of Becca's Alive!. Yup, just one set.

HOW TO JOIN

1. Find my tweet (this is a direct link already, just click it and RT the tweet that comes out) / Facebook wall thingy that says:


It's the BIG Pop Reviews Now Anniversary Giveaway! Details here: http://bit.ly/adgjmK

Re-tweet or re-post it - then take a screenshot. Make sure your username and proof that the account used to re-post/tweet is yours is clearly visible on the screenshot or else it won't count.

I assume you all have either one of these, am I right? I am right. hahah.

2. Chose TWO (2) artists/packages from above - you'll only win 1 but there are a limited amount of stuff, if I run out of your first choice you'll get your second choice. Simple as that.

3. Compose an e-mail to POPREVIEWSNOWGIVEAWAY [AT] GMAIL [DOT] COM with the subject 'PRN Anniversary Giveaway'. Include your full name, complete mailing address, 2 giveaway choices and a screenshot of your post/RT on Facebook or Twitter. All details you send in will be kept confidential - I hate spam and all that crap as much as you do!

Contest closes on May 4, 11 PM Philippine Standard Time (GMT +8) (that's 2 weeks from now). Winners will be notified by the weekend at the latest.

If you have any further questions or want clarifications on the giveaway (mechanics, etc.), please do NOT address them in the comments section or on Twitter - ask all your questions on my Formspring account as it's much easier for me to answer everyone there. I will not be entertaining any questions asked here or on Twitter. http://www.formspring.me/popreviewsnow

Rooftops - A Forest Of Polarity

I have seen Pink Floyd twice. The first time in April 1975 at one of the infamous Los Angeles Sports Arena shows - "infamous" because then Los Angeles Police Chief Ed Davis had the LAPD package, pocket, dog and/or pat down search every third ticketholder for drugs and alcohol as they entered the arena.  Pink Floyd were rather disheartened as the mechanically played the entirety of Dark Side Of The Moon.  A rather infamous bootleg of the concert exists which in itself is rather amazing given the police presence when it was recorded.  The second time I saw them was on August 9, 1980 at Earls Court in London when they performed, filmed and recorded The Wall live.

I am an early Genesis fan.  My favorite Genesis concert was probably September 24, 1975 at the Shrine Auditorium when, with Peter Gabriel, they performed Lamb Lies Down On Broadway and several encores of older material.  Parts of the concert are available on the box set Genesis Archive 1967-1975.

As you can see I was hooked on the "progressive rock" sound - a classical, theatrical rock symphony of great musicianship and syncopated rhythm.  I loved King Crimson and ingested huge quantities of Robert Fripp, John McLaughlin and Yes.  However, the progressive rock sound faded.  It became commercial.  By the 1990's most of it's original purveyors had moved on to other genres or had stopped producing loads of material.  It was a genre on its last legs - or so I thought.

With tA Forest Of Polarity The Rooftops breathe fresh air into non-commercial progressive rock.  All of the elements of the genre are present - like an old friend there is the feeling that Chris Squire, Mike Rutherford, Roger Waters, Phil Collins, David Gilmore, Robert Fripp and John McLaughlin all got together and recorded one last great progressive rock masterpiece. Really, however, the Rooftops are merely a group of very talented musicians from Bellingham, Washington. Drew Fitchette, Mark Detrick and Jonathan McIntyre play guitar. Wendelin Wohlgemuth (say that three times fast) plays drums. There is very little in the way of lyrics although they occasionally sing a word or two - more as instrumentation than story. The band adds layers of acoustic guitars, horns, strings and percussion that percolate and evoke emotion with odd time signatures and virtuoso performance.  This is an album that plays as background music, yet, can be dissected over and over again to catch this or that nuance in the instrumentation or production.  It is also a concept album.  One track flows after the next in a precise order.  The tracks are named, in order:  1. Fiery Atlas (Intro) / 2. Astray Life / 3. I Fast Early / 4. Raft Easily / 5. Year as Lift / 6. Tear as I Fly / 7. A Layer Fits / 8. Leafy Stair / 9. Era Falsity / 10. Sea Frailty. The music, by design, takes you on a floaty, light, gentle journey with various twists and turns.

