Wednesday, November 30, 2011
a brutally morbid death metal comp of late 80s/early 90s death metal
a brutally morbid death metal comp of late 80s/early 90s death metal.
Click on the Rants link on Nocturnal Cult Webzine (www.nocturnalcult.com) to view the mix and download it. And be prepared to have your bones ground into dust.
Or of course you can cheat and download the mix immediately here:
Here is the tracklisting for those of you taking the easy way out
Disgrace (Finland) = Debt of Gods (1991)
Traumatic (Sweden) = The Hole (1996)
Convulse (Finland) = False Religion (1992)
God Macabre (Sweden) = In Grief (1993)
Devastation (USA) = Devastation (1986)
Cenotaph (Mexico) = Ashes In The Rain (1992)
Burial (USA) = Victims of Drowning (1991)
Eternal Dirge (Germany) = Out of the Eons (1992)
Carbonized (Sweden) = Monument (1991)
Absu (USA) = Immortal Sorcery (1991)
Funebre (Finland) = The Walls Held Screams (1991)
Bloodstone (Sweden) = Shadow World (1995)
Cadaver (Norway) = Bodily Trauma (1990)
Atrocity (Germany) = Humans Lost Humanity (1989)
Gorement (Sweden) = Darkness Of The Dead (1994)
Depravity (Finland) = Silence of the Centuries (1993)
Traumatic (Sweden) = The Hole (1996)
Convulse (Finland) = False Religion (1992)
God Macabre (Sweden) = In Grief (1993)
Devastation (USA) = Devastation (1986)
Cenotaph (Mexico) = Ashes In The Rain (1992)
Burial (USA) = Victims of Drowning (1991)
Eternal Dirge (Germany) = Out of the Eons (1992)
Carbonized (Sweden) = Monument (1991)
Absu (USA) = Immortal Sorcery (1991)
Funebre (Finland) = The Walls Held Screams (1991)
Bloodstone (Sweden) = Shadow World (1995)
Cadaver (Norway) = Bodily Trauma (1990)
Atrocity (Germany) = Humans Lost Humanity (1989)
Gorement (Sweden) = Darkness Of The Dead (1994)
Depravity (Finland) = Silence of the Centuries (1993)
Monday, November 28, 2011
GUNSLINGER: Even tough guys gotta dance.
| Written by ~Dino Raeker |
http://poprocketpress.com/index.php?option=com_content&view=article&id=197:rock-and-roll-over-jan-2011&catid=41:music&Itemid=54GUNSLINGEREarly Volumes 1Blitz Music  With a name like Gunslinger, you might expect some rootin’ tootin’ tuneage along the lines of the Outlaws or even, say, Steve Wynn. What you get instead is dance music. Dance, gringo, dance, before the pistol stops shooting at the ground and starts shooting at your feet. Gunslinger, it turns out, is the work of one Chris Anthem. He’s optimistically entitled his first release Early Volumes 1 in anticipation of a long and productive career. Possessing songwriting skills to match his programming prowess, Chris should survive a good many DJ draw downs in the clubland corral. His trick is pumping the 80s New Romantics full of electro steroids and letting them run wild. The top of your head starts buzzing while your heart keeps beating. Anthemic vocals thankfully prevent your brain from needing life support. The bass line doesn’t let your feet stop moving the whole time either, of course. A pistolero looming nearby is not necessarily required to enjoy good dance music. Even tough guys gotta dance. |
Sunday, November 27, 2011
California's The Memorials self-titled debut album is a rowdy
The Memorials
http://www.nocturnalcult.com/newcontents.htm
California's The Memorials self-titled debut album is a rowdy, yet soulful metallic party. Punk and thrash riffs are mashed up against a relaxed middle section on We Go To War. The effect is a free-for-all melee surrounding the eye of the storm. A bouncing bass-line has my feet tapping as Natural Disaster begins, and wailing organ synth accompanies this nicely. Viveca's vocals bring to mind a more aggressive, edgier Garrison Starr as they sway in a despairing yet sultry way. The song gains momentum and unleashes an avalanche of bass and roiling drums. A lazy, dreamy playfulness drips from the hazy Bjork-ish voice on Day Dreamer as the drums and dissonant guitars at times bring to mind Voivod. I know it sounds odd, but I hear it buried in there. And then the album drifts off course with the silly party song, Let's Party. It's as if an MTV beach band stumbled into a barroom rock jam. And to continue the downward spiral, the funky swirl of Westcoast fails to grab me at all, sounding flat and a little forced. The band regain their footing on the punked-up new wave jam, Dream, which incidentally is my favorite track on the album. Viveca's voice drips sorrow and honey all in one. Thrash riffs and powerful drums drop into menacing restraint on GTFOMF. And here we go again, drifting off course with Real, a toughened up take on classic soul-pop, the kind of hit the Pointer sisters might have hit you with in the 80s if they were utilizing metal guitars. Insane blast beats and guitars sizzle with electricity hiss as Why Me? rears its paranoid head. The track undulates with a psychotic rhythm as it settles in. Sunny pop-punk crossed with Weezer on the track I Remember You leaves me feeling light and a bit refreshed. The Each track, and by proxy the album as a whole is just slightly too long, leaving me a little worn down by the time we cross the finish line. Plus the disparate styles creates an album that loses focus for me. Some of the material on this album is great and others seem out of place or in a way, forced.
California's The Memorials self-titled debut album is a rowdy, yet soulful metallic party. Punk and thrash riffs are mashed up against a relaxed middle section on We Go To War. The effect is a free-for-all melee surrounding the eye of the storm. A bouncing bass-line has my feet tapping as Natural Disaster begins, and wailing organ synth accompanies this nicely. Viveca's vocals bring to mind a more aggressive, edgier Garrison Starr as they sway in a despairing yet sultry way. The song gains momentum and unleashes an avalanche of bass and roiling drums. A lazy, dreamy playfulness drips from the hazy Bjork-ish voice on Day Dreamer as the drums and dissonant guitars at times bring to mind Voivod. I know it sounds odd, but I hear it buried in there. And then the album drifts off course with the silly party song, Let's Party. It's as if an MTV beach band stumbled into a barroom rock jam. And to continue the downward spiral, the funky swirl of Westcoast fails to grab me at all, sounding flat and a little forced. The band regain their footing on the punked-up new wave jam, Dream, which incidentally is my favorite track on the album. Viveca's voice drips sorrow and honey all in one. Thrash riffs and powerful drums drop into menacing restraint on GTFOMF. And here we go again, drifting off course with Real, a toughened up take on classic soul-pop, the kind of hit the Pointer sisters might have hit you with in the 80s if they were utilizing metal guitars. Insane blast beats and guitars sizzle with electricity hiss as Why Me? rears its paranoid head. The track undulates with a psychotic rhythm as it settles in. Sunny pop-punk crossed with Weezer on the track I Remember You leaves me feeling light and a bit refreshed. The Each track, and by proxy the album as a whole is just slightly too long, leaving me a little worn down by the time we cross the finish line. Plus the disparate styles creates an album that loses focus for me. Some of the material on this album is great and others seem out of place or in a way, forced.
