NEW MUSIC: The Underscore Orkestra " Tales from the Road..."

The Underscore Orkestra " Tales from the Road..." makes sense considering the band has plenty of experience of the road. They are currently on tour in Australia and then head straight to Europe from April to July.  If you are a fan of Squirrel Nut Zippers, Gogo Bordello, Devotchka then yet another reason to go check them out.  

The Underscore Orkestra claims they plays a blend of Balkan, Klezmer, Gypsy Jazzand Swing music both Original and Traditional. 

They often incorporate live Belly Dance and Cirkus Arts in their shows. Their Performance evokes the old world and the new, The eerily haunting air of sounds and movements from the east, with definite roots inthe west. Influences are far and wide but range from New Orleans Jazz, to Eastern European Roma and Klezmorim music, Manouche Swing, to acoustic Metal. Their live shows are something to remember for years to come, they are fond of selling many wares, including Underscore Underwear, Uncle Jerry's Magically Malicious Mustache Wax, CD's, Neck Ties, Nude Calendars, Music boxes, and Stand up tub Bass's. Come to a live show or give an email to see what we've got in store. 

The Band has their 4th Studio album ready for their fans. Where all their songs and arrangements came about during their time on the road. My favorite track off the new album is "American Jam" which the band says they came up with while waiting for a ferry between the South Island and North Island of New Zealand we were eating a gourmet dinner at a restaurant we were playing at in Picton. During dinner this tune came about. That night not having a place to stay a fisherman gave us his apartment that was above the bar, he slept on his boat. Crazy World! The songs and arrangements came about during our time on the Road.

The last time I went to a Gypsy Jazz and Swing show I left the venue sweating like a dog at Michael Vick's house AND didn't care. I plan on hitting these guys up when they decide to come back and grace Portland again with a welcome home show. I am sure i will leave again with all my cloths sticking to me once again!

http://www.theunderscoreorkestra.com

KAYTEA MORENO ELST

CD REVIEW: "The Sweet Life" Mud, Blood & Beer

All I had to do was listen to first single "Little Black Heart" to know I was going to like this band! The Sweet Life is their name and "it is the sweet, simple things of life which are the real ones after all" (Emily Dickenson) These guys remind me of The Hold Steady,  Drive By Truckers even the Black Crows, and Elvis Costello.

Not sure how well they do in NYC but they would be huge here in Portland Oregon! They claim to be into playing dive bars, if they ever play outside a dive bar I think I would stop listening to them. They are so the definition of upper cool DIY alt country, prog rock, and stoner rock!

Moving on from stand out track "Little Black Heart" my favorite track on the album is "Corner of His Eye" this song gives you a real stoner rock vibe. The guitar solos which make up most of the song are jammy and prog. How do I get that song on vinyl! The vocals almost remind me of an Elvis Costello.

The name Mud, Blood & Beer is cribbed from a line in Johnny Cash’s classic “A Boy Named Sue”: “Kicking and a’ gouging in the mud and the blood and the beer “which they claim is a perfectly apt description of who we are and the music we make.

My only complaint is their artwork.... it through me for a loop. They should have a super artsy cover or even only put this out on a picture disc! I almost didn’t listen to them because of the artwork. I mean I get they might have been going for the throw back look. But I thought that was what I was going to get with a listen. Some advice for bands...make your artwork non genre specific that way a writer or editor will want to listen to it just to see what it is. And my personal preference never but an image of yourself on the cover.

Really though this album is awesome! and who cares about the artwork the real art is the 13 original tracks! Nice work older guys (again only know this cause you posted your faces on the cover!)  - xo kaytea

www.mudbloodbeermusic.com

Record Label: MBB Recordings

Hometown: New York City

Genres: Americana - alt-country, indie rock, cow punk

Sophie Barker Performs ‘Say Goodbye,’ Covers the Cure’s ‘A Forest’ in Asbury Park – Exclusive Videos

by: Joe Robinson 

YouTube

“I’ve managed to gather all the people around me that are right for all the different elements and influences I’ve had all of these years,“ Sophie Barker reflects as she winds down a brief afternoon acoustic set at Asbury Lanes, a punk rock-themed bowling alley and music venue one block from the Atlantic Ocean in the New Jersey town of Asbury Park. The British singer-songwriter recently stopped by Asbury for a performance to be featured exclusively on Diffuser.fm that included ‘Say Goodbye’ and a cover of the Cure’s ‘A Forest,’ both tunes from a recently released, eponymously titled split single.

