The Rest

The Rest are a seven piece from Hamilton, Ontario, Canada.

To say that this group possesses a lush, beautiful, emotionally complex sound is to do the usual thing and unintentionally deflate a profound musical experience with verbal expression.

That, in essence, is why reviewing music is so difficult. Musical expression is more fundamental and subtle than verbal expression. Music is the direct expression of our emotional states, the most direct there is. Words are words, abstract, innately intellectual, and ultimately inadequate for this job. But they're all we have.

Concerning The Rest, I have been moved to the edge of tears by the music this band creates. I have been musically involved for over twenty years, and yet there are times when a group comes into my life in such a way that the act of listening is one of rediscovery of the artform; in such moments my perception is born anew.

That is the best way I can describe the effect that this band has had on me.

My relationship with this groups music is confined to the few songs on the player, and yet there is such a rich vein of music to be had that it will be worth anyone's time to listen.

The first track on the player is a song called "Walk on Water (auspicious beginnings)."

The progression of this song is real intriguing, beginning seemingly in the past, with some longbowed tones on the cello and the vocalist, and ending on a note of modernist electronic production and rhythmically intense passagework.

The song is built out of a myriad of elements. The fact that they're a seven piece is quite in evidence here, due to the rich, orchestral quality of the music.
The songs have the flavor of oldschool craftsmanship, considering the way in which the band composes and arranges. There is a very contrapuntal quality to the writing, a real sense of linear development that adds so much personality to music that is already shining so brightly.

Simply put, this orchestra in microcosm is comprised of individuals playing at the top of their game, collaborating with the common aim of creating independent music that is lush and engaging. And they succeed so admirably. Listen to the climax just before the coda on "Coughing Blood"; the way the high point drops away to the strings, and the way they oscillate to the end, winding out like some dying mechanism, is stunning.

Active as an all male unit since 2003, after a time together they gained a female member, which gave them the "womanly touch we were missing."

Their influences from musical and nonmusical standpoints are vast, given the large number of members. Musically, their tastes encompass everything from "Tom Waits to Sigur Ros and everything in between." Extramusical influences include literature, art, photography and the like.

Their goals as a band include reaching as many people as possible and continuous growth as artists. With a pool of talent this large and a visionary scope this all encompassing, their potential seems pretty near unlimited.

Check em out at:

www.myspace.com/therestband
www.therestmusic.com

Sortiariae Mulier

Sortiariae Mulier is a band from Coppenhagen,Denmark.
Taking their name from a sixteenth century term for a certain kind of witch (Sortiariae Mulier- a woman who prophesies by lots, witch) is an immediate indication of the type of impression that this band conveys.

Coupled with this arcane terminology is the general aesthetic of the MySpace page.
Right in the upper left hand corner is a reproduction of a wood carving depicting what can only be hanging witches. Surrounding the hanging figures are various animals that appear to be familiars a figure in medieval costume sitting on a bench. The rest of the details on the page serve to reinforce the impression that the band gives off, which is one of black magic and doom.

In response to my usual round of questions, the band listed Pelican and Electric Wizard as influences. I can hear the influence of those bands distinctly. I also hear Black Sabbath, in terms of the riff style. Even the distortion has a Big Muff/Fuzzbox type of feel to it, and the band's whole vibe calls out to old school metal.

Sortiariae Mulier is a three piece, and know how to use the relative limitations of that configuration to create a massive, eneveloping sound. The absolutely seamless relationship between the guitar and bass is impressive. On every track of their player, the music is played with such focused rhythmic precision that the end result sounds like some sort of "basstar" or "guitass." I realize that what you just read is stupid, but it's the most succinct way I can describe the sound. Plus, "guitass" is funny in a juvenile way.

This band is something of a chameleon, managing to highlight different aspects of it's personality with each song, while still maintaining a cohesive aesthetic. The last song on the player, "Curled", almost reminds me of a heavier version of Alice In Chains. It has something to do with the shift in dynamics and phrasing that Paul, the guitarist/vocalist, uses, as well as the phrase structure in the riffing style.

My favorite song is "Rigor Dementia Mortis." There is so much attitude in the opening guitar part. Those muted, single picked notes phrophecy a storm. When I listen to it, I can picture myself bouncing around like a maniac at a show. My favorite part of the song is the constant oscillation between halftime and straight up four on the floor rock. The song itself is built out of simple elements, like the rest of the songs on the player. However, that simplicity is utilized for stunning effect, and that is the secret bit of magic that they possess.

Gyngor, the drummer, has a very subtle approach to his timekeeping. He has a deadon rhythmic feel, which allows him to be precise but completely relaxed. His beats are right in the pocket and attacked with precision, but his feel is so musical that it never sounds forced. He is also adept at playing expressively while giving Paul and Sonja (bass) plenty of space.
From their activity stream, I see that they have a couple of shows coming up in the near future. If you are a fan of doom rock with tons of bottom end, see this band. I guarantee it will be a blast.

Check 'em out at:

www.myspace.com/pauldamianc

Richard Jay

Richard Jay is a 16 yr. old musician from Midlands, UK. His music is richly layered and highly synth based. There is something about the end result that is such a throwback to me; it reminds me of good eighties pop music, but filtered through a modern point of view. The end result is music that is quite mature and well-constructed.

Richard seems to have two sides to his musical personality; that could have something to do with the two tracks available on his Myspace player. He has indicated on his profile page that he removed "a load of good songs", so I take it on faith that he has a much more varied output than what is present.

The first track, "Today", is a tightly constructed synth pop tune that shows off his compositional flare. The song is well-written as well as being danceable and infectious. I can imagine that this would be great live. There's so much life to the music that it starts to grab hold of your limbs and move you while you're sitting in your seat.

His ear for the finer details of solid and inventive mainstream writing is highly in evidence. The arrangement is meticulous, as is the production. The boy has gone to school on that list of influences he has written down on his MySpace page, and in the process has found his style; his voice sounds fully formed to me.

For a song that is just under four minutes, a huge amount of musical activity takes place.
His ability to build drama as a setup for the climax is in evidence in the section just prior to the last chorus. All of the prior elements come together transformed into something huge, creating the peak of the whole form. The interplay of voices and instruments possesses a contrapuntal quality, almost fugal in it's construction, before bursting into the aforementioned last chorus.

The fact that the drums drop out for that whole section and only resume their relentless forward motion with the commencement of the last chorus increases the sense of satisfaction we feel upon arriving.