I'm not ready to say progressive rock is back.  Heaven knows a progressive rock album has not been a blockbuster hit for over thirty years.  However, if the Rooftops keep it up that may soon change.  They play frequently in Washington State, Oregon and California.  This is a band well worth a listen. I suspect there will be no police pat down searches of Rooftops' fans outside their venues.

- Old School  

Everyone Everywhere MP3 Blog Tour - Free Ripple Music for you

Every once in a while something comes along that is just too cool for words.

That's the way we felt here at the Ripple Office when we were asked to be a part of this truly inventive project. Toss in the fact that it gives us another opportunity to get some free (legal) music into the hands of you waveriders, and we were chomping at the bit.

Beginning today, April 19th, and spanning through May 4th, 10 Independent Music Blogs will be giving away each and every song from the upcoming Self-Titled 12" LP from Philadelphia's Everyone Everywhere.

Aptly dubbed the "Everyone Everywhere MP3 Blog Tour," the concept is simple: Nine amazing blogs (and us, making 10 in total) will be giving away ten amazing songs over the course of the next two weeks.  Each blog gives away a different track from the album.  A different blog, a different song, each day.

We've been asked to kick this whole sheebang off, so today we're presenting to you a free download of the album opener, "Tiny Planet." On first listen, we were instantly drawn to this track, with it's spacey opening guitar and heavy rolling bassline. Bring in some chiming and some crunch and we got some sort of space/emo hybrid with some serious pop smarts, soaring melodies and intricate, layered guitarwork.

The folks at Tiny Engines have lined up some stellar blogs to participate, and each site will be giving away a different song from the record on consecutive days - save for the weekends - until its official release date, May 4th.  For the second track on the album, "Raw Bar OBX 2002" check out Can You See The Sunset? on Tuesday (04/20)

For a detailed schedule of tracks and participants, see below.  Check em all out, we found some new cool stuff there.

For those who simply can't wait to download the album (or simply would like to support the band and label) it's currently available from iTunes and other digital retailers. And  you can Pre-Order the 12" LP in all its vinyl awesomeness from Tiny Engines.

So what are you waiting for? Let's start the tour!

Here's our free song:

Tiny Planet: http://www.beartrappr.com/TE1030104192010/01%20Tiny%20Planet.mp3

And here's the layout for the rest.  Follow the tour each day.  Get the whole album.  Enjoy!

Side A
--------------------------------------------------------------------------------

01. Tiny Planet @ The Ripple Effect - Monday (04/19)
02. Raw Bar OBX 2002 @ Can You See The Sunset? - Tuesday (04/20)
03. From The Beginning To The Tail @ Built On A Weak Spot - Wednesday (04/21)
04. Tiny Town @ Dryvetyme Onlyne - Thursday (04/22)
05. Tiny Boat @ Battle Of The Midwestern Housewives - Friday (04/23)

Side B
--------------------------------------------------------------------------------

06. Music Work Paper Work @ Deckfight - Monday (04/26)
07. Blown Up Grown Up @ The Album Project - Tuesday (04/27)
08. Fld Ovr @ Familiarize Yourself - Wednesday (04/28)
09. I Feel Fine by Everyone Everywhere @ Reviewsic - Thursday (04/29)
10. Obama House, Fukui Prefecture @ Clicky Clicky Music - Friday (04/30)

Japanese vs. Korean production

I start this post with a long, heavy *sigh*. Why, you ask? Because this post has been on my mind for ages now and I've had the theory constantly circling my mind but I've only actually sat down to write it now. Oh well, here we go.


For the longest time, well ever since I got into DBSK, I've noticed a very distinct difference in Japanese and Korean production - to the point where I was pulling my hair out last year trying to figure out why. I haven't figured it out yet, but I do have an analogy that has gotten a few friends of mine (including Mel) laughing their heads off. Was it really that bad? Aish.

Well anyway, my theory/analogy is that Japanese production is like a cheesecake, and Korean production's like a chocolate chip cookie, or whatever crisp, thin cookie you can think of. DON'T LAUGH! lol.

Japanese production is like a cheesecake because it's rich, it's packed, but it's smooth and very, very clean. Like, clean to the point of sanitary but for some reason it's got punch. Like a cheesecake. It also has attention to detail - like in a cheesecake how the toppings and the graham at the bottom make a big difference, it's the little effects/techniques that make a difference in Japanese production.