Barker, who later that day launched an eight-date Stateside trek, is referring to her entire music career, but her words could best describe the synchronicity of her current situation as a solo artist. Barker was grateful to recruit violinist Chloe Lander and guitarist Yul Desai to back her in time to record her latest solo album, last year’s warmly received ‘Seagull,’ and the duo is still around a year later supporting her on the road.
Barker may best be known for her work with Zero 7, the British downtempo duo that scored its biggest hit to date with the sultry, slow-burning jam ‘Destiny.’ Barker co-wrote and sang alongside Sia Fuller on that tune and several others from ‘Simple Things,’ the group’s breakthrough 2001 debut. She continued recording with Zero 7 on 2004’s ‘When It Falls’ and branched out for collaborations with a host of other artists in the intervening years before issuing her solo debut, ‘Earthbound,’ in 2006.
“I think there’s similarities and obviously there are differences in that I’ve now been able to write a whole album that I’ve been in control of in terms of emotions and the energy of it,” Barker tells Diffuser.fm when comparing her past collaborative work with the freedom of continuing solo with ‘Seagull,’ which mixes the eclectic influences of folk, trip-hop and even Motown into one coherent whole. “The things I’ve done with Zero 7 — the writing [process] is the same but the production is slightly different, and then of course we’ve all got quite a lot of ’70s influences.”
So, what inspired a band steeped in the sounds of the ’70s to cover one of the definitive bands of the ’80s in the form of the Cure’s ‘A Forest?’ “The sounds are amazing, the band is amazing, Robert Smith’s got an incredible voice [and] they write amazing songs,” says Barker. “I love singing it because it just reflects a different part of me.”

Watch Sophie Barker Perform ‘Say Goodbye’

Watch Sophie Barker Perform the Cure’s ‘A Forest’

 

http://diffuser.fm/sophie-barker-performs-say-goodbye-covers-the-cures-a-forest-in-asbury-park-exclusive-videos/

Age Sex Occupation ALBUM REVIEW

Daniel Weiskopf is the CEO and chief songwriter of Age/Sex/Occupation (their friends probably refer to them as ASO). He plies his trade on vocals and keyboards as part of a post-urban-dance/art rock trio that aspires to be 70s/80s throwback white soul, and actually winds up being more than that. Although “Dirty Isn’t Dirty” is a little forced and comes across as slightly pandering, they immediately redeem themselves with the next song: “The Day I Ignored Street Signs.” They bust out the keyboards big time on “Hide And Seek” and there’s some strong female vocal action by Nicole Berke on this bouncy anti-love song. “Zombie” is quality work and energetic for a song named after the undead, and “Volcano” is pretty damn good as well. I’m not wild about their funny name, but who the hell am I? Disregard that. They got it going on. As you were.

http://www.imposemagazine.com/bytes/reviews-cfcf-john-singer-sergeant-frank-lenz

Album Review - The Memorials "Delirium"

Just a year ago I reviewed the incredibly exciting debut album from The Memorials. The self-titled disc was a challenging first listen, full of complex arrangements and progressive approaches to what heavy music can sound like. It truly was a unique album, one that I would not have imagined would be easy to top. After just a year's time, The Memorials are set to release their sophomore disc, Delirium. I've been listening to an advance copy of it for a few weeks now and I must say...

...this album is even better than their first one. Fans of loud music and intricate song structures will find much to enjoy within its notes. The band explores elements of fusion and jazz even further than on their first outing and blend it so incredibly well with their heavy sound.

This is not an album you casually listen to. Don't put it on as background sound because you are doing yourself a disservice. Put on some headphones to enjoy the subtleties or play it loud through your sound system. Either way, don't just listen, but listen to it and you will begin to understand why The Memorials are as good as they are. As I did a track-by-track break down of their first album, it only makes sense to do it again. So on to track one, where right from the start, Thomas Pridgen throws convention right out the window.