This is terriffic modern earcandy. It's the only way to describe it. It's definitely pop music in the strictest sense of the term, but it has an oldschool sense of craftsmanship. This isn't redundant, disposable proto-musak, but a perfect example of mainstream writing. It's completely accessible and thoroughly satisfying; if all mainstream music possessed this kind of vision and scope, I might listen to the radio more frequently.

The other song on the player, "A Way", represents a more introspective side of Richard's style. On the whole, I am not quite as satisfied by this offering as I am by the aforementioned song. Overall, it feels too short; the song ends just as it's about to develop. On top of that, the style he has chosen never interested me completely.

On the other hand, his ability to construct a singable melody is in evidence here, along with his sense of pacing and knowledge of songwriting in general. I just want a little more substance. In other words, this feels to me like a fragment full of possibility that needs to be realized.

So, for those of you out there who are looking for some high quality pop music, you should avail yourself of the opportunity to check out Richard Jay. Due to his age, one might conjugate their feelings for this young man's music using a future tense, but from what I can tell, he has already arrived.

Check him out at:

www.myspace.com/therichardjay

P.S.- I don't normally do this, but Richard asked me to include this link. It's for a musician named Calvin Harris. From what I could glean, he is popular in the UK, and he gives a shout out to Richard, who he says is his friend. So, if you're up for it, check out this link:

http://news.bbc.co.uk/2/hi/entertainment/8208310.stm

Sarah Tolar

Sarah Tolar is a veteran of the New York music scene whose technical facility as a composer and singer has resulted in an engaging debut full of warm, masterfully written music.

A New York transplant by way of Colorado and California, Sarah brings an eclectic sensibility to her songwriting. While definitely taking cues from the mainstream of the jazz tradition, she is also influenced by folk music and talented songwriters like Carole King. The end result is music that is thoroughly American in it's aesthetic, but drawing from a wide array of influences.

The first track, "Early Morning Stillness," sets the mood for the album and conveys it's emotional landscape in a very palpable way. When the track begins, we are met with a piano, upright bass, and drums played with brushes. The constant, steady stream of quarter note chords in the piano somehow manages to impart the feeling of the title while at the same time driving the rhythm forward and balancing out the longer rhythms in the bassline.

When we arrive at the next section, and the rhythmic profile and dynamics of the whole band changes and intensifies, it leaves you with the impression of the sun breaking into the sky and pushing the darkness away. The whole effect is beautiful.

My favorite track is "Somethin'". From one point of view, it's a traditional American piano ballad; from another, it's a modern take on a traditional form of songwriting. In terms of instrumentation, the song is deceptively simple, containing only vocals, piano, and a drumset, lightly caressed with a pair of brushes. It's akin to "Early Morning Stillness," but even more simplified.

What the seeming simplicity of the arrangement affords is a space for Sarah's voice to convey the emotive content of the music with a high degree of expression. At the beginning of the track we hear the band, but sparsely. The piano isn't providing accompaniment at first so much as just underpinning the vocals with static harmonies. As the song progresses, the intuitive rhythmic interplay between piano and voice is compelling, playing with the metre in a very fluid way.

Throughout the song, Sarah performs a feat of vocal dexterity, by being simultaneously completely present and in full command while also appearing to be completely alone and in a mode of high introspection, thinking about her loved one. The song has a sense of timelessness to it.

As a singer, Sarah is also accomplished. Her technique is impeccable. She has a full, bright tone that speaks clearly throughout her whole range. Her voice is strong without being overpowering, and she expresses herself fully without any sign of force or strain. Her style is thankfully devoid of that element of excessive breathiness that sometimes creeps into the singing of some vocalists. All in all, she is a consummate professional.

"Big Blue Moon" is an album that will appeal to fans of contemporary pop/jazz who are looking for something other than yet another rehashing of standards. Solid writing combined with beautiful singing combine to produce a stellar debut by a musician who deserves a huge amount of attention. Sarah Tolar is going places.

Check her out at:

www.sarahtolar.com

Silas

Coming straight out of the "death metal state" of the nineties, is a band with a real first name and a ferocious, emotionally intense sound. Meet Silas.

This band revels in rhythmic dissonance; moreso than many bands around at the moment, these guys excel at writing complicated song forms. The music they create has a huge scope; the songs are incredibly ambitious in terms of the amount of material they encompass, and constructed in a thoroughgoing and convincing manner.

In response to the questions I sent out at the beginning of this current round of reviews, I was given to understand that this St. Petersburg Florida five piece has a diverse array of influences. One thing that intrigued me in the list was a mention of classical music and jazz.

The reason that I found this to be so interesting is that this is the first band in a year that I have found that is committed to the ideal of writing contemporary, uncompromisingly heavy underground music that listed these two genres as among the musics that inform their aesthetic and thinking.

The influence is there; it's undeniable. One of the first aspects of the groups texture that jumps out at you in this respect is the use of keyboards to emphasize the harmonic variation and clarify the bassline. When the keyboard is functioning in this capacity, it lends a deeply expressive quality to the music that heightens the emotional impact considerably.

Another aspect of their sound is in the use of arpeggios and scalar passages in the guitar parts. Many guitarists employ these devices; they are the essence of melodic structure and omnipresent, available in just about all styles of western music.

However, there is a particular way of deploying these devices that imparts a type of flavor in the hands of string players of a certain mindset. When played in this manner, the resulting phrasing is imbues with a particularly "European" aesthetic. This type of approach ended up becoming the "neo-classical" school of guitar playing, some of whose exponents incluce Yngwie Malmsteen and one of the greatest guitarists of all time, Randy Rhoads.

What I like about Silas' approach to this type of guitar playing is the way they retool the concept in the context of their style. Phrases are punctuated by lightning fast figurations and the passagework connecting sections is astonishingly intricate at times. One example that springs to mind is "When Triad MET-ALkoline", the second track off of the two track player on MySpace.

For a song that is just under five minutes, there is a massive scope to it. In the first twenty seconds alone, the amount of energy these boys emit is numbing. During the course of the entire 4:48, the sheer quantity of sectional changes and transitional passages is testament to this bands talent and work ethic. My favorite part of the song is the transition from the guitar solo to the final section , where the action has died down a bit and things are winding to their end. The solo crowns the climax of the song and provides the necessary release of all the energy that has been pooling. The whole last minute and a half is simply beautiful, and brings a powerful sense of closure to what has come before it.