Korean production is like a cookie because it's crisp, it's thin and what you see, in this case what you hear, is what you get. It's not that smooth either, it's a bit rocky at certain places - like a chocolate chip cookie you have the chocolate chips in the way. You can say that Korean production is a bit rough compared to Japanese production.

I've had a few comparisons in mind, including Mirotic and Purple Line, but there was one song where the difference was unmistakeable. It's not just because of the language or the change in vocals (Although that plays a part too. We'll get to that later.), the over-all sound of the song changed. The song? Beautiful Life - first found in their second Korean album, Rising Sun, and later in their third Japanese album, T.

But before I start rattling off, why don't I just show you guys the difference? Time to get technical, people. OK not really, but I have sound waves to show you and even without them, you guys think I get super technical. Aish. The track on top is the Japanese-produced one, and the track below is the Korean-produced version. Click to enlarge.

So zoom in to the wave at around 0:55 until just before 1:40 and you see that more of the waves in the track above (that's the Japanese one) reach the extremes (top and bottom) than the ones in the track below (Korean) and that the waves are more concentrated on the Japanese version. This pattern repeats throughout several other parts of the song. That proves my point that Japanese production is richer and more packed than Korean production, which is thinner and crisper.

SO what does this mean? I rattle on and on about how Japanese have a focus on the music, while Koreans have a focus on selling, but production-wise I don't think that applies as much as it does with the former because in both countries, there are well-produced songs and badly-produced ones - it's all a matter of taste really.

Take SNSD's Genie - that song has some of the best production I've heard in ages. BUT, it's very Korean - it's crisp and a bit rough around the edges if you compare it to a Japanese song.

Then you have DBSK's Summer Dream and it sounds so damn Japanese. It's rich but once again, it's got punch. And throughout the song you hear these little bells and whistles that aren't that prominent if you don't listen to the song but if they aren't there, the song would sound really different.

So there you go. Comments, violent reactions? Whether you agree with me or not I don't really care, since these are based on my observations.

A Sunday Conversation With Blane Fonda

Bringing on a cool, post-eighties, exquisite pop vibe, Blane Fonda were a treat from out of nowhere for us here at the Ripple.  Needless to say, we didn't hesitate to have the boys come join us on the Ripple red leather interview couch and chat a spell.

When I was a kid, growing up in a house with Cat Stevens, Neil Diamond, and Simon and Garfunkel, the first time I ever heard Kiss's "Detroit Rock City," it was a moment of musical epiphany. It was just so vicious, aggressive and mean. It changed the way I listened to music. I've had a few minor epiphany's since then, when you come across a band that just brings something new and revolutionary to your ears.


What have been your musical epiphany moments?


For me, listening to Pink Floyd - specifically The Wall and Animals, were epiphany moment that happened when I was about 14 years old. I had always liked music and grew up in a family with good tastes, but from the first listens, these albums changed everything. Since then, I've had similar experiences listening to Arcade Fire, Radiohead, Broken Social Scene, and a few others.


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?

Usually someone will come to the group with an idea -- sometimes it's a chord progression, sometimes a vocal hook -- and the band will write and arrange as a group. We do a lot of scratch recordings so we can work on parts at home.

Where do you look for continuing inspiration? New ideas, new motivation?

Inspiration for music can be found anywhere if you are in a creative mindset. We have a new song about a pharmacy, so there you go.


Genre's are so misleading and such a way to pigeonhole bands. Without resorting to labels, how would you describe your music?

Blane Fonda tends toward high-energy, often danceable rock. There are influences from punk and new wave that probably come through.



What is you musical intention? What are you trying to express or get your audience to feel?

We're playing music that we want to hear, and that we hope others want to hear as well. Listening to music is always a very personal experience, so we can't know what's going to get through to someone or change the way they think about what the song is about. If we can make people feel something, we're happy with that.



In songwriting, how do you bring the song together? What do you look for in terms of complexity? Simplicity? Time changes?

Again it's a group process, sometimes it happens in a night, other songs can take months to come together. As for complexity, Blane likes to have some tunes that are simple pop songs, and others that take surprising turns in structure or feel. Our singer used to front a prog rock band, so there is an element of that in the band, somewhere.

The business of music is a brutal place. Changes in technology have made it easier than ever for bands to get their music out, but harder than ever to make a living? What are your plans to move the band forward? How do you stay motivated in this brutal business?

