tag:blogger.com,1999:blog-6233999117321076262024-03-08T10:24:50.299-08:00Music MagazineMusic journalism from the West End.Paramesvara dashttp://www.blogger.com/profile/04392857887411381449noreply@blogger.comBlogger42125tag:blogger.com,1999:blog-623399911732107626.post-63995171240241753062012-09-14T15:41:00.000-07:002012-09-14T15:41:02.527-07:00Moving locations<div dir="ltr" style="text-align: left;" trbidi="on">
Hi to anyone reading this. The content you see here can now be seen at.....<br />
<br />
<a href="http://www.musicmagazine.us/">www.musicmagazine.us</a><br />
<br />
This new site will be much more than this blogspot site was ever capable of being. Also, you can read my newest writings at.....<br />
<br />
<a href="http://mvremix.com/rock_blogs/tag/paul-paradis/">http://mvremix.com/rock_blogs/tag/paul-paradis/</a><br />
<br />
The mvremix stuff is more of a straight up journalism gig; a good portion of those reviews have been assigned by my editor. I do manage to sneak a few of my own finds in there. Check it out.</div>
Paramesvara dashttp://www.blogger.com/profile/04392857887411381449noreply@blogger.com1tag:blogger.com,1999:blog-623399911732107626.post-15674314133993845512012-01-31T21:49:00.000-08:002012-02-01T08:17:09.537-08:00Band Review: Doomsday Student<div dir="ltr" style="text-align: left;" trbidi="on">
<style>
<!--
/* Font Definitions */
@font-face
{font-family:"MS 明朝";
mso-font-charset:78;
mso-generic-font-family:auto;
mso-font-pitch:variable;
mso-font-signature:1 134676480 16 0 131072 0;}
@font-face
{font-family:"MS 明朝";
mso-font-charset:78;
mso-generic-font-family:auto;
mso-font-pitch:variable;
mso-font-signature:1 134676480 16 0 131072 0;}
@font-face
{font-family:Cambria;
panose-1:2 4 5 3 5 4 6 3 2 4;
mso-font-charset:0;
mso-generic-font-family:auto;
mso-font-pitch:variable;
mso-font-signature:-536870145 1073743103 0 0 415 0;}
/* Style Definitions */
p.MsoNormal, li.MsoNormal, div.MsoNormal
{mso-style-unhide:no;
mso-style-qformat:yes;
mso-style-parent:"";
margin:0in;
margin-bottom:.0001pt;
mso-pagination:widow-orphan;
font-size:12.0pt;
font-family:Cambria;
mso-ascii-font-family:Cambria;
mso-ascii-theme-font:minor-latin;
mso-fareast-font-family:"MS 明朝";
mso-fareast-theme-font:minor-fareast;
mso-hansi-font-family:Cambria;
mso-hansi-theme-font:minor-latin;
mso-bidi-font-family:"Times New Roman";
mso-bidi-theme-font:minor-bidi;}
.MsoChpDefault
{mso-style-type:export-only;
mso-default-props:yes;
font-family:Cambria;
mso-ascii-font-family:Cambria;
mso-ascii-theme-font:minor-latin;
mso-fareast-font-family:"MS 明朝";
mso-fareast-theme-font:minor-fareast;
mso-hansi-font-family:Cambria;
mso-hansi-theme-font:minor-latin;
mso-bidi-font-family:"Times New Roman";
mso-bidi-theme-font:minor-bidi;}
@page WordSection1
{size:8.5in 11.0in;
margin:1.0in 1.25in 1.0in 1.25in;
mso-header-margin:.5in;
mso-footer-margin:.5in;
mso-paper-source:0;}
div.WordSection1
{page:WordSection1;}
-->
</style>
<br />
<div class="MsoNormal">
Arising from the
ashes of several other projects, Doomsday Student resounds frenetically, their
sound rife with notions of psychosis. The joke is that all that seeming
insanity, sexual dysfunction, bodily malfunction, and obsessive-compulsive
behavioral manifestation is underpinned by solid musicality and a highly
disciplined sense of ensemble. In other words, this band is tight.</div>
<div class="MsoNormal">
To get a real
sense of just how dead on these guys are, see them live. Their album, A
Jumper’s Handbook, which is available for downloading at Anchor Brain records,
does a fairly good job at conveying the jagged abrasiveness of their music.