All in all, I find that the deeper I dig into the current underground music scene, that more incredible bands I find. Silas is another to add to the list; on top of that, this five piece has developed a style rich in emotional expression and an approach to formal development that heightens the drama inherent in the lyrics. Listen to this band, they have something to say.

check em out at:

www.myspace.com/silasfl

PAS

Broadcasting from Brooklyn, NY, to all the known points in the universe, is PAS.

Originally a solo project begun by Robert Pepper in 1995, the project remained a one man band until 2004, when Robert met Jon "Vomit" Worthley at a Genesis P. Orridge lecture. In 2007, Robert met and subsequently started dating Amber Brien; together these two people have helped Robert to fill out and stabilize the group.

The current line-up is divided this way:

Robert Pepper - Keyboards, percussion, loops, various analog
Amber Brien - Drums, Percussion, Bass, Electronics
Jon "Vomit" Worthley - Guitar, Effects, Electronics, various analog

Amber is also trained in Taiko, the Japanese drum art.

Taking their name from a religious pamphlet, PAS (post abortion stress) is a group out to create music according to their particular artistic vision, which is one of aberrant beauty and abstraction; their name refers metaphorically to those who have been aborted by society, those whose point of view doesn't fit in the constraints of "normal" society.

This viewpoint fuels their creativity. Since their inception the band has been interested in making music from the fringes of perception, creating soundscapes that aren't defined by any particular conventions or viewpoints; the aesthetic underpinnings are defined by the notion that music can be whatever is perceived by the ear. It's a conception fueled by a love of life and art and a desire for honest artistic self-expression.

The compositions themselves are more akin to soundscapes than "songs" in the traditional sense.
There are no clearly defined melodies, no structural landmarks that give you any sense of traditional anchor. This is not music making with any sense of or desire for commercial viability, but sonic sculptures in the mode of pure art.

During my usual round of questions that always forms a necessary part of the act of creation for me in this medium, I was given to understand that painters and writers are a huge influence on the band. This bit of information was highly revelatory for me, as the music this band makes has a very visual quality to it. Terms like "sound collage" spring to mind almost effortlessly.

I would go so far as to say that this love of visual media is the main thing informing this particular musical experience. Listening to these ethereal, shifting compositions leaves me feeling like I was journeying through an alien landscape, taking in the shape of the land, the types of flora and fauna; at the same time searching for the inhabitants, but never finding another person, only knowing of their existence through bits of information, voices carried on the wind, and sounds of "civilized" existence.

The sense of being alone imparted by the music is not a criticism. On the contrary, as mentioned above, it is an essential element in the overall design. "Old Mirrors New," the tenth track from the album "The Lyre Speaketh," is a perfect example of this. The track doesn't begin in the traditional sense so much as cohere from nothing, the sounds of the piece gradually building until we find ourselves immersed in an ethereal soundworld.

As the piece unfolds, we hear some type of intoning counterpointed against wooden flutes, as if we are listening to the enactment of some solemn mystic rite. The accompaniment for this track has the quality of a hammer or a shovel, digging at very hard ground. This has the tendency of heightening the sense of ritual engagement that the intoning voices seems to impress on our consciousness.

The space in between these two elements is filled in with a very atmospheric type of sound, high pitched and quiet, more an intimation of atmosphere than anything else. This element has the effect of heightening the hallucinatory element of the piece, as if we are experiencing this scene under the influence of something intoxicating, or perceiving in a trancelike state.

For another example of the bands approach to music, let us turn to the title track on the album.

The effect of this piece has a more unsettling quality to it. Part of it has to do with the bassline, a ponderous, low-brass timbred affair that sounds like a whole tone scale, or at the least part of one, re-iterated at intervals with a quiet relentlessness. This is played against a repetitive figure on what sounds like a Koto, which in turn is played against a vague screaming sound. The overall effect is stunning in itself, evoking some alien landscape of foreign dimensions.

All this from a three piece. The amount of layered sound they manage to produce gives the impression of a much larger ensemble, but this is just indicative of their talent, and the focus they bring to bear on their vision. They are one of the most engaging groups I have encountered in some time, due to the idiosyncratic nature of their philosophical view of music and the way in which they realize this philosophy by their output.

In keeping with their deep interest in visual media, there are several videos available on their MySpace page.

As of this writing the band has four albums available. They are “Intro to Jesus”, “The Lyre Speaketh”, “Antarctic Tribe”, and “We Have Discovered Your Mother’s Body.” All of these are available at www.cdbaby.com or iTunes and various internet dealers.

Check 'em out at:

www.myspace.com/postabortionstress

RingBearer

RingBearer are a slab of sonic concrete. Hailing from Iowa, these guys come on like a weapon.

With a name that relates to Jesus Christ and the halo of thorns he was forced to wear, you can rest assured that this group is determined to make some waves.

I have not spent a lot of time in the Midwest. I am an eastcoast boy, born and bred. However, I cannot fail to notice that that region of the country has spawned a lot of brutally heavy bands.

In the case of Ringbearer, I can fill in the pieces to that puzzle to a certain degree. According to information I was given by Maxxwell, their guitarist, the band lives in a town of 9,000 with 48 churches and they have, for all intents and purposes been blacklisted from the town. So, that could definitely have something to do with them sounding the way they do.

The thing that impresses me the most about this four piece is their approach to rhythm. In general, aside from timbre, I think that this is the biggest innovation in musical thinking in the underground in general.

Let's look at the first song on the MySpace player, "Church Burner." Right out of the gate, and you're getting bludgeoned by some forceful sonic rage. If you listen to the rhythm of the guitar part, and the way it divides against the drum beat, it turns out to be a grouping of irregular rhythmic phrases comprised of the same riffs.

What's interesting about this is the fact that the guitar part is dividing against blastbeat style drumming. The thing that makes blastbeat so intriguing (and so effective) is that there is no real metre in that style, no stress of strong and weak beats. It becomes a constant rhtyhmic wash with no profile; this is why it supports ultra-heavy musical styles so well.

Anyway, why this is so fascinating to me is that the end result is just ferocious, really nasty and biting. And that's a compliment. It is the sonic equivalent of a severe beating. The phrasing of the guitar part emphasizes certain partials of the blastbeat in such a way that it stays with the tempo and manages to lock in, without actually defining a specific time signature in any way.

When the drummer and bassist fall out and the guitar comes in with the first rhythmically constant, metrically stressed riff, the effect of the former is heightened. All in all, this song is a small masterpiece, taking into account the way the ideas unfold and the way it builds to the end. It's a highly dramatic, "perfect" piece of facemelting thrash. By the time the last chord is played and the song fades out on cymbals and feedback, the tension has become unbearable.