"Dream (Future Perfekt Remix)" - You have to have all the confidence in the world and huge brass ones to open your sophomore disc with a remix of a song from your debut album. The Memorials pull it off in style with Mitchell Wilcox' Future Perfekt remix of "Dream". The track swerves across the EDM map from D+B to Dubstep but does so in excellent fashion. This is not a throwaway mix meant as B-side filler.



"Fluorescent's Unforgiving" - This song feels like it could have been the opener, but again, props to The Memorials for thinking outside the box. Viveca Hawkins goes from dropping lyrics like a pro to dishing out potent urban spoken word for good measure without missing a beat. The chorus is haunting and beautiful amidst the angst ridden message. A jazz trumpet at the bridge takes the piece in a wholly unique direction, followed by an acoustic guitar breakdown and Hawkins vocalizing in a Middle Eastern/Goa style, until the heavy riffs punch you in the face on the out. 



"Gone" - A computerized percussion assault opens this one, quickly shifting to a live drum and funky wah pedal guitar attack held together with an all to underused organ line. It is a curious mix of 70's funk and hard rock. Nick Brewer is melting faces and strings with his relentless riffing throughout the song and Viveca Hawkins' vocals, especially in the chorus will remain stuck in your head right alongside it. 

"Heavyweight" - Here is a slice of metallic jazz fusion you had no idea you wanted to hear. This one has a cleaner tone and trademark Viveca Hawkins multitracked vocals, which are just as key to The Memorials sound as the instruments themselves. Hawkins has a truly distinctive singing style, one that needs more ears to hear her. 

"Daisies" - A love song positively dripping in 80s metal riffage. The melodic guitar open slams into a heavier version of itself backed by a syncopated rhythm. Hawkins rocks a great vocal against Thomas Pridgen's pounding drums and Nick Brewer's six string. On its surface, this one seems much more straight forward and less progressive, but listen specifically to Thomas Pridgen's masterful stick work to reveal what is driving this song. 

"Delirium" - If by this point on the album you aren't convinced Thomas Pridgen is one of the best drummers currently active then obviously you weren't listening close enough. What starts as seemingly an in the pocket performance similar to the previous song, branches out with some wicked snake charmer riffing from Nick Brewer and a killer, drum powered breakdown at the bridge. Again, props to Thomas Pridgen for his subtle use of organ tones.

"So Anti Me" - With a heavy beat bordering on mosh inducing, Pridgen goes positively off the deep end, playing enough drums for three songs yet holding it all together and never drifting into drum noodling territory. Further use of an organ adds a nice extra tone to the track. The song downshifts into torch song jazz lounge mode and it totally works. This is another example of actively listening being a better experience. The piece further develops into just a throbbing bass line backing Hawkins as it pulses to a close.

"Mr. Entitled" - Running nearly 12 minutes, this is an epic way to close the album. Every note from The Memorials' play book is here: heavy riffage, masterful drumming, Hawkins in full effect and unexpected but deftly executed shifts into a jazzier space. A well placed flute accents the second section quite nicely. It runs back to heavy and then into a jazz realm again before an eye-popping synth bridge that I would love to hear more from The Memorials on album number three. Another furious, heavy assault and the piece ends on soft synths and a sax solo from Adrián Terrazas-González, who played with Pridgen in The Mars Volta. For an extended length song, it certainly does not feel overly long and the 12 minutes passes all too quickly.

Much like their debut album, I've enjoyed Delirium more with each successive spin, plus each song gets progressively better as you listen. So, for anyone who continually bemoans the "death of the album," I will counter with this.

If you are a fan of loud music, performed with artistry and passion but perhaps most importantly doesn't sound like anything else out there, get yourself a copy of The Memorials' Delirium to wrap your ears around. And if you have not yet experienced their first album, do yourself a favor and listen to both. Delirium drops on June 5th.
-rick

http://www.atlinernotes.com/2012/05/album-review-memorials-delirium.html