Right now our plan is just to get our music out there. Blane is picking up more and better Midwest regional shows, and we're doing as much publicity and grassroots promo as we can wherever we go. Like a lot of things, motivation is easier to maintain when you stay focused on the next step. We'll worry about making a living when it's an issue we need to worry about.


Come on, share with us a couple of your great, Spinal Tap, rock and roll moments?

Someone sent us an email through our website from the name Artie Fufkin, saying they wanted to sign Blane to Polymer Records...



What makes a great song?

The use of the word "haberdashery"



Tell us about the first song you ever wrote?

It was based on one guitar riff that was pretty much directly lifted "Tom Sawyer" by Rush. Luckily, most of the fellow 12 year olds we performed it for didn't seem to notice or take offense.


What piece of your music are particularly proud of?

There's a song called "Salacious Love" on Blane Fonda's EP Master of Stars and Broken Arms; I think it showcases the sound of the band, and it's just a really fun song that's very easy to like.


Who today, writes great songs? Why?

The list of great songwriters is too long to list here. How about one chosen at random? Andrew Bird writes great songs in my opinion. Beyond the witty lyrics, the melodies are very smart. I can listen to them a thousand times and they don't ever seem to get old.



Vinyl, CD, or digital? What's your format of choice?

Listening to vinyl is ideal, though my record collection could use improvement. I still buy CD's.


We, at the Ripple Effect, are constantly looking for new music. When we come to your town, what's the best record store to lose ourselves in?

Reckless Records


Any final comments or thoughts you'd like to share with our readers, the waveriders?

Thanks for supporting music!

Ripple News - New Stone Axe Album and New Website with Tons of Free Music

Self-described '70's rock preservationists, Stone Axe, contacted us today with some news sure to make all the lovers of blues-infused, classic '70's rock turn into a bucket of mush.  First, the new Stone Axe II is out and burning a hole in my speakers, meaning that we got another Stone Axe album to freak our minds on  (calm down Woody, down boy!).

Secondly, T. Dallas Reed, Dru and boys just launched a new website that features all the Stone Axe goodies you could want, plus each month there's a free download of a rare studio, cover, demo or live track.  Hearing this I immediately popped over, and now I'm feasting my ears on a delectable Stone Axe cover of Cream's "SWLABR."  And damn, is it good.

Get yours here: http://www.stoneaxeband.com/music-group-14.html  and check out all the other tracks to stream, swag to buy, and joy to be found.

www.stoneaxeband.com.  Your new 1970's music awaits.

Proto metal Report - Judas Priest – Rocka Rolla

Anytime that Racer and I get together and sit down for a meal, the safe bet is that a good two hours will pass with us talking about music. In fact, the last time we met up, I’d say we spent . . . carry the one . . . find the lowest common denominator . . . about ten hours discussing all that is music. And one of the bands that frequented many of those conversations was Judas Priest, which then got me thinking about the band’s first album. Rocka Rolla, for some reason or another, is the red headed bastard child of the Priest catalog, and I’m not totally certain why. I know that when trying to compare it to anything post-British Steel is near impossible simply because the sound and musical direction had changed so much. In actuality, the band’s sound really took the most drastic turn with Hell Bent For Leather. Up to that point, Sad Wings of Destiny and Sin After Sin held fairly close in the pattern set with Rocka Rolla’s fuzzed out, blues-based psychedelia.

So, here it is . . . 1974 and this wee little band out of Birmingham, England releases their debut album and it doesn’t even remotely sound like the style that they would become famous for. Rocka Rolla has more in common with bands such as Poobah, or Sir Lord Baltimore, or Leaf Hound than what we’ve all come to know and love as Judas Priest. But folks . . . that’s not a bad thing! Bob Halford (as he was referred to back then) and his stratospheric pipes, K.K. Downing and Glen (that’s right . . . one ‘n’) Tipton’s dual guitar attack seamlessly shifting from rhythm to lead, Ian Hill’s no frills, played-in-pocket low end, and John Hinch’s steady hand steering the ship, Rocka Rolla is a precursor to the pre-Hell Bent For Leather releases from the Priest. Maybe a little primitive in sound, but when you sit back and listen to the groove and soul to the music, it’s easier to see that this is an overlooked gem.