In many ways, this group reminds me of the "great" bands in the grind/death undergound of my high school days; however, this isn't some trip down memory lane in search of the past, just a comparison.

This group is definitely alive in the here and now, as evidenced by the foregoing description. The things these guys are getting up to in terms of song structure weren't even conceivable in the mid-nineties. I simply mean to say that there is something about the overall spirit and sheer sonic weight of this band that is a bit of a throwback. Aesthetically, this band is its own thing entirely, and express themselves in thoroughly contemporary terms.

Playing together since the first week of November, 2008, this band has gelled quickly. From what I have gathered on their MySpace page, they have shows at their own loft apartment, a place called the Wolf Hanger. I can only assume that has helped them to grow so quickly. It's also obvious that they love what they do.

The band has a release out entitled "Cult," and some great merchandise. They are working on a slew of new releases and will make things available as quickly as possible. All of it is available at their MySpace page. Fans of brilliant heavy music need to get behind these guys in a big way. Their desire is to make as many great records as possible and tour the world. Let's all get together and help them achieve that goal.

Check em out at:


www.myspace.com/ringbearer1

Feeding The Foxes

Feeding the Foxes is a band from the land of Andre 3000 and Big Boi.

Active as a musical entity for a little over two years now, this band is a unit of very hardworking individuals; look at the roster of bands that they've played with in such a short period of time, and also at the way that they nail the complex material they write.

The group's sound is quite interesting. These guys are definitely hipped to the developments that have rippled through the postmetal underground in the last few years, including rhythmic deconstruction, odd time signatures, irregular phrase groupings, abrupt shifts, and a mix of testures, from clean toned to highly distorted.

Their guitarist Colin is a jazz guitar major, and he's put his hours and hours of shedding altered modes to great use here. The phrasing is wild. I hear something of sixties free jazz in there; the rhythmic quality of his phrasing is at times akin to Coltrane's "sheets of sound" approach that critic Ira Gitler picked up on in the fifties.

His rappour with the drummer (Matt) has that same quality. Listen to "Interstellar Space" by Coltrane or even "Bells" by Albert Ayler and you'll get the idea. While there is generally more of an emphasis on "straight" timing, there is also a lot of phrasing going on in the drumming that mirrors and reacts to Colin's phrasing.

A perfect example of this is the live Vimeo clip of "Scott Stapp the Man, not Scott Stapp the band." At certain points during that song, the drummer is imitating Colin's phrasing, almost exactly. On a side note, there are two vocalists on stage during that performance, but only one is listed in the lineup.

This band is one of the more rhythmically adventurous outfits I have heard in a while. There is something akin to the Locust's "loose-but-tight" approach to phrasing, but given Colin's whole approach comprising a huge dose of linear thinking in the form of lightning fast scalar and arpeggio material, this lends a sprawling, open-ended quality to the forms.

A perfect example is what might be termed the "B" section of "EraseCreateReplace," a song with a very long title. After blasting out of the gate with some intensive power chord/ scalar riffs backed up by an onslaught of loose, scattershot drumming, the band dies away, and Chaz the vocalist starts intoning about pollution in a low voice. Then the band kicks in. When the guitar resumes, Colin's solution to move matters along is very interesting.

The first thing we hear is a blazingly fast scalar run, sounding something like 32nd note quintuplets, executed flawlessly. The resulting triangular shape of the phrase broadens the whole section of the song, the ascending and descending contour imparting a sense of temporal expansion.

This phrase lurches directly into the next short section, which is a bit of less distinct connecting passagework, play with deadon rhythmic accuracy. Unless I am completely mistaken, the rhythmic profile of the ostinato-like guitar part of the section after that is an extension of the connecting passage, smoothed out and given a more streamlined profile, so as to serve as a more stable accompaniment. It's sort of like Paganini, but on drugs.

One thing I was given to understand is that the bassist on the recordings is not Dave, the bass player listed as being in the band. What is interesting is that I was told that he is a lefty and plays six-string. Even more interesting is the fact that he plays what Colin plays, "but with more rhythm." So, to me that means that the rhythmic concept of this band has taken even greater strides forward.

Musically, the band wants to make "honest music for a long time to come", and we should all show our support in this respect. The band doesn't have any albums out, but they do have a demo and are featured on a compilation. Both can be downloaded for free at their MySpace page. And, for those interested, they have a few shows coming up in the Georgia area. If you like it loud and progressive, you'll want to check these guys out.

Check 'em out at:


www.myspace.com/feedingthefoxes

Melted Cassettes

Hailing from Arizona, a state famous for wide open spaces and novels by Bentley Little, comes a punishing experience in 24 bit aural suffocation. This is Melted Cassettes.

Forming in 2005, the group is a two piece collaboration between David Turner (vox and effects) and Mike Warden (keyboards). Mike is a graduate of the Conservatory of Recording Arts and Sciences. He joined the band in 2007.

This band is uncompromising in its rage. There is nothing mainstream about any of their music. The intention is intensive sonic experimentalism. To call the sound processed is an understatement, as the sheer complexity of the tone colors and their almost tactile quality is astounding, even in today's timbral mad aural marketplace.

Their influences include Wolf Eyes, Big Black and other "non-weak shit"; I hear tinges of Ministry and Atari Teenage Riot in there as well. On the nonmusical front, the band lists "noises,horror films,depression,psychiatry," as being influences on the thinking of the members.

The inventiveness they display within the confines of their chosen mode of expression is indicative of their desire to engage in some serious experimentation.

"Razed from the Bottle" is a perfect example of their approach to music making. While the structure develops from a midtempo keyboard/sequencer hook, the piece flows from phrase to phrase with a high sense of liquidity; this produces a cumulative effect of impending collapse. It's one of my two favorites on the player.

A similiar experience occurs on "Sounds from Hell vol.1"; the song sputters to life on a rhythmic idea that gets spun out into this infectious three note main hook.
The simplicity of the hook is the key to its success; it's so straightforward that the musical edifice built around it is able to effectively burst through with intense amounts of energy. The approach on this song is more straightforward than on "Razed"; the overall effect is one of showcasing the "hook" and developing it in such a way that the abrupt ending comes as a real surprise.