Saturday, November 26, 2011
Friday, November 25, 2011
BLACK PUSSY : They nail it, whatever it is
Right from the outset you get of some sense of what’s in store from Black Pussy with the psychedelic cover art and the boss car graphic. And in a possible shout-out to Monster Magnet’s debut, Spine Of God, the very first thing you hear on this 6-song EP is a lengthy bong hit, which segues into a song entitled, “Marijuana.” Go figure. While it’s not as “stoned” as one might hope from the title, they can do more than one thing and they don’t stay there too long. The guitar lick that leads into “Can’t Take Anymore” is good, but the male/female co-lead vocal is really unexpected. Something trippier begins to take over on “Swim” and things take shape musically; the melodic structure/phrasing on this song stands out among everything else on the EP. They nail it, whatever it is. What they’re doing on this record is not really “heavy” at all, but, I’d surmise that’s not what they’re going for either. Think Fireball Ministry, as opposed to the aforementioned Monster Magnet, or maybe, if you’re feeling retro, more Grand Funk Railroad than Deep Purple, but a lot of fun nonetheless. And you gotta love their name. Sooner or later somebody had to do it.
Thursday, November 24, 2011
The Santa Fe New Mexican: POOR BOY's SOUL
The Santa Fe New Mexican
http://www.nodepression.com/profiles/blogs/terrell-s-tune-up-one-man-armies
The modern-day one-man band refuses to die.
Maybe it’s the bad economy that makes it more fiscally feasible to travel and perform without having to divide up the gate with others. Or maybe stripping music down to its gutbucket basics is a reaction to slick, over-produced rock ’n’ pop. Or, to indulge in some sociopsychological navel-gazing, perhaps the whole thing is a weird symbol for 21st-century isolation.
Whatever the case, one-man bands continue to haunt the edges of the rock ’n’ roll underground.
The concept is basic: one man plays guitar, banjo, ukulele, or sometimes keyboards with his hands, drums or other percussion with his feet, and harmonica or kazoo with his mouth.
Among the current practitioners of the art are Scott H. Biram, whose album Bad Ingredients is one of the finest records of the year; Bloodshot Bill; King Automatic; Bob Log III; John Schooley; Jawbone; Urban Junior (who calls his music “Swiss-spankin-electro-trash-garage-boogie-disco-blues-punk”); and Mark Sultan aka BBQ, whose acrimonious split from the King Khan & BBQ Show is an example of how even a two-man band can be a petri dish for personality conflicts.
Here are some recent one-man wonders whose CDs have crossed my ears in recent weeks:
* Burn Down by Poor Boy’s Soul. I first became aware of Trevor Jones, the one man behind this band, by way of a strange email from his publicist: “I have been trying to get this band serviced to you for weeks now. Want to know why I haven’t been able to get this out to you? He went missing. Got a call today from him, apparently he was in jail in a small town in North Dakota. Trevor rides the freight trains around the U.S. and, well, he got busted.”
That modern-day hobo-minstrel tale got me curious. I had to hear his voice before the railroad bulls silenced it forever.
Jones, an Oregon resident, got his band name from an old outlaw ballad, “Wild Bill Jones”: “I pulled my revolver from my side / And I destroyed that poor boy’s soul.”
He started out as a metal and punk player. But after he started riding the rails, he apparently got possessed by the lonesome ghosts of Woody Guthrie and Lead Belly. “I bought a cheap acoustic and started learning folk, bluegrass, and blues from folks on the road. That’s when I started developing the style of music I play now,” he says in his official bio.
His voice has a gruff edge to it, but it’s not overdone. Crediting Mississippi Fred McDowell as a major influence, PBS plays a mean National guitar. Most of the seven songs here are hard-edged blues stompers, starting out with the title song — a slow-moving, ominous tune that sounds as if the singer is about to do something regrettable.
My favorite at the moment is “Nails in the Pine.” It’s the most uptempo number, reminding me of The Reverend Peyton’s Big Damn Band. Also notable is the almost-five- minute “Ain’t Comin’ Back,” which has a dark, spooky feel. The way it’s recorded, you might think you’re hearing it from a car radio in the 1950s (right before your car breaks down on a dirt road near the local serial killer’s house).
The biggest surprise on the album is the last song, a somber seven-plus minute ballad called “Annalisa.” Sounding like a more melodic Jandek song, this is a moving tribute to Jones’ sister — who, he says, has overcome many obstacles. “Annalisa, you’re stronger than those demons in your head,” goes the refrain.
I’m looking forward to hearing more music from this poor boy’s soul.
http://www.nodepression.com/profiles/blogs/terrell-s-tune-up-one-man-armies
The modern-day one-man band refuses to die.
Maybe it’s the bad economy that makes it more fiscally feasible to travel and perform without having to divide up the gate with others. Or maybe stripping music down to its gutbucket basics is a reaction to slick, over-produced rock ’n’ pop. Or, to indulge in some sociopsychological navel-gazing, perhaps the whole thing is a weird symbol for 21st-century isolation.
Whatever the case, one-man bands continue to haunt the edges of the rock ’n’ roll underground.
The concept is basic: one man plays guitar, banjo, ukulele, or sometimes keyboards with his hands, drums or other percussion with his feet, and harmonica or kazoo with his mouth.
Among the current practitioners of the art are Scott H. Biram, whose album Bad Ingredients is one of the finest records of the year; Bloodshot Bill; King Automatic; Bob Log III; John Schooley; Jawbone; Urban Junior (who calls his music “Swiss-spankin-electro-trash-garage-boogie-disco-blues-punk”); and Mark Sultan aka BBQ, whose acrimonious split from the King Khan & BBQ Show is an example of how even a two-man band can be a petri dish for personality conflicts.
Here are some recent one-man wonders whose CDs have crossed my ears in recent weeks:
* Burn Down by Poor Boy’s Soul. I first became aware of Trevor Jones, the one man behind this band, by way of a strange email from his publicist: “I have been trying to get this band serviced to you for weeks now. Want to know why I haven’t been able to get this out to you? He went missing. Got a call today from him, apparently he was in jail in a small town in North Dakota. Trevor rides the freight trains around the U.S. and, well, he got busted.”
That modern-day hobo-minstrel tale got me curious. I had to hear his voice before the railroad bulls silenced it forever.
Jones, an Oregon resident, got his band name from an old outlaw ballad, “Wild Bill Jones”: “I pulled my revolver from my side / And I destroyed that poor boy’s soul.”
He started out as a metal and punk player. But after he started riding the rails, he apparently got possessed by the lonesome ghosts of Woody Guthrie and Lead Belly. “I bought a cheap acoustic and started learning folk, bluegrass, and blues from folks on the road. That’s when I started developing the style of music I play now,” he says in his official bio.
His voice has a gruff edge to it, but it’s not overdone. Crediting Mississippi Fred McDowell as a major influence, PBS plays a mean National guitar. Most of the seven songs here are hard-edged blues stompers, starting out with the title song — a slow-moving, ominous tune that sounds as if the singer is about to do something regrettable.
My favorite at the moment is “Nails in the Pine.” It’s the most uptempo number, reminding me of The Reverend Peyton’s Big Damn Band. Also notable is the almost-five- minute “Ain’t Comin’ Back,” which has a dark, spooky feel. The way it’s recorded, you might think you’re hearing it from a car radio in the 1950s (right before your car breaks down on a dirt road near the local serial killer’s house).
The biggest surprise on the album is the last song, a somber seven-plus minute ballad called “Annalisa.” Sounding like a more melodic Jandek song, this is a moving tribute to Jones’ sister — who, he says, has overcome many obstacles. “Annalisa, you’re stronger than those demons in your head,” goes the refrain.
I’m looking forward to hearing more music from this poor boy’s soul.