The title track has long been a favorite tune of mine. The opening guitar riff is laced with those elements that would later make up that classic Priest guitar sound, as my fearless brethren, Racer, has often stated, a tone that actually sounds like metal. Capturing the essence of all that rock that became popular in the early to mid 70’s, “Rocka Rolla” is the most commercial track on the album and has a string of lyrics that I’ve found myself singing when I hadn’t listened to the song in years. Downing and Tipton shine. Between the heavy blues riffage, these ax men whip out some great lead work and give us a glimpse of the great things that would later erupt from their fingers. Halford’s voice borders on crooning lounge singer as he emits this sultry bluesy thing, gruff when he needs to be, but all around smooth. We even get some sneak previews of the higher pitched screams that became the man’s bread and butter. Of special note, check out the harmonica work. Yeah . . . not what one would expect with Judas Priest, but then again, back in 1974, we didn’t know what to expect.

“Never Satisfied” is a bruiser. Every time I hear this, I try to imagine what it would have been like to hear this for the first time in ’74. Sure, at that point, heavy rock wasn’t totally new. Zeppelin had released the Brown Bomber and Sabbath, well . . . was there anything heavier than Sabbath at the time? But, the point is, the guitar tones, the heavy groovin’ rhythms, the smoky whiskey drenched blues voice all worked in tandem to create a menacing sound that taken apart from Priests’ peers would have be otherworldly. Co-penned by the bands original singer, Alan Atkins, “Never Satisfied” has a certain blues-y factor to it, what with the chord progressions and lyrical content, but there’s also this underlying attitude to it that I think bares a semblance to latter day Priest and the metal that they would eventually forge. The guitar solos from on this one are doozies, as well. Soaring and ear splitting, Downing and Tipton were kismet from day one!

The thing with early Judas Priest that really shook my foundations and I found unnerving was their slowed down, psychedelic material; going back to tracks like “Dreamer Deceiver” and “Epitaph” from Sad Wings, and “Last Rose of Summer” from Sin After Sin. By the time I heard the chilled out psyche sounds of “Run of the Mill” and the space-y Winter Medley, I was pretty numb to Judas Priest of old. Now listening to this stuff, it’s a hundred times cooler than ever! “Run of the Mill” is packed with these great emotional interludes and dynamic shifts of metal that make the song a quasi-epic. The mini jam section in the middle of the song is laced with LSD as the guitar notes seem to waft through the air like so much pot smoke. All the while, the rhythm section is just humming along in the background, doing what a world class rhythm section is supposed to do. Slowed down tracks like these are, in my opinion, when Halford shines the brightest. Dude has a voice that can melt glaciers!

Rounding out the album with a hard rocking edge is “Dying to Meet You,” a song that initially slithers out of the speakers rather than leaping out like so many rockers. The slow distorted riff is as imposing as any out there, and then when the dual guitarists kick their rigs into a clean tone and Halford’s Sinatra-like vocals croon . . . phew! “Dying to Meet You” reflects the tumultuous times well with lyrics that paint a dark and vivid image of the psychosis of those going to war. Then, the song bursts into a galloping rhythmic beast, kicked into overdrive by a guitar solo that will kick your ass into orbit around the moon. Halford’s vocals switch up with the change in mood of the latter half of the tune and we hear the makings of classic Priest. Heavy, driving, dark and imposing, yet tasteful with a touch of classical headiness.

I could never with a straight face say that Rocka Rolla is my favorite Priest album, but I’m sure I could create some bizarre category where it would rest comfortably in the top five. Maybe, the “best 70’s psyche blues that no one talks about” list . . . anyway, most fans of Judas Priest don’t pay too much attention to the band prior to British Steel, and even fewer before Hell Bent For Leather or Stained Class. Rocka Rolla isn’t the leather clad metal militia that the band became in the 80’s. In fact, the band comes across as star crossed hippies who were dissatisfied with all of the peaceniks of the day and then experimented with hallucinogens to further their musical vision. Where Rocka Rolla stands in comparison with the heavy fussed out, acid blues rock of the same time period is beyond me, and nor do I really care. I hear a collection of songs that have a good groove, a warm though imposing tone, and melodies that I can’t help but sing to every time that I hear them.  -  Pope JTE

Buy here:  Rocka Rolla

www.judaspriest.com