At the other end of this particular aesthetic spectrum there is "Ataak Pak", with it's midtempo vocal effects in the rhythm section producing a sense of mechanized rage. The way that the rhythm of the lyrics is synchronized with the rhythm section is really intriguing.

In answering my usual round of questions, I was told that the band manages to realize this sound live. David's explanation of this is as follows:

"We build a wall of Pa's and random speakers that pump out the beats and bass tone sequences.loud as we can get it.Mike plays a midi keyboard with patches we build in reason and pure data.I have a zoom vocal processor that produces "demon" vocals run thru the venues PA.We have a rigged stack for guitar amplification that is part ampeg and part peavey drum machine amp.we are working on gettin' some tweeters."

In this light, I am psyched for any fans of experimental/noise/electronic avant gardeanism who reside in the Arizona area, because I can assure you that the live show this band puts on is intense, chaotic, and a hell of a lot of fun. Listen to their music and read the fans comments, and you'll be convinced as well.

The band has an e.p. out now, ("MySpace: A Place For Fiends" e.p.), and has a split with cheezface coming out in August. This will contain tracks from their upcoming full length L.P. "The "Real" Sounds From Hell." Their music is available on Liberal Squid Records (www.myspace.com/liberalsquid ), Lovetorture Records (www.myspace.com/lovetroturerecords), Sunwarped records (www.myspace.com/sunwarpedrecords), and Seattle based UF records (www.ufrecords.com)



Check out the band at:

www.myspace.com/sportslazer

From Alalu through Abgal to the Aural unconscious

Michael Petty is a musician from Texas whose musical vision has lead him to produce some highly inventive sounds.

For those of you familiar with my blog, you may recall that I published a review of his work known as "Alalu," and perhaps this writing interested you enough that you went to Myspace and gave the player a spin. If not, I hope that you do.

Upon completion of the first review, Petty decided to mail me his recordings, and that inspired me to write another review.

Functioning in a very heady strain of ambient electronic music, his music is constructed along lines far different from traditional norms.

While Petty's music might not be everyone's cup of tea, there is something to be respected about someone who follows a particular viewpoint in the pursuit of their art. He loves this type of sound, and sticks to his vision.

This music is imbued with a sense of higher structure due to the narrative element, which is the underlying storyline that accompanies the recordings; it also serves as the genesis of the conception.

The story is one of extraterrestrials, warfare, the discovery of Earth and the creation of humanity. It's pretty wild, and worth your attention, if only to get a glimpse into Petty's fertile imagination.

The most interesting thing about the entire output is the way in which he molds the sound to suit the narrative flow of the storyline. If you know what you're listening to, in relation to the unfolding tale, you can experience the music on a different level.

Of all the albums in the series, my personal favorite is "E-A (.IV)," concerning the discovery of the earth.

As is Petty's M.O., the album release is different from the songs on MySpace; from what I can tell, the songs on Myspace are shorter and edited differently. The source material for each track seems to be the same.

I have always found that the real magic of this style is in its use of rhythm, which might be the biggest innovation revealed by this style. Here, there are no drum loops or samples. Rhythmic continuity is developed through repetition and contrast, and a very linear sense of sonic progression. Sometimes, rhythmic pulse is developed through a keyboard loop, like the middle of track 11 on Zumul. Sometimes, the rhythm results from the overall result of the layering of parts. At any rate, the rhythmic sense is entirely fluid, and in relation to the contemporary view, quite subtle.

Check out track five on the E-A player, "Tiamat." This one piece of music might possibly be my personal favorite on any of the albums. After a short introduction, these slow, ethereal chords cut through the ambient, murky drone, implying something profound, and possibly a bit "ancient," in a Lovecraftian sense. As the track unfolds, the rhythmically broad harmonies reveal themselves to be intrinsic to the structure, as their development and transformation carries the piece along. The slow drone of the harmonies mixes with the atmosphere of the rest of the arrangement like some sort of spectral vapor mixing in outer space. It's quite beautiful, and strangely moving.

The second track on the player, "Creation Chamber," is a case for variety in oneness. The track is built from a minimum of elements. The end result, like Tiamat, is something old and mysterious, containing the hint of some vast intelligence. There is also the hint of new beginnings. I suspect that the album version is much longer, as things seem to just be heating up when the player kicks over to the new track.

All in all, I find that the music Petty makes grows with time. The more you listen, the richer the rewards. There is so much going on in the music, so much densely layered information, that it is engaging as an activity unto itelf.
And that to me, is one of the hallmarks of a truly great musical experience.

Check him out at:
www.myspace.com/alalui

www.myspace.com/zumul

www.myspace.com/galzuiii

www.myspace.com/easounds

www.myspace.com/abgalv

www.myspace.com/theauralunconscious

Michael Mcdaeth

Every so often in my life a musician makes their presence known to me, and my perception of the world is irrevocably altered. This happened with Franz Liszt, LeadBelly, John Coltrane, Smog, and Arab on Radar, to name a few. Now, I have to add Michael McDaeth to that list.

Hailing from Seattle Washington might hinder some with its mystique, but quite frankly, he sounds like nothing I've ever heard.
You will find Michael's music in two guises, first and foremost solo with an acoustic guitar and harmonica as Michael McDaeth, and then as the front man of a three piece known as Weeds Peterson.

This man is inspired. In response to one of my questions regarding the amount(if any) of musical training he has, he told me that "it would probably be more accurate for me to answer that it was always there. As soon as I could move my fingers on the fret board, I was off and writing songs. It was just there waiting for me - an easy natural thing."

Aside form his prolific output as a songwriter, is the fact of his four websites, each chock full of variegated types of visual media. I would press anyone interested to check out his videos, as the types of mixed media presentations are as individual as the songs, and truly complement the music. The video for "Take a Ride With Charles Bukowski" is real disturbing, and underscores the latent ferocity of the song.

In certain respects, I hear an older type of thinking going on in the music he makes, especially in his solo material. To me, this comprises his most personal output. He excels at very repetitive rhythmic motions, strumming patterns that accent in unexpected ways and has great instincts for welding his accompaniments to the melodic line. There is also attention to detail in the inner voices of his guitar parts, relating to the way the voicings move and his choice of chord progressions.

What strikes you immediately is the sheer force of his music. He reminds me of a dysfunctional LeadBelly, in the sense that they both use the same setup and produce phenomenal amounts of volume and energy. The difference is one of temperament. Michael's music strikes me as a journey of deconstruction, a probing of emotional possibility; an antisocial plea for some kind of connection.