Wednesday, November 23, 2011
If you've been searching for just the right Indie compilation(s) xo for the holidays
01. Piney Gir - "Christmas Time"
02. Climber - "Holiday Hoopla"
03. Pictures Of Then - "I Believe In Father Christmas"
04. Jessie Torrisi - "I Lose a Little Bit of You"
05. Kulewa - "I'll Be Home"
06. Magnuson - "O Come Emmanuel"
07. Rags & Ribbons - "Greensleeves"
08. The Janks - "Silent Knight"
09. The Winter Sounds - "Stranded in Snowville"
10. Beneath Wind and Waves - "The Gift"
11. Bradley Wik and The Charlatans - "Midwest Winters"
FREE DOWNLOAD AT XO PUBLICITY
02. Climber - "Holiday Hoopla"
03. Pictures Of Then - "I Believe In Father Christmas"
04. Jessie Torrisi - "I Lose a Little Bit of You"
05. Kulewa - "I'll Be Home"
06. Magnuson - "O Come Emmanuel"
07. Rags & Ribbons - "Greensleeves"
08. The Janks - "Silent Knight"
09. The Winter Sounds - "Stranded in Snowville"
10. Beneath Wind and Waves - "The Gift"
11. Bradley Wik and The Charlatans - "Midwest Winters"
FREE DOWNLOAD AT XO PUBLICITY
I admit that when all of the other web sites have listed a freebie, I feel less inclined to rush it up. I'd rather invest my time finding the freebies no one else has uncovered yet. So, yeah, I'm late getting to this one. And a few others that I'll get to soon enough.
XO Publicity is exactly that, a publicity outfit. I'm not exactly sure who or what it is they publicize, but I hope they do it well and make a gazillion dollars if only so they'll continue bringing us sweet free Christmas Comps like this one. This, you'll notice, is the fourth year we've been treated to "XO For The Holidays" and, yes, the other three can still be found and downloaded, give or take a track.
If you've been searching for just the right Indie compilation(s), you could do a lot worse than these free downloads from XO. First up, on this year's in Piney Gir. Need I saw more? I love Piney Gir. Other standouts here include Kulewa, who show Scott Weiland how a 21st Century band should do up a standard. The Winter Sounds turn in an excellent 80s tinged Indie Rock effort with "Stranded In Snowville". "Greensleeves" from Rags & Ribbons is only loosely based on the traditional melody of the same name; I'd call it an entirely new progressive rock track, but for one verse in the middle. Magnuson fuzzes up "O Come Emmanuel". And Bradley Wik's "Midwest Winters" might be the best gift among the many great gifts here. But you've already read all that everywhere else. Just go download it already.
XO Publicity is exactly that, a publicity outfit. I'm not exactly sure who or what it is they publicize, but I hope they do it well and make a gazillion dollars if only so they'll continue bringing us sweet free Christmas Comps like this one. This, you'll notice, is the fourth year we've been treated to "XO For The Holidays" and, yes, the other three can still be found and downloaded, give or take a track.
If you've been searching for just the right Indie compilation(s), you could do a lot worse than these free downloads from XO. First up, on this year's in Piney Gir. Need I saw more? I love Piney Gir. Other standouts here include Kulewa, who show Scott Weiland how a 21st Century band should do up a standard. The Winter Sounds turn in an excellent 80s tinged Indie Rock effort with "Stranded In Snowville". "Greensleeves" from Rags & Ribbons is only loosely based on the traditional melody of the same name; I'd call it an entirely new progressive rock track, but for one verse in the middle. Magnuson fuzzes up "O Come Emmanuel". And Bradley Wik's "Midwest Winters" might be the best gift among the many great gifts here. But you've already read all that everywhere else. Just go download it already.
Tuesday, November 22, 2011
Black Joe Lewis is a breath of fresh air ...Young people wake up!! This is REAL MUSIC!!
Joe Lewis looked younger than expected, and pulled out all the stops-- including playing leads with his teeth ala Hendrix. The vocals came up short in the mix and so did the horns, which masked the fullness of the band, but Lewis' captivating guitar seemed to cascade over the crowd.
I mused about what kind of crowd Joe Lewis' style of soul might draw. While the show was all ages, there seemed to be a primarily older crowd, with the underage side of the floor practically empty. Everyone seemed to be gripped by anticipation. Unanimously, folks I talked to were confused by the lameness of the opener but content to hang on until the headliner, smoking cigs and slapping back overpriced drinks expectantly.
It was apparent that the majority of his set list was from his new album "Scandalous", but in true rock n' fashion he saved the biggest hits for last closing the night with "I'm Broke" and "Sugarfoot". Overall the show was amazing and it's unfortunate that younger audiences don't seem to appreciate the artisitic value of R&B soul. Black Joe Lewis is a breath of fresh air and it's nice to see a talented artist play live original music. Young people wake up!! This is REAL MUSIC!!
-Blake McIntosh
http://www.blackjoelewis.com/
THE WINEBIRDS: infused with humor, occasionally stellar vocals, and strong songwriting.
The Winebirds, the homegrown Portland, OR based quintet, are making some noise with their first full-length, the pop infused Séance Hill. It’s a varied and often wonderful listen from the band — equally infused with humor, occasionally stellar vocals, and strong songwriting.
The obscenely funny first track, “I Obscenity in Your Mother’s Milk” is a great example of the positive; it’s dark but features great harmony/vocals and with combines a great instrumental section into the later chant. “The Solution,” too, is a winner with its solid opening hook and Rolling Stones like vibe (complete with the random call-outs of “Satisfaction!”). “Hit Machine,” while uneven in its ’50s girl group mentality, features the beautiful female vocals at their best.
What separates the album from excellence is a lot of the filler, mostly the slower tempo tracks. There’s a screeching halt to the aforementioned fun when “Out in the Van,” “Best in Show,” and “Tideman” — all boring duds — run consecutively. “Cassandra” and “Monkey Victim Unit” also miss the mark in terms of interesting composition.
And while it doesn’t take long for the listener to realize there’s something special there, it really is only conveyed in a few of the tracks. For a relatively new band on the scene, they’ve got some inherent talents on board that should carry them far.
The obscenely funny first track, “I Obscenity in Your Mother’s Milk” is a great example of the positive; it’s dark but features great harmony/vocals and with combines a great instrumental section into the later chant. “The Solution,” too, is a winner with its solid opening hook and Rolling Stones like vibe (complete with the random call-outs of “Satisfaction!”). “Hit Machine,” while uneven in its ’50s girl group mentality, features the beautiful female vocals at their best.
What separates the album from excellence is a lot of the filler, mostly the slower tempo tracks. There’s a screeching halt to the aforementioned fun when “Out in the Van,” “Best in Show,” and “Tideman” — all boring duds — run consecutively. “Cassandra” and “Monkey Victim Unit” also miss the mark in terms of interesting composition.
And while it doesn’t take long for the listener to realize there’s something special there, it really is only conveyed in a few of the tracks. For a relatively new band on the scene, they’ve got some inherent talents on board that should carry them far.
Monday, November 21, 2011
ROCH - known for their different approach to rap
Roch – ‘Lightweight Bi-Polar Mania’ Review
http://www.behindthehype.com/music-reviews/hip-hop-review/roch-lightweight-bi-polar-mania-review/Posted on 06 November 2011 by Flak
Right away I find appreciation to the use of live instruments that feature prominently on the emotionally charged album. With a poet’s pen, Roch’s hip hop/soul elements mix well with live sounds and old school sampling.
The 4th track, Hard Times, reminded me of something E-40 would come up with. With lyrics about the everyday man’s hustle, the heavy kick coupled with the various bells and wind instruments makes it an easy song to groove to.
Track 5 is No More Starz, and begins with a grainy filtered guitar and piano. The lyrics kick in sorrow, and soon the drums jump in to create a groovy, yet beautiful little tune about wishing on those vanishing stars. I thought the echoing chorus mixed with the wild turntables made this one of the better songs on the record.
If Roch keeps improving on his current form, I think he will join the ranks of groups like the Cunninglynguists, known for their different approach to rap.