But, there is something slightly tame about the sound of the record. Live, all
the latent potential bottled up in the recording comes bursting forth with
ferocity and that collective rhythmic sense that is so satisfying. </div>
<div class="MsoNormal">
Craig Kureck, the
drummer, is a human metronome. Not as overtly technical as someone like Gabriel
Serbian or Zach Hill, his style is based on isorhythmic concepts, a reiteration
of a few ideas, repeated almost to the point of redundancy. Craig’s dead solid
sense of internal feel is what makes it succeed. This complements his phrasing
style and overall musical instincts. There is a subtle intricacy at work in the
way he utilizes the hi-hat that brings to mind some trippy version of jazz drumming,
and the ‘four-on-the-floor’ bass drum bombs that clearly articulate the quarter
note pulse of the music are also of interesting note.</div>
<div class="MsoNormal">
The interplay of
the rest of the band continues and extends musical concepts that have been experimented
with for years in this particular sector of the ‘underground’ scene. Stephen
Mattos and Paul Vieira create a guitaristic framework that is more indebted to a
linear as opposed to a riff-based style of thinking. In other words, their
approach to writing guitar parts is closer to classical contrapuntal thinking
as opposed to straight-up rock-based riff writing. This is not to say that they
are creating ‘classical’ music. That would be a profoundly stupid thing to try
and assert. It is to say that the tendency within this group of people to think
in terms of stacked layers of melody creates a musical texture that is closer
to classical writing than straight up power-chord rock style. Even in terms of
the drumming, this melodic style can be felt. The interplay of the drumming and
the guitar parts further confirms this hypothesis; Craig’s phrasing complements
the guitarists phrasing at the same time his drumming solidly lays down the meter.</div>
<div class="MsoNormal">
On top of this,
Eric Paul delivers the vocals in the manner he is known for- amelodic,
half-shouted in a highly nasal upper register whine that suits the demands of
the situation better than anything else would. As in past projects, the
symbiotic nature of the vocals and music is highly intriguing. The
schizophrenia of Eric Paul’s persona is mirrored by the schizophrenia of the
group’s utterances. To truly get it, you have to hear it. Eric has always been
a singular entity.<br />
<br />
Check 'em out at:</div>
<div class="MsoNormal">
<a href="http://www.facebook.com/DoomsdayStudent?sk=wall">http://www.facebook.com/DoomsdayStudent?sk=wall</a><br />
<a href="http://draft.blogger.com/goog_712940041"> </a><a href="http://www.doomsdaystudent.com/" rel="nofollow" target="_blank">http://www.doomsdaystudent.com</a><br />
<br />
Also, Anchor Brain records, home of Doomsday Student, is Eric Paul's Providence based label. Please support Providence rock and roll. Thank you.<br />
<br />
<a href="http://anchorbrain.bigcartel.com/"> http://anchorbrain.bigcartel.com/</a><br />
<br />
<br />
<br /></div>
<div class="MsoNormal">
</div>
</div>Paramesvara dashttp://www.blogger.com/profile/04392857887411381449noreply@blogger.com1tag:blogger.com,1999:blog-623399911732107626.post-89757378718568923382012-01-26T22:32:00.000-08:002012-01-26T22:32:38.304-08:00Band review: Slonk Donkerson<div dir="ltr" style="text-align: left;" trbidi="on">
<style>
<!--
/* Font Definitions */
@font-face
{font-family:"MS 明朝";
panose-1:0 0 0 0 0 0 0 0 0 0;
mso-font-charset:128;
mso-generic-font-family:roman;
mso-font-format:other;
mso-font-pitch:fixed;
mso-font-signature:1 134676480 16 0 131072 0;}
@font-face
{font-family:"MS 明朝";
panose-1:0 0 0 0 0 0 0 0 0 0;
mso-font-charset:128;
mso-generic-font-family:roman;
mso-font-format:other;
mso-font-pitch:fixed;
mso-font-signature:1 134676480 16 0 131072 0;}
@font-face
{font-family:Cambria;
panose-1:2 4 5 3 5 4 6 3 2 4;
mso-font-charset:0;
mso-generic-font-family:auto;
mso-font-pitch:variable;
mso-font-signature:-536870145 1073743103 0 0 415 0;}
/* Style Definitions */