The first track on his Myspace player, "Everybody's Fault," illustrates this point nicely. From the way he attacks his guitar at the beginning of the song, you get the idea that he is venting from an argument that just ended. This is the other side of the expressive aspect of his guitar playing, which consists in an extra-musical style of attacks and an inexpressible something that makes the acoustic guitar become so percussive and violent in his hands.

From what I could surmise on the basis of a couple of weeks of immersion in this man's musical world, his myspace player is well planned out. The collection of tracks there give a terrific overview of his extensive output, highlighting tracks from most of his albums.

In certain respects, my favorite song, among many, is Shimeleski Funtime. The construction of the ostinato-like main riff, with its ascending bassline that just keeps collecting energy, always induces the desire to jump through a window in me. The way he resolves the upward motion of that riff by moving to a higher fret and descending with the same rhythm, repeating this a few times and then puncuating the whole first part with a simultaneous guitar/harmonica hit where the rhythm just dies for a second, is brilliant in its simplicity.

The whole song, all two minutes of it, sums up everything that I am learning to love about Michael's vision: an organic approach to form that is dictated by the needs of the song, where the shape of the emotional life molds the song into something that breathes with its own life, something alive, communicating its own internal existence with elegant simplicity.

Check him out at these places:


www.myspace.com/michaelmcdaeth

www.mcdaeth.com

www.theblankalbum.com

www.shineinreverse.com

www.weedspeterson.com

www.myspace.com/weedspeterson

Infinite Darkness Quartet...

Now we turn the spotlight on a powerhouse of modern jazz emanations, Providence's very own Infinite Darkness Quartet. Playing together for roughly four years, the group turns out collective improvisation on their own compositions and are committed to the idea of pushing the art of jazz ahead.
The group is comprised of Alex Chapman on drums, Tom Casale on upright bass, Tony Cabral on keyboard, and Mike Bernier on guitar. Everyone is from Rhode Island except Tony, who is from the Boston area. So, this group is comprised of homegrown New England boys.
These gentlemen are all at the top of their game. Both their knowledge of the idiom and their eclectic tastes are on display in full form in each track. As we are dealing with a group of jazzers schooled in the late twentieth century, the influence of rock and pop on their collective sensibility is at times quite apparent, and lends a refreshing character to the music.
As far as I know, they are all in their late twenties to early thirties, which enhances the sense of dedication they bring to the group. Their maturity and sensitivity to the demands of high end improvisation becomes apparent as each track unfolds. The way they react to one another and the tone set by each soloist is richly imbued by the flavor of whichever song is floating through the air. The tunes come to life, and you realize that you are in the presence of something truly profound.
In some ways, to me at least, the group is something of a throwback. Their elastic sense of time and Alex's timekeeping aesthetic calls to mind Miles' "second" big group, the one with Tony Williams and Wayne Shorter. However, the similarity extends only so far, as these guys have carved out their own niche.
Tom Casale, the upright bass player, is the primary composer. His imagination is wideranging, as is evidenced by his arrangements of the Beatles' Michelle (here reharmonized as "Mitchell") and Alexander Borodin's "Gliding Dance of the Maidens" (here reharmonized as "Polovitzian Invasion"), both on the unreleased first album. From Liverpool to Russia, and these are the arrangements.
His originals breathe with a life all their own. As I said before, there is a definite element of rock and roll in the music these men make, and in Tom's hands it is another tool for expression. His use of vamps in the writing and his phrasing in relation to Alex's drumming have a strong sense of backbeat. On the "Needle and the Damage Done," the contrasting rhythmic styles between the repitition of the main melody and the subsequent break into the "swing" section is compelling. In the first part, tension mounts on tension like a rubber band and builds, as the ostinato-like comping is built from a couple of chords, and the arc of the melody somehow emphasizes the potentiality of the energy. When the vamp finally spills over into the next section, enough momentum has collected that the band literally explodes forward.
Also of particular note is their interest in expanding the tradition of playing standards. Like the Bad Plus, they are adept at taking contemporary rock and pop tunes and retooling them into compelling vehicles for spontaneity. On the unreleased first album they rework "Heart Shaped Box" into something else entirely, and Mike really lays into the chord changes with a fury. Check his tone on that track, and his seeming use of delay. The end result fuses traditions and goes somewhere else entirely.
To really get at what they are doing in this vein, check out their arrangement of "Knives Out" by Radiohead. It is surreal, absolutely their own invention.
What is interesting is how much they aren't like The Bad Plus at all, possessing a more dirty groove and a more pronounced backbeat in contrast to Ethan Iversons' post-Lisztian, chromatic scale, polyrhythmic freakout. IDQ, to me at least, sounds more prog rock to TBP's late Romantic deconstruction.
So, anyone interested in immersing themselves in a soundworld created by four highly masterful musicians reveling in each others association and in love with making the music they want should get behind this group in a big way. It just might change your life.

check em out at www.myspace.com/theinfinitedarknessquartet
and at www.idquartet.com

Alalu (.I.)

Petty has a story to tell. His is a visionary concept, utilizing music as a means for communicating a tale. One of extra-terrestrials, warfare, and the genetic engineering of humans. Welcome to Alalu.

Hailing from Dallas, Texas, electronic musician Petty has created a five part epic story, utilizing ambient drone music to tell the tale. The result is highly intriguing, soundscapes that weave an epic, utilizing pure sounds in a most effective manner.

Though I have only listened to the myspace versions for part one, I get the sense that in terms of scope and vision that there is something Wagnerian about the whole thing. This is a five part music drama, although in this case the drama is conveyed only through the music, there being no visual component or lyrics, at least that I know of.

And what of the music itself? Dense with sonic information, the sounds produced have a highly mathematical quality. There is a high degree of logic involved in the arrangement. Sounds swirl and coalesce, conveying imagery in a deeply psychological manner. There is a type of contrapuntal texture that is unique to electronic music. The structural aspects it seems to support are not strictly "classical" in nature, because this sounds nothing like Haydn or Mozart. I have always felt that musicians in this vein have found some new way of communicating linearity, a type of horizontal thinking that allows for the ebb and flow of the music. The overall texture has the quality of a hurricane to it, with seeming chaos happening around a stable center.

During the course of my interview, I was given to understand that Petty's involvement with music making started purely from self-interest. He went a music store and bought a drum machine and a keyboard, on which he undertook a course of self-instruction. After moving back to Dallis from Austin he enrolled at a local conservatory after receiving a scholarship. There he studied for about six months.