Check out his Facebook for more information, and bear witness!
Until next time my friends,
~Flak
Sunday, November 20, 2011
expect any band called Black Pussy to have a dirty and sleazy sound
BLACK PUSSY
BLACK PUSSY "On Blonde" By Dr. Abner Mality I would expect any band called Black Pussy to have a dirty and sleazy sound and these guys do not disappoint on that account. They favor a sound so basic and repetitive that it makes AC/DC sound like King Crimson...it is truly rock n' roll at its most minimalist and primitive. The sound is coated with more fuzz than I find in my washing machine lint collector and will appeal to a lot of stoner rock fans...indeed, the album is dedicated to Brant Bjork. During the very short course of "On Blonde", Black Pussy reduces rawk to its most basic building blocks. The opening cut "Marijuana" (triggered by sounds of someone toking on a bong) is almost brilliant in its stupidity, pounding out an incredibly catchy fuzz-soaked riff while the chorus beats the line "She wants, she wants your, she wants, she wants your marijuana" into oblivion. "Can't Take Anymore" follows in very similar fashion...amazingly simplistic yet effective fuzz-rock. With "Swim", the riffs become woozy and drunken, wobbling around like they have a snootful. This tune conjures up the ghosts of alt-rock icons such as Sonic Youth and Dinosaur, Jr. From there, the repetition and simplicity begins to wear thin. This is a style that can only be pushed so far. "Blow Some Steam Off" is OK, but nothing new while "Ain't Talkin' About Love" (no relation to Van Halen) isn't dumb and catchy...just dumb. The album ends on a bad note with the low key minimalist ballad "Indiana", which irritated me to holy hell with its aimless wah-wah guitar noises burbling along. Black Pussy sure has its good points, but they can't rely solely on super-minimal stuff to break through. If you like your rawk fuzzy, though, you can maybe invest in some Pussy. www.myspace.com/blackpussyband P.S. I can't tell you how much fun I had doing a Google image search using the band's name. |
Saturday, November 19, 2011
Here's a novel idea. Have a boy and girl duo start a rock band
Magnuson's Crash of Cassini on CD
Here's a novel idea. Have a boy and girl duo start a rock band. It's only the two of them, just drums and guitar. They have the same last name, but it's unclear whether or not they're married, brother and sister or just a happy coincidence. On their website, they are holding hands. Hmmm.
Once you start listening to Magnuson's new CD, however, you stop comparing Greg and Kyrsten Magnuson to that other couple. The Magnuson sound is turgid and dense like a muddy thicket, less Zep and more Sabbath. The prog element, varnished with a Moog that growls deep within the mix, ensures that the paths never cross. This is not a stripped-down sound, laid bare, simple for the sake of being simple. This is two point sources being stretched out to fill a void with energy and a fair share of grime.
In addition, the couple sets out on a different path by taking turns on their instruments. That right...Greg plays guitar and Kyrsten plays drums on seven songs, and Kyrsten plays guitars and Greg plays drums on the other seven tracks. Much to my surprise I prefer the former arrangement; Greg tends to rely on rolling fills on his ground toms after nearly every measure while Kyrsten can both cross genres and lighten things up with her more varied rhythms. Both play their guitars almost as if they taught each other how to play. Perhaps they did.
Billing themselves as "the most musical mayhem ever created by a girl and a boy," Magnuson doesn't quite devolve into such chaos. Working within a garage-band aesthetic, they retain conventional song structures as they touch on the aforementioned Sabbath (the opener, "Dark Reality"), power pop ("Somewhere"), modern metal ("The Scout"), and classic '80s New Wave ("Fear and Deception"). You won't hear anything quite as groundbreaking as De Stijl, but you will get heaping, muddy doses of energy, harmony and, well, ground toms. There's nothing wrong with that.
Friday, November 18, 2011
always popular all girl group SASSY!!!
Sunday, April 10, 2011
http://roctoberreviews.blogspot.com/2011/04/sassy-diggin-deep.html
Sassy "Diggin' Deep"
(Good Trouble) Combining today's hottest configuration (2 piece guitar and drum) with the always popular all girl group (easier to be all-anything when there's only 2) with the eternal awesomeness of trashy garage with the never-a-bad-thing weird two part harmony hoodoo these Sassters are going to be so big they will get their own zip code!
Thursday, November 17, 2011
Thinktankubator’ by Allan Hayslip
http://www.rootstime.be/CD%20REVIEUW/2011/AP1/CD2.html
IN DUTCH:
Allan Hayslip is de geestelijke vader van de uit het Amerikaanse
Dallas, Texas afkomstige garagerockband ‘Bonedome’. Hij schrijft de
teksten en de de muziek voor de songs, hij zingt ze zelf in, hij
speelt elektrische gitaar en basgitaar en hij stond ook in voor de
productie van het nieuwe album van de formatie dat onder de
merkwaardige titel “Thinktanktubator” op de markt is gekomen.
Daarnaast fungeert hij ook nog eens als boekingsagent en
contactpersoon voor de buitenwereld.
Het genre dat gehanteerd wordt voor de twaalf nummers op dit album is
dus duidelijk gitaarrock maar met de nodige aandacht voor een
herkenbare melodie zonder echt in de richting van symfonische rock af
te glijden. Zijn muzikale maatjes in de opnamestudio waren drummer
Gerald Iragorri en gitarist Ed McMahon met enkele gastmuzikanten voor
extra gitaarwerk en keyboards.
De geluidsmuur wordt in deze 12 nummers nooit echt gesloopt en daarmee
kunnen ze de interesse bij ondergetekende noise-vrezer blijven
opwekken. Vergelijkingen met bands als ‘The Pixies’ and ‘The
Cure’ liggen dan ook voor de hand. Bij de ons best bevallende nummers
rekenen wij “Girl One”, de rustigere tracks “Slow Jesus Xing”
en “Eraser”, het Beatlesque “I Can Lose You”, “Red Flagd R
Trouble” en het stevig rockende “Better”.
De stem van zanger Allan Hayslip lijkt in een paar nummers sterk op
die van een jonge David Bowie maar de gebrachte muziek staat toch wat
verder verwijderd van Bowie’s werk. “Thinktankubator” is een
behoorlijke plaat in een genre dat niet echt tot mijn favoriete muziek
pleegt te behoren, maar daarbuiten toch op een vrij brede publieke
belangstelling kan rekenen.
(valsam)
“Though not situated in my direct area of interest, the melodic rock
songs on the album ‘Thinktankubator’ by Allan Hayslip’s band
‘Bonedome’ from Dallas will appeal to a broad interest from a
guitar rock loving audience.”
– www.rootstime.be
-------------------
Allan Hayslip is the spiritual father of the American from Dallas,
Texas garage rock band coming 'Bone Dome'.He writes the lyrics and
music for the songs he sings them himself, he plays electric guitar
and bass and he was also responsible for producing the new album by
the band under the curious title "Thinktanktubator on the market has
come. In addition he also serves as a booking agent and contact the
outside world.
The genre that is used for the twelve songs on this album is clearly
guitar but with due attention to a familiar melody without really
towards symphonic rock sliding. His musical buddies were in the
recording studio drummer Gerald Iragorri and guitarist Ed McMahon with
guest musicians for additional guitars and keyboards.
The sound wall is 12 songs that never really scrapped and thus they
can be interested in signing vrezer continue to generate noise.
Comparisons to bands like The Pixies' and 'The Cure' are therefore
obvious. In our best laboring numbers we count "One Girl", the quieter
tracks "Slow Jesus Xing" and "Eraser", the Beatlesque "I Can Lose
You," "Red Flagd R Trouble" and the heavy rocking "Better".