p.MsoNormal, li.MsoNormal, div.MsoNormal
{mso-style-unhide:no;
mso-style-qformat:yes;
mso-style-parent:"";
margin:0in;
margin-bottom:.0001pt;
mso-pagination:widow-orphan;
font-size:12.0pt;
font-family:Cambria;
mso-ascii-font-family:Cambria;
mso-ascii-theme-font:minor-latin;
mso-fareast-font-family:"MS 明朝";
mso-fareast-theme-font:minor-fareast;
mso-hansi-font-family:Cambria;
mso-hansi-theme-font:minor-latin;
mso-bidi-font-family:"Times New Roman";
mso-bidi-theme-font:minor-bidi;}
a:link, span.MsoHyperlink
{mso-style-priority:99;
color:blue;
mso-themecolor:hyperlink;
text-decoration:underline;
text-underline:single;}
a:visited, span.MsoHyperlinkFollowed
{mso-style-noshow:yes;
mso-style-priority:99;
color:purple;
mso-themecolor:followedhyperlink;
text-decoration:underline;
text-underline:single;}
.MsoChpDefault
{mso-style-type:export-only;
mso-default-props:yes;
font-family:Cambria;
mso-ascii-font-family:Cambria;
mso-ascii-theme-font:minor-latin;
mso-fareast-font-family:"MS 明朝";
mso-fareast-theme-font:minor-fareast;
mso-hansi-font-family:Cambria;
mso-hansi-theme-font:minor-latin;
mso-bidi-font-family:"Times New Roman";
mso-bidi-theme-font:minor-bidi;}
@page WordSection1
{size:8.5in 11.0in;
margin:1.0in 1.25in 1.0in 1.25in;
mso-header-margin:.5in;
mso-footer-margin:.5in;
mso-paper-source:0;}
div.WordSection1
{page:WordSection1;}
-->
</style>
<br />
<div class="MsoNormal">
Rocking out in The Duddy since their formative years, Slonk
Donkerson have built a strong musical unit that combines solid musical
instincts with a strong group dynamic to produce historically informed rock
music suffused with latent commercial potential. This is music that is at times
a little earnest in its expression but is not at all contrived in its
emotionalism. The impression remains that these guys stand behind what they
write, and that conviction shows through.</div>
<div class="MsoNormal">
<span style="mso-spacerun: yes;"> </span>For the sake of
full disclosure, let it be known that the fact of this bands existence was
first brought to my attention roughly six weeks ago, which was due to my
current position as barista at the Brown Bookstore café, of which Parker, the
guitarist, is a patron. After giving the bands second album ( named II) a
listen, I decided that I wanted to take on the task of producing 500 words
about them. Part of this has to do with the fact that their musical aesthetic
is one that I don’t relate to completely; in this group, however, I found the
proceedings handled capably by a three-piece composed of musicians with the
requisite degree of musicality.</div>
<div class="MsoNormal">
<span style="mso-spacerun: yes;"> </span>The band proper
is Parker Silzer on guitar, Dylan Vandenhoek handling bass and vox, and Zack
O’Brien on drums. They grew up together in NY and this band is the longstanding
fruit of their endeavors in collective music-making. Befitting a group of white
boys growing up on the East Coast of the Land of the Free, their list of
musical influences includes Fugazi, Husker Du, and The Replacements. </div>
<div class="MsoNormal">
<span style="mso-spacerun: yes;"> </span>While other
groups were mentioned in the same space as the above three, the imprint made by
Fugazi, Husker Du and The Replacements is fairly clear. Songs like ‘Radical
Dude’ or ‘The Edifice’ draw from 80’s indie rock, while the hardcore roots of
‘Heat of Night’ are undeniable. Echoes of Sonic Youth and Dinosaur Jr. also jump out at times. </div>
<div class="MsoNormal">
<span style="mso-spacerun: yes;"> </span>The first track
off of the self-titled drives this point home clearly. Clocking in at just
under 5 minutes, the proceedings manage to evoke a danceable, sing-along
anthemic quality while still rocking out. The result is something like a
slightly less agro Fugazi with a more sophisticated sense of musical form. The
song itself undergoes a few deftly handled stylistic permutations that all
resolve intelligently at the end.</div>
<div class="MsoNormal">
<span style="mso-spacerun: yes;"> </span>A song that