I have this to say. This man is a quick study. As I said before, his music is tightly organized. These are not the sounds of a dilettante, but of someone expressing a fully developed aesthetic. I assume that he took his studies seriously.

This man has a wide range of influences, ranging from Greek mathematician composer Iannis Xenakis to minimalist pioneer Terry Riley and eclectic free-jazz musician Sun Ra, from British acid-damaged electronic pioneers Coil to California doom/drone rockers Sunn))0. Of particular interest are the Residents. I was informed that after seeing them live, Petty was inspired to create a multi-part work. The end result, while definitely containing the essence of those musicians and many more, is nonetheless its' own creation. Petty has his own voice, and is communicating this highly intriguing tale masterfully.

Being that this is a review of an electronic musicians work, some mention must be made of the equipment utilized. He is a big fan of Korg, utilizing the electribe mx and sx samplers, a micro korg synth and a mini-triton. His recording software is cubase and native instruments vst plugin. Also, all music made was produced "during blunt induced recording sessions in my attic."

And what exactly is the story? Tune in to find out. Aside from his myspace page, of which the tracks there are only there, he has released two full-length e.p.'s contaning other tracks that tell the tale in greater depth. The first, on Okkulth records (http://www.archive.org/details/okk059alalu), is entitled "Alalu-Lost Tracks Vol.1". Okkulth's homepage is http://okkulth.svartgalgh.nl/. The second, on Australia's Smell The Stench http://www.smellthestench.net/net.ht ), is entitled "Zumul-Nephilim." There are also a limited number of handmade cds available for sale or trade. Contact Alalu's myspace page for more information.

check 'em out at www.myspace.com/alalui

Cowgirl

playing together for a little over a year now, Providence's own Cowgirl create dense and varied textures within the context of a three piece group.

If I was writing this twenty-five years ago, I'd call these guys a power trio, except that there is a little too much noise in their sound and two of the members are multi-instrumentalists.

Meeting in the Providence scene, and coming from various musical projects, the band gradually coalesced into the current unit I am writing about now.

One of the many great things about this band is the fact that they draw from a very wide pool of resources while not sounding at all derivative. Referencing everything from Olivier Messiaen to New York experimental group Battles will give informed readers a sense of the scope of their influences.

Like all great Providence bands, their sound has familiar elements while being impossible to pigeonhole. I hear a type of voice-leading in the writing that reminds me of Bela Bartok's counterpoint at times, but the classical influence is so seamlessly integrated that you have to be a music geek like me to even notice it is there.

The greatest thing about this band, for me at least, is the fact that in their sophistication they haven't forgotten how to rock. Their drummers use of backbeat and Spencer and Dan's ear for the "killer riff" completes the wall of sound they seem to revel in creating.

An all instrumental group, These boys utilize their training and compositional sophistication to create progressive rock songs that are really compositions covered in a thrashy veneer. There is a strong emphasis on thematic development and a use of passagework that reminds me of European methods of connecting sections of a composition.

Timbrally, I love Spencer's use of distortion. it is truly one of the cleanest sounds I have encountered in "rock" guitar.Also, Dan's bass is very beautifully eq'd, and I find that his high end speaks clearly without losing its bottom. Well done.

Tying it all together, their drummer Chaise is a madman. I am very impressed with the way in which he locks in with Dan to tie down the rhythm while accenting in such a thoroughly syncopated manner. He seems to revel in accompanying the same thematic material with different hits, emphasizing different beat partials at different times. Something like Billy Cobham on acid.

Support this band. We need musicians like this making music like this for as long as possible. Looking for something thoroughly contemporary that is akin to a revelation? Listen to "One" over and over. It gets better and better with each listen.

check em out at www.myspace.com/cowgirltheband

Tinsel Teeth

There is something about Providence, Rhode Island that seems to just produce great, unique bands. Anyone with even a passing familiarity will tell you that all the great bands in the capitol city are all unique, no two sounding at all alike.

Tinsel Teeth is a case in point. How to describe their sound as anything but "Tinsel Teethy"? Which, when you think about it, is retarded. But there you go. There are a couple of things that this band shares with ALL great bands in the area. One, they are a tight-knit unit who have obviously practiced their asses off, and they are intense.

Rocking out since 2007, TT are a four piece comprised of Steph on vocals, Brandon the guitarist, Dave the bassist, and, Will, the drummer.

I first saw TT in the flesh this past September at the Arab On Radar DVD release party, playing with Daughters and I believe another band. It was at this moment that I knew I wanted to write about them.

Their live show is a spectacle to behold. Steph, the above named singer, is a small framed young woman who turns into a manic, crazed individual when the band starts rocking out. Her stage manner will appeal to anyone who loves interactive bands, as I was body-checked with some force a couple of times during their set. It was a lot of fun.

So, back to the matter of their sound. Part of my job as a teacher/music journalist is to deconstruct a bands sound for the purposes of education. This can be a tricky proposition, but the medium demands it. So, here we go.

Imagine a sort of noise rock with more straight riffage, coupled with a subtle blues element and a very punk rock, aggro drummer and you have a start. At least from my point of view. You see, there is something almost sexual to me in the rhythmic aspect of the phrasing that the instruments set up. Some sort of drunken, cocksure swagger. Listen to Farewell to Architecture or Postmodern Posture and hear for yourself.

Anyway, this band wants to play all over, and I think they should have this chance. If you want a raw, non-commercial rock experience that will leave you sweaty and smiling, you need to see this band. Besides which, you have to love a band that lists among its extra-musical influences "cryptozoology and drugs." Personally, I think that there is a huge connection between these two subjects, but that is best left for a later blog. Cheers.