The voice of singer Allan Hayslip seems a few songs similar to that of
a young David Bowie, but the music is placed somewhat further away
from Bowie's work. "Thinktankubator" is a decent album in a genre that
is not really my favorite music tends to belong, but outside it in a
relatively broad public interest can count.
(Valsam)
"Though not directly Situated in my area of interest, the melodic
rock songs on the album Thinktankubator 'by Allan Hayslip's band" Bone
Dome "from Dallas-meaning appeal to a broad interest from a guitar
rock loving audience."
- Www.rootstime.be
IN DUTCH:
Allan Hayslip is de geestelijke vader van de uit het Amerikaanse
Dallas, Texas afkomstige garagerockband ‘Bonedome’. Hij schrijft de
teksten en de de muziek voor de songs, hij zingt ze zelf in, hij
speelt elektrische gitaar en basgitaar en hij stond ook in voor de
productie van het nieuwe album van de formatie dat onder de
merkwaardige titel “Thinktanktubator” op de markt is gekomen.
Daarnaast fungeert hij ook nog eens als boekingsagent en
contactpersoon voor de buitenwereld.
Het genre dat gehanteerd wordt voor de twaalf nummers op dit album is
dus duidelijk gitaarrock maar met de nodige aandacht voor een
herkenbare melodie zonder echt in de richting van symfonische rock af
te glijden. Zijn muzikale maatjes in de opnamestudio waren drummer
Gerald Iragorri en gitarist Ed McMahon met enkele gastmuzikanten voor
extra gitaarwerk en keyboards.
De geluidsmuur wordt in deze 12 nummers nooit echt gesloopt en daarmee
kunnen ze de interesse bij ondergetekende noise-vrezer blijven
opwekken. Vergelijkingen met bands als ‘The Pixies’ and ‘The
Cure’ liggen dan ook voor de hand. Bij de ons best bevallende nummers
rekenen wij “Girl One”, de rustigere tracks “Slow Jesus Xing”
en “Eraser”, het Beatlesque “I Can Lose You”, “Red Flagd R
Trouble” en het stevig rockende “Better”.
De stem van zanger Allan Hayslip lijkt in een paar nummers sterk op
die van een jonge David Bowie maar de gebrachte muziek staat toch wat
verder verwijderd van Bowie’s werk. “Thinktankubator” is een
behoorlijke plaat in een genre dat niet echt tot mijn favoriete muziek
pleegt te behoren, maar daarbuiten toch op een vrij brede publieke
belangstelling kan rekenen.
(valsam)
“Though not situated in my direct area of interest, the melodic rock
songs on the album ‘Thinktankubator’ by Allan Hayslip’s band
‘Bonedome’ from Dallas will appeal to a broad interest from a
guitar rock loving audience.”
– www.rootstime.be
-------------------
Allan Hayslip is the spiritual father of the American from Dallas,
Texas garage rock band coming 'Bone Dome'.He writes the lyrics and
music for the songs he sings them himself, he plays electric guitar
and bass and he was also responsible for producing the new album by
the band under the curious title "Thinktanktubator on the market has
come. In addition he also serves as a booking agent and contact the
outside world.
The genre that is used for the twelve songs on this album is clearly
guitar but with due attention to a familiar melody without really
towards symphonic rock sliding. His musical buddies were in the
recording studio drummer Gerald Iragorri and guitarist Ed McMahon with
guest musicians for additional guitars and keyboards.
The sound wall is 12 songs that never really scrapped and thus they
can be interested in signing vrezer continue to generate noise.
Comparisons to bands like The Pixies' and 'The Cure' are therefore
obvious. In our best laboring numbers we count "One Girl", the quieter
tracks "Slow Jesus Xing" and "Eraser", the Beatlesque "I Can Lose
You," "Red Flagd R Trouble" and the heavy rocking "Better".
The voice of singer Allan Hayslip seems a few songs similar to that of
a young David Bowie, but the music is placed somewhat further away
from Bowie's work. "Thinktankubator" is a decent album in a genre that
is not really my favorite music tends to belong, but outside it in a
relatively broad public interest can count.
(Valsam)
"Though not directly Situated in my area of interest, the melodic
rock songs on the album Thinktankubator 'by Allan Hayslip's band" Bone
Dome "from Dallas-meaning appeal to a broad interest from a guitar
rock loving audience."
- Www.rootstime.be
Wednesday, November 16, 2011
Look Out for Paper Tongues!
Look Out for Paper Tongues!
One of the most energetic, soulful, crowd-pleasing bands to ever take the stage in my presence was Paper Tongues last night.
The North Carolina based band started off the night with “For The People” which is a very powerful song. Although they were not headlining the show, they might as well have been with the amount of people that showed up for the night. San Francisco’s Fillmore was full of music lovers who appreciated Paper Tongues’ charismatic performance. They ended the night with “Ride To California” and gave the audience exactly what they wanted.
Their self titled album is addicting, and the type of album I would listen to during any mood. Paper Tongues is an act to look out for!
The North Carolina based band started off the night with “For The People” which is a very powerful song. Although they were not headlining the show, they might as well have been with the amount of people that showed up for the night. San Francisco’s Fillmore was full of music lovers who appreciated Paper Tongues’ charismatic performance. They ended the night with “Ride To California” and gave the audience exactly what they wanted.
Their self titled album is addicting, and the type of album I would listen to during any mood. Paper Tongues is an act to look out for!
Tuesday, November 15, 2011
Seance Hill’s vocals are split between male and female singing
Music: The Winebirds: Seance Hill
Our Take
For the past couple of days I’ve been listening to Seance Hill, the new album from Portland’s The Winebirds. While I probably could have written a review already for this disc, each time around it has revealed new musical influences and styles that I didn’t initially notice. Now as I approach what is probably my tenth time through the album, I feel as though I can really tell you what this band has to offer. You see, at heart The Winebirds are an indie pop group with some folk tendencies. But Seance Hill also wanders into soul and dance rock/pop territories and there are a lot of subtle elements that may take a couple of listens to really pick up on.The instrumentals succeed by offering a wide variety of styles and ensuring that everything sounds completely natural. One minute the group has a very mellow folk/country twang while the next they have a slightly quirkier dance rock/indie vibe that is bursting with energy. Despite the fact that it can often be hard to predict just what The Winebirds will choose to do next, there are never any moments where it seems as though they switched to a style without really thinking it through first. There’s a pretty nice balance between slow acoustic tracks and faster paced ones, and because the group doesn’t get quite as eccentric as some of their peers they may be able to grab the folk purists. While the melodies will really grab listeners and hook them, there are plenty of individual elements that are rather subtle and will leave an impression once people have had enough time to fully absorb the disc.
Seance Hill’s vocals are split between male and female singing, and the members complement each other nicely. Although towards the second half of the album the female vocals start to take over and really steal the spotlight, there is some interplay between the two singers early on and this results in some nice little duets that are enjoyable to listen to. Stylistically The Winebirds definitely sound as though they have taken influence from a number of different indie rock and folk acts, as the vocals have that stripped down feel that makes the album feel more personal. Admittedly the male singing does seem a little too mellow at times and doesn’t vary in pitch enough, but this is ultimately a minor flaw.
The folk/indie rock genres are extremely crowded but this group deserves a spot in your collection. The Winebirds could further expand on some of their soul/dance rock influences but even if they end up moving in a different direction they seem as though they have the songwriting skills to make it work. Seance Hill is a very charming album, and it’s another winner from the Portland music scene which continues to produce impressive bands.
http://www.thewinebirds.com/
Chris Dahlberg
http://cosmosgaming.com/articles.php?id=2903&articletype=review
Monday, November 14, 2011
W.H. Walker - "Suds" Video
Video W.H. Walker - "Suds" Video
Posted by Ezra Ace Caraeff
W.H. Walker (formally known as Welcome Home Walker) have a new seven-inch on the way, and now the infectious title track has its very own video. The "Suds" seven-inch will be celebrated with a release party at Roadside Attraction on January 12th with Pure Country Gold, Guantanamo Baywatch and White Fang.
Is it just me, or does this song sound like a commercial jingle? I bet Ore-Ida will pay them a pretty penny if they change "Suds" to "Spuds." Mmmm, taters.
Sunday, November 13, 2011
CLIMBER: futuristic synth pop/rock that dwells in sedated joy and confident introspection.
Climber
The Mystic
Sparklet Records 2010
The fourth album from Portland's dreamy synth pop/rock quartet is an album that possesses both diversity and maturity. Right out of the gates, Climber hit with the best track of the album, The Simians Speak. A strutting beat and a sci-fi angel to a rock jam which questions what it would be like if we taught the apes to speak. Michael's voice is filled with both counter-intuitive qualities of doubt and authority. A funky bass line and psychedelic keyboard soundscapes paint a monotone (in a laid-back way) texture on Stepping Into New Rooms. During critical points in the song shimmering keys that remind me of Depeche Mode at their dreamiest dance like a distant merry-go-round. I am reminded by the Alterna-pop of Tegan and Sara on I May As Well Have A Monocle. Somber keys and the vocal delivery really bring this reference into focus. Climber update an 80s New Wave style on Remember the Renaissance with its throbbing electro-synth and add a hand-clapping, buried-funk passage that leads into a dark industrial hum. I Have Seen Everything is a bouncy and light pop musing full of whimsy. A beefy rock riff energetically lumbers out of the speakers on We Are the New Men, but this is a but misleading as the song is drops into some calm nocturnal drifting. The track muscles back up into its rockin' alter-ego and then alternates its personality throughout the song's life. Climber are quite clever in the lyrical department and Michael's unhurried vocal delivery sets the tone for the album. The Mystic is an album that is unified in its feel despite the varied approaches to each song. And that is a sign of maturity. Climber have constructed an album of futuristic synth pop/rock that dwells in sedated joy and confident introspection.
The fourth album from Portland's dreamy synth pop/rock quartet is an album that possesses both diversity and maturity. Right out of the gates, Climber hit with the best track of the album, The Simians Speak. A strutting beat and a sci-fi angel to a rock jam which questions what it would be like if we taught the apes to speak. Michael's voice is filled with both counter-intuitive qualities of doubt and authority. A funky bass line and psychedelic keyboard soundscapes paint a monotone (in a laid-back way) texture on Stepping Into New Rooms. During critical points in the song shimmering keys that remind me of Depeche Mode at their dreamiest dance like a distant merry-go-round. I am reminded by the Alterna-pop of Tegan and Sara on I May As Well Have A Monocle. Somber keys and the vocal delivery really bring this reference into focus. Climber update an 80s New Wave style on Remember the Renaissance with its throbbing electro-synth and add a hand-clapping, buried-funk passage that leads into a dark industrial hum. I Have Seen Everything is a bouncy and light pop musing full of whimsy. A beefy rock riff energetically lumbers out of the speakers on We Are the New Men, but this is a but misleading as the song is drops into some calm nocturnal drifting. The track muscles back up into its rockin' alter-ego and then alternates its personality throughout the song's life. Climber are quite clever in the lyrical department and Michael's unhurried vocal delivery sets the tone for the album. The Mystic is an album that is unified in its feel despite the varied approaches to each song. And that is a sign of maturity. Climber have constructed an album of futuristic synth pop/rock that dwells in sedated joy and confident introspection.
Saturday, November 12, 2011
GUNSLINGER: regular dance music has suddenly take a strange and crazy original turn towards indie rock
http://www.fensepost.com/main/2010/11/18/gunslinger-early-volumes-1-album-review/
What in the sweet hell is going on here? Who is this Gunslinger and how has he somehow managed to infiltrate the world of regular atmospheric rock and roll, and turn it into a danceable bit of electronica that never really seems to lose its artistic touch. If something doesn’t seem just right about Early Volumes 1, it’s only because all the perquisites of regular dance music has suddenly take a strange and crazy original turn towards indie rock, and collided with a massive soundscape of very fresh sounds.
As soon as the album kicks off, literally 3 seconds into “Run For Your Life,” the confusion begins to sink in. And it doesn’t get much easier to understand as the songs progress. Each and every track on Early Volumes 1 could easily be transformed into your standard Morrissey influenced sappy indie rock song. But instead of moping, you are encouraged to dance? Enjoy yourself even? Who would have ever thought you could hear a genuine bit of storytelling as someone smashes your Ecstasy numbed face with a glittered glow stick? And trust me, as strange as it is, it’s almost impossible to try and convince you of how strangely wonderful this sound really is.
If Simon Le Bon ever got his crazy little fingers on a copy of Gunslinger’s Early Volume 1, it would not be surprising to see him shit himself in public. This is the sort of originality that people (including myself) seem to think is of accord in the modern world of music. But, obviously it is out there. And that is the beauty of today. Gunslinger is an act that would have thrived immensely in the original dance oriented periods in time. And it certainly has the ability to so now as well.
Download: “Run For Your Life” by Gunslinger
[CD, 2010]
1. Run For Your Life
2. Who Have You Been
3. Words
4. Unbreakable
5. Variations
6. Saving Your Heart
7. Gravity
8. Nothing’s Good Enough
ShareThis
Gunslinger: Early Volumes 1 [Album Review]
What in the sweet hell is going on here? Who is this Gunslinger and how has he somehow managed to infiltrate the world of regular atmospheric rock and roll, and turn it into a danceable bit of electronica that never really seems to lose its artistic touch. If something doesn’t seem just right about Early Volumes 1, it’s only because all the perquisites of regular dance music has suddenly take a strange and crazy original turn towards indie rock, and collided with a massive soundscape of very fresh sounds.
As soon as the album kicks off, literally 3 seconds into “Run For Your Life,” the confusion begins to sink in. And it doesn’t get much easier to understand as the songs progress. Each and every track on Early Volumes 1 could easily be transformed into your standard Morrissey influenced sappy indie rock song. But instead of moping, you are encouraged to dance? Enjoy yourself even? Who would have ever thought you could hear a genuine bit of storytelling as someone smashes your Ecstasy numbed face with a glittered glow stick? And trust me, as strange as it is, it’s almost impossible to try and convince you of how strangely wonderful this sound really is.
If Simon Le Bon ever got his crazy little fingers on a copy of Gunslinger’s Early Volume 1, it would not be surprising to see him shit himself in public. This is the sort of originality that people (including myself) seem to think is of accord in the modern world of music. But, obviously it is out there. And that is the beauty of today. Gunslinger is an act that would have thrived immensely in the original dance oriented periods in time. And it certainly has the ability to so now as well.
Download: “Run For Your Life” by Gunslinger
[CD, 2010]
1. Run For Your Life
2. Who Have You Been
3. Words
4. Unbreakable
5. Variations
6. Saving Your Heart
7. Gravity
8. Nothing’s Good Enough
ShareThis
Friday, November 11, 2011
Thursday, November 10, 2011
THOMAS PRIDGEN "Jimi Hendrix, Fela Kuti… I’m also influenced by a lot of social issues and current affairs."
Thomas Pridgen / Viveca Hawkins Interview
Posted by
Well, I was going to have an awesome surprise for you today in the form of an interview with Thomas Pridgen, former drummer for The Mars Volta and current drummer for (as well as founder of) the Memorials.