Check em out at www.myspace.com/tinselteethy

All leather

The latest fractured musical experience from the fractured mind of Justin Pearson is All Leather.
Comprised of Justin on vocals, Nathan Joyner of Some Girls fame on guitars, and Jung Sing of Manqui Lazer on drums, All Leather is dance music with a difference.
Working in a gay bar in San Diego, Mr. Pearson would hear track after track of insipid electronica. One day, amidst all of this testosterone and bad sequencing, an idea was born.
Taking elements from the electronic music dance world, and then adding in a live drummer with an electric kit and lots of "noise rock aesthetic", All Leather was conceived.
The end result, to me, sounds like club music produced at some venue in a dayglo section of hell, where the denizens are skinned alive and pumped full of amphetamines.
The guitar textures are so heavily processed as to barely resemble a guitar most of the time, and the drum set is electronic, which adds an extra grating quality to the proceedings.
Fans of the Locust might be surprised at the relative simplicity of the result, but therein lies its strength. All Leather's straightforward approach complements its musical intent in the same way that the Locust utilizes intensive complexity to achieve its ends.
Justin and company's musical instincts are dead on, especially considering the lack of formal schooling. I have been teaching for a long time and have never encountered "self-made" musicians whose innate musicality was so high. If only everyone were this naturally musical.
One thing that everyone will relate to is the subversive political agenda. In the course of my interview for this review, I was given to understand that JP has been involved in multiple grassroots organizations, well before he started playing music.
Lyrics like "Can we drain the oceans for some real estate and then jerk off to some aspirations?" show quite clearly that the protest spirit is alive and well.
As Justin was quick to point out, the politics are about the "not so obvious" agenda, more to the point of supporting humanity in general. All Leather are not a gay rights band, nor is the band gay. But the sense of commonality they share with the rest of humanity in these increasingly desperate times provides some hope for us all.
There will be an e.p. released around June 1st on Dim Mak recordings, and as for the future of the band, there is "no clue."

check em out at www.myspace.com/allleather

Memphis Khan

Hello and welcome back.
Let me begin by stating that this group has produced the greatest version of "Beat It" I have ever heard. For one thing, Memphis Khan, the group in question, are a modern folk duo.
So, this recording has guitars and banjos and layered background harmonies, coupled with a sentiment evoking a sort of resigned determination, like the guy really does not want to have this conversation again. The result has its own unique power to it, and I don't think anyone can touch this.
I was first introduced to the music of Memphis Khan this past September ('08), at a gathering of about 20 people in Fox Point, in Providence. I managed to talk to both Ryan and Patrick that night, and decided that if I liked what I heard I would pick up a copy of the The Merchant EP, their six-song demo containing the aforementioned version of "Beat It". And it was in that spirit that I handed over a few dollars for a copy.
The next day I went downstairs and put the disc in the stereo, and was able to truly appreciate what I had seen the other night. This was due to significant differences between the live and recorded versions of the songs I had just heard.
Whereas the live set was Patrick and Ryan with no backup, the disc is a much more orchestrated experience. Not that the live set was lacking. Not true. In fact, it served to demonstrate the pairs' talent. The ensemble was tight and fluid. The songs were musically expressive and they managed to convey a lot of sonic information with a very limited personnel.
It helped me to put the demo in context. I would love to hear those arrangements live. The use of distortion on the banjo is an intriguing bit of orchestration, and brings out the natural metallic quality in its' tone-color. The use of overdubbing to layer the guitar and beef-up the arrangements in general is really interesting. The end result is some sort of electric folk music.
It was explained to me that there has always been an interest in American folk music, that "at some point you realize that the music made in the first half of the twentieth century in America had a raw, elemental power and heaviness." We agree with this assessment. What is great about this bands' conception is the way they inject electricity into the folk tradition. There is a certain aspect of noise rock in the proceedings. My personal favorite is "Criers On The Phone", with the slight bit of feedback at the beginning and then the clean banjo layered on top of distorted banjo following that. The form of the piece has a strange, assymetrical shape to it as well. It seems that they are using a harmonic sequence of some degree of regularity coupled with irregular phrase lengths and syncopated cadences, which evolves into an A-transition-B-coda type of form.
These guys definitely have carved out their own niche. There is something about the demo versions that reminded me of Smog, not in a specific way, but in the spirit of the proceedings.
Memphis Khan was born in the summer of 2008, after a homeless man stole one of the bandmembers' shoes and bet that person that they couldn't start a band called "Memphis Khan". They decided to take up the challenge in earnest, having a great love for those shoes.
The band plans on having a full-length release available in spring of 2009, and The Merchant EP has been picked up by an indie label called Reverb Worship (www.reverbworship.com), where it can be found for sale on the labels' website. They will be posting new tracks on their MySpace page, and will be appearing on the radio in Sydney, Australia on January 28. (www.sidewaysthroughsound.com)


check 'em out at www.myspace.com/memphiskhan

Hey Lovey Dovey

The focus of this blog is a band from the Garden State, Hey Lovey Dovey. These guys are relatively young in terms of their members ages, but they perform with a musical depth that puts them in league with their older contemporaries. Their expressive emoting is tempered by a sense of humor, which adds nicely to their style.
One of the interesting facets of their sound is the incorporation of certain aspects of grindcore in the writing, juxtaposed against a more melodic sound containihng quite expressive basslines (courtesy of Ian Eckstein). It calls to mind early Mr. Bungle and An Albatross, the Wilkes-Barre madmen.
One of the things that is quite interesting about this band is the fact that Brian Berman, the singer, has never fronted any other bands. The only track he has contributed vocals to at this time that I know of is "On a Glass Bottom Airplane", but it is obvious that the boy has talent. He has a strong sense of intonation, which imbues the lyrics (which are a collaborative endeavor) with a melodic expressiveness that enhances the abrasiveness of his tone. Another interesting thing is the fact that the drummer (Brandon Lipman) is only thirteen years old. This kid shreds. I mean he kills. His hits are dead on and he drives the hell out of the beat. His sense of pulse is real strong. He is tight-yet-flexible.
As I sit here writing this and listening, I cannot help but think that while what I said was true, at the same time I hear the talent of everyone involved. These boys can play. Everyone locks into the pulse and drives the beat from beginning to end.
The two guitarists (Justin Lipman and Dan Stone) and the keyboardist (Nick Potters) create interesting structures over the drum/bass complex. There are countermelodies underneath the vocals buried in the riffage and the changing textures of the keyboards and guitar effects enhance the sense of phrasing, which is strong and well articulated, culminating in songs which create highly unique music that still has tons of thrash and backbeat. It is music you can bug out to live, and it is hoped they stick around to become known by all.
The band started in October of this past year as a fourpiece, acquiring the keyboardist and vocalist by December. The resulting six-piece line-up is just a result of the fulfillment of the needs of their sound.
I was given to understand that the hardcore scene in New Jersey is not so unique and that this band wants to inject something fresh and new. They are living up to their intentions nicely. This music is, as above stated, thrashy yet strange, and the combination keeps you on the edge of your seat. The sense of storytelling, of drama, that they inject into the music, imbues the songs with a compelling aspect that simultaneously heightens the intensity and the musicality. Support this band, they are going places.

check em out at: www.myspace.com/heyloveydovey