However, there’s been a bit of a change. In a complete stroke of luck, I was also granted the privilege of interviewing Memorials’ lead singer Viveca Hawkins!
Below is a transcript of that interview.
———————————-
Rudimental Funk: Let me start by establishing what you play. Thomas, I think we all know what you play. You’re an amazing drummer. But Viveca, what about you? Do you play anything?
Viveca Hawkins: I don’t really play any instruments, but I can get by on piano, and I like to mess around on guitar. Voice is my principal instrument.
RF: How long have you been singing?
VH: I have been singing and writing songs since I was three years old.
RF: Thomas, what about you? How long have you been drumming?
Thomas Pridgen: I’ve played drums for 23 years, I believe.
RF: And you’re both part of the Memorials. Are you with a label?
VH: We have our own label called Bloodthirsty Unicorn Records.
RF: Your own label? Wow, that’s awesome. Okay, so on to the good stuff now. Who were your influences growing up?
TP: Tons of drummers! Dennis Chambers, Tony Williams, Michael Bland, Michael Jordan, Buddy Rich…
VH: I grew up listening to a range of artists in mostly gospel, like Bebe and Cece Winans, and jazz, like Betty Carter. When I was a little girl, my mom and I would even make up our own opera while baking cookies for Christmas. She wanted to guard my ears back then. I got into a lot of R&B and soul as a teenager, then I had a dash of rock in there like No Doubt, Greenday and Foo Fighters. I always had eclectic taste.
TP: I was also influenced by the thought of playing music all my life. It always seemed so fun!
RF: And who are your influences now?
VH: These days, I am heavily influenced by Thomas. He really insisted on me doing my own thing. When I asked him what I should listen to, he gave me a bunch of names; some I’d heard of, like Jimi Hendrix, Betty Davis, and Lamb of God, and some new ones like Yeah Yeah Yeahs, the Noisettes, and TV on the Radio. I checked everything out, but when it came down to it, I relied more on what was in my heart because he saw something more in me – more than I ever saw in myself. I trust his judgment.
TP: Jimi Hendrix, Fela Kuti… I’m also influenced by a lot of social issues and current affairs.
RF: I’ve had the opportunity to hear some of the Memorials’ music. It’s obvious you’ve got your finger on the pulse of this generation. So why did you decide to get into music?
TP: Because it’s fun. And I’m good at it. I’ve never had a day job. I’ve always made money playing music.
VH: I don’t think I had a choice about being a musician. I was born this way. I have been shining my light for so long, you would think it would burn out one day. But I take a lickin’ and keep on tickin’! I was born to shine.
RF: It seems like this debut album of yours crosses a lot of genres, sometimes even in the same song like “Day Dreamer.” In what genre would you say most of your music belongs?TP: Thrash, Afro beat, Ghetto, Tech, R&B… I think our music is a total hybrid of these sounds.
VH: Yeah, the Memorials’ music is the most beautiful act of fusion. I can’t imagine how we won’t blow the f–k up! We could easily combust with this passionate mix of progressive rock and soul.
RF: I think people need to hear it for themselves. We have a lot of up-and-coming musicians that visit this site, what advice would you give someone just starting to play?
VH: If you have a gift, don’t be afraid ot use it. Don’t let anyone tell you that it’s pointless to pursue your dreams.
TP: Don’t give up and always stay true to yourself. Honest is almost your best asset and especially when you’re inventing anything with art. It always comes down to taste and the ability to make things taste the way you want them.
RF: Great stuff. To finish us off here, what are your favorite songs? Like, what are the top five songs on your iPod?
VH: I love music, so it’s hard to pick favorites. The five most played songs on my iPod right now are: All 4 Love by Bilal, Love Song #1 by Me’Shelle Ndegeocello, Come Around by Collie Buddz, The Right Touch by DJ Funklor featuring myself, and Raw Life by The Foreign Exchange.
TP: Wow, that’s too hard. California Dreaming by Eddie Hazel. I love Lamb of God and the band Can and anything by Lee “Scratch” Perry or Fela Kuti.
RF: Great! Thanks for talking with us.
Below is a transcript of that interview.
———————————-
Rudimental Funk: Let me start by establishing what you play. Thomas, I think we all know what you play. You’re an amazing drummer. But Viveca, what about you? Do you play anything?
Viveca Hawkins: I don’t really play any instruments, but I can get by on piano, and I like to mess around on guitar. Voice is my principal instrument.
RF: How long have you been singing?
VH: I have been singing and writing songs since I was three years old.
RF: Thomas, what about you? How long have you been drumming?
Thomas Pridgen: I’ve played drums for 23 years, I believe.
RF: And you’re both part of the Memorials. Are you with a label?
VH: We have our own label called Bloodthirsty Unicorn Records.
RF: Your own label? Wow, that’s awesome. Okay, so on to the good stuff now. Who were your influences growing up?
TP: Tons of drummers! Dennis Chambers, Tony Williams, Michael Bland, Michael Jordan, Buddy Rich…
VH: I grew up listening to a range of artists in mostly gospel, like Bebe and Cece Winans, and jazz, like Betty Carter. When I was a little girl, my mom and I would even make up our own opera while baking cookies for Christmas. She wanted to guard my ears back then. I got into a lot of R&B and soul as a teenager, then I had a dash of rock in there like No Doubt, Greenday and Foo Fighters. I always had eclectic taste.
TP: I was also influenced by the thought of playing music all my life. It always seemed so fun!
RF: And who are your influences now?
VH: These days, I am heavily influenced by Thomas. He really insisted on me doing my own thing. When I asked him what I should listen to, he gave me a bunch of names; some I’d heard of, like Jimi Hendrix, Betty Davis, and Lamb of God, and some new ones like Yeah Yeah Yeahs, the Noisettes, and TV on the Radio. I checked everything out, but when it came down to it, I relied more on what was in my heart because he saw something more in me – more than I ever saw in myself. I trust his judgment.
TP: Jimi Hendrix, Fela Kuti… I’m also influenced by a lot of social issues and current affairs.
RF: I’ve had the opportunity to hear some of the Memorials’ music. It’s obvious you’ve got your finger on the pulse of this generation. So why did you decide to get into music?
TP: Because it’s fun. And I’m good at it. I’ve never had a day job. I’ve always made money playing music.
VH: I don’t think I had a choice about being a musician. I was born this way. I have been shining my light for so long, you would think it would burn out one day. But I take a lickin’ and keep on tickin’! I was born to shine.
RF: It seems like this debut album of yours crosses a lot of genres, sometimes even in the same song like “Day Dreamer.” In what genre would you say most of your music belongs?
VH: Yeah, the Memorials’ music is the most beautiful act of fusion. I can’t imagine how we won’t blow the f–k up! We could easily combust with this passionate mix of progressive rock and soul.
RF: I think people need to hear it for themselves. We have a lot of up-and-coming musicians that visit this site, what advice would you give someone just starting to play?
VH: If you have a gift, don’t be afraid ot use it. Don’t let anyone tell you that it’s pointless to pursue your dreams.
TP: Don’t give up and always stay true to yourself. Honest is almost your best asset and especially when you’re inventing anything with art. It always comes down to taste and the ability to make things taste the way you want them.
RF: Great stuff. To finish us off here, what are your favorite songs? Like, what are the top five songs on your iPod?
VH: I love music, so it’s hard to pick favorites. The five most played songs on my iPod right now are: All 4 Love by Bilal, Love Song #1 by Me’Shelle Ndegeocello, Come Around by Collie Buddz, The Right Touch by DJ Funklor featuring myself, and Raw Life by The Foreign Exchange.
TP: Wow, that’s too hard. California Dreaming by Eddie Hazel. I love Lamb of God and the band Can and anything by Lee “Scratch” Perry or Fela Kuti.
RF: Great! Thanks for talking with us.
Find out more about the Memorials on their website at www.thememorialsmusic.com.
Wednesday, November 9, 2011
"We play a fusion of sounds," singer Aswan North said
Paper Tongues
Rapper K'naan is headlining the Fox Theatre on Tuesday, but you don't want to miss opening act Paper Tongues.
"American Idol" judge Randy Jackson manages the North Carolina band, and the group brings a solid mix of rap, funk and rock to the table. The diverse sound blend has allowed Paper Tongues to open shows for everyone from Flyleaf to Muse.
"We play a fusion of sounds," singer Aswan North said. "We play rock, hip-hop, funk and electronica. We bring along two sets of synthesizers and we have two electric guitars.
"We do use a lot of sounds, but it's fun and we don't know where the music will land. We bring a really creative, alternative sound to our shows. We try to make sounds for everybody."
"American Idol" judge Randy Jackson manages the North Carolina band, and the group brings a solid mix of rap, funk and rock to the table. The diverse sound blend has allowed Paper Tongues to open shows for everyone from Flyleaf to Muse.
"We play a fusion of sounds," singer Aswan North said. "We play rock, hip-hop, funk and electronica. We bring along two sets of synthesizers and we have two electric guitars.
"We do use a lot of sounds, but it's fun and we don't know where the music will land. We bring a really creative, alternative sound to our shows. We try to make sounds for everybody."
Tuesday, November 8, 2011
Trevor’s voice brings to mind Old Crow whiskey, Camel straights and late late nights
I will be the first to admin that I am not well versed in the bluesier side of our twangy little genre but I know good shit when I here it and this is good shit! Poor Boy’s Soul is Trevor Jones – a self-described “Full time ramblin’ one man band” – and Burn Down is his debut album and it’s full of nasty, dirty, foot-stompin’ blues. I mean down in the swamp nasty sounding blues. Which is a little strange since the boy is out of Portland, OR. Don’t get me wrong some of my favorite artists are out of Portland but I didn’t expect to find this sort of blues emanating from the Pacific Northwest. This kid has obviously done his homework on the blues and loves what he does.
The whole album seems like a cathartic release that had to be expressed one way or another. You get the feeling that if it hadn’t come out as music there might have been violence involved at some point. Yes there’s that much emotion captured here. There is punk sensibility woven through this music along with some damn fine lyrics. The sheer intensity of this one makes it easy to say it’s Essential Listening but the vocals really put it over the top. The gravel in Trevor’s voice brings to mind Old Crow whiskey, Camel straights and late late nights and does it in all the right ways. Blend that voice with the amazing guitar work and the stomping on the kick-drum and you have music you can lost in. My only complaint is that the album is over too soon.
Monday, November 7, 2011
fans will appreciate the love and wide-eyed directness of Non-etre.
Beneath Wind and Waves' Non-etre on CD
"I just try to write from my heart and stay out of my head," says Portland-based singer-songwriter Shawn Lawson Freeman, who is about to release his new album Non-etre in December under the band name Beneath Wind and Waves. Freeman provides most of the album's content including at least half of the instrumentation, and every second of this album is spent with his heart on his sleeve.
At first listen, these songs are almost too direct in their sentiments. Freeman is short on poetry and long on feeling, and his lyrics often reflect this and sound more like excerpts from a note that was slipped under your windshield wipers last night from the person you just dumped. Lyrics such as "You're the sugar in my tea/You're the one I want to see when you have to go away" won't alert the folks at the PEN Center, but after a while you merge with his specific wavelength and succumb to the all-heart, no brain approach.
The music side of the equation is much more immediate in its appeal. Within a few seconds you realize this is a carefully crafted and delicate album, more than capable of switching gears from soft ballad to rocking outro with a modicum of grace and logic. Freeman the musician is a tinkerer, and even in the quietest moments there's a lot going on in the mix. Even the lo-fi tracks such as "Loop Me in" have a clarity that demands your attention, and when he's just singing in his Will Oldham-meets-Sufjan Stevens demeanor, a simple acoustic guitar on his knee, there's still plenty of originality on the stage.
Stephanie Scheiderman, whose distinctive and playful Rubber Teardrop I reviewed just a couple of months ago, helps out on three songs and makes such a strong impression through the entire album that I thought she was a permanent member of the band, not just a "very special guest." She provides the female counterpoint to Freeman's longing and they create a tangible chemistry. Co-producer Jim Walker also provides half of the instrumentation as well as vocals.
This is Freeman's second album (his 2009 debut is called Nice to Meet You, which was released under his own name), and if there's a third I hope employs a little more mystery and lyricism to keep his more jaded fans engaged. At the same time, I suspect there are plenty of music lovers who just want to be talked to, questioned, comforted and embraced. Those fans will appreciate the love and wide-eyed directness of Non-etre.
Sunday, November 6, 2011
this is for you Serge Lavange!!!! and JOOBLE!
http://jooble-us.com/
serge shared this link with me! jooble is the one site, where you can find jobs across the Web.
Serge glad you read our blog and are fans of CAMPFIRE OK!
serge shared this link with me! jooble is the one site, where you can find jobs across the Web.
Serge glad you read our blog and are fans of CAMPFIRE OK!
Poor Boy's Soul remaining fresh and relevant for today.
Poor Boy’s Soul
Burn Down
Poor Soul Records
3.5 out of 5 stars
I originally called “bullshit” when I heard that the release of this album was delayed when Trevor Jones, who is Poor Boy’s Soul, was locked up in North Dakota after being busted hopping freight trains. But 10 seconds into the first track “Burn Down That House,” it becomes apparent that Jones is the real deal, with a sound that falls somewhere between Robert Johnson and The Black Keys. It’s as raw as you’d expect from a train hopper, and more genuine than I could have imagined. Jones, who plays as a one-man band drumming with his feet while singing and playing guitar, sounds just like an old rail yard, and somehow, he manages to do it while remaining fresh and relevant for today.
Burn Down
Poor Soul Records
3.5 out of 5 stars
I originally called “bullshit” when I heard that the release of this album was delayed when Trevor Jones, who is Poor Boy’s Soul, was locked up in North Dakota after being busted hopping freight trains. But 10 seconds into the first track “Burn Down That House,” it becomes apparent that Jones is the real deal, with a sound that falls somewhere between Robert Johnson and The Black Keys. It’s as raw as you’d expect from a train hopper, and more genuine than I could have imagined. Jones, who plays as a one-man band drumming with his feet while singing and playing guitar, sounds just like an old rail yard, and somehow, he manages to do it while remaining fresh and relevant for today.
Saturday, November 5, 2011
Indeed, it is a barn burner of an album, with seven songs of blues infused with punk, rock and country.
POOR BOY’S SOUL | BURN DOWN
Poor Boy’s Soul (Trevor Jones) is self-releasing his debut EP, Burn Down, on November 15th. Indeed, it is a barn burner of an album, with seven songs of blues infused with punk, rock and country. Armed with a slide guitar, a tambourine, a stripped down drum kit and stomping, thumping boots, Jones soulfully belts out delta blues. Some of his work is reminiscent of The Black Keys and The White Stripes, with amped up guitar and raw, heartfelt vocals, and a dirty Southern sound. With songs delivered with such conviction, including standouts “Movin’ to the City”, “Ain’t Comin’ Back No More”, and “Annalisa”, it is easy to believe Jones’ reputation as a rail riding, guitar pickin’ tramp and one hell of a musician. – Written by SMarx
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