represents a different side of the band is ‘The Same Mud’; this song seems to
be a meditation of sorts on the impermanence of things. This is the side of the
band that I don’t relate to as directly, but, their cohesive sense of ensemble,
songwriting skills and general musicality show through, here as elsewhere,
which goes a long way towards balancing out the sense of overwrought
earnestness that permeates the emotional life of the music. </div>
<div class="MsoNormal">
<span style="mso-spacerun: yes;"> </span>In short, while
the ultra sophisticated might decry this bands obvious commercial potential,
the fact remains that they stand behind their music and have the talent to back
it up. Check ‘em out at: </div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<br /></div>
<a href="http://draft.blogger.com/goog_520136884">
</a><div class="MsoNormal">
<a href="http://www.facebook.com/pages/SLONK-DONKERSON/256860612604">http://www.facebook.com/pages/SLONK-DONKERSON/256860612604</a></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<a href="http://www.slonkdonkerson.com/">http://www.slonkdonkerson.com/</a></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<br /></div>
</div>Paramesvara dashttp://www.blogger.com/profile/04392857887411381449noreply@blogger.com0tag:blogger.com,1999:blog-623399911732107626.post-44366028463506277342012-01-13T20:38:00.001-08:002012-01-13T20:51:32.606-08:00Band Review: ZORCH<div dir="ltr" style="text-align: left;" trbidi="on">
<style>
<!--
/* Font Definitions */
@font-face
{font-family:"MS 明朝";
panose-1:0 0 0 0 0 0 0 0 0 0;
mso-font-charset:128;
mso-generic-font-family:roman;
mso-font-format:other;
mso-font-pitch:fixed;
mso-font-signature:1 134676480 16 0 131072 0;}
@font-face
{font-family:"MS 明朝";
panose-1:0 0 0 0 0 0 0 0 0 0;
mso-font-charset:128;
mso-generic-font-family:roman;
mso-font-format:other;
mso-font-pitch:fixed;
mso-font-signature:1 134676480 16 0 131072 0;}
@font-face
{font-family:Cambria;
panose-1:2 4 5 3 5 4 6 3 2 4;
mso-font-charset:0;
mso-generic-font-family:auto;
mso-font-pitch:variable;
mso-font-signature:-536870145 1073743103 0 0 415 0;}
/* Style Definitions */
p.MsoNormal, li.MsoNormal, div.MsoNormal
{mso-style-unhide:no;
mso-style-qformat:yes;
mso-style-parent:"";
margin:0in;
margin-bottom:.0001pt;
mso-pagination:widow-orphan;
font-size:12.0pt;
font-family:Cambria;
mso-ascii-font-family:Cambria;
mso-ascii-theme-font:minor-latin;
mso-fareast-font-family:"MS 明朝";
mso-fareast-theme-font:minor-fareast;
mso-hansi-font-family:Cambria;
mso-hansi-theme-font:minor-latin;
mso-bidi-font-family:"Times New Roman";
mso-bidi-theme-font:minor-bidi;}
.MsoChpDefault
{mso-style-type:export-only;
mso-default-props:yes;
font-family:Cambria;
mso-ascii-font-family:Cambria;
mso-ascii-theme-font:minor-latin;
mso-fareast-font-family:"MS 明朝";
mso-fareast-theme-font:minor-fareast;
mso-hansi-font-family:Cambria;
mso-hansi-theme-font:minor-latin;
mso-bidi-font-family:"Times New Roman";
mso-bidi-theme-font:minor-bidi;}
@page WordSection1
{size:8.5in 11.0in;
margin:1.0in 1.25in 1.0in 1.25in;
mso-header-margin:.5in;
mso-footer-margin:.5in;
mso-paper-source:0;}
div.WordSection1
{page:WordSection1;}
-->
</style>
<br />
<div class="MsoNormal">
Zorch moves you. This conclusion is reinforced after
revisiting the band. Comprised of a vocalizing drummer named Sam and a
keyboardist wielding a formidable rig named Zac, this Texas duo produces music
that embraces a very interesting esthetic, wedding trippy, funk hued jams with
layered vocals and experimental electronics. </div>
<div class="MsoNormal">
They have been
coalescing since 2007, after the two members had met in college. They worked
out material for a gig, layed off for a while, and then got back into it,
resulting in the 2009 demo. This is available for streaming on their website. </div>
<div class="MsoNormal">
I was introduced
to the music of this band back in August of last year, when they played at
Local 121. In some ways, it wasn’t the most ideal setting for this group, due
to the sometimes-muddy acoustics. Still, they were impressive, unfolding their
richly textured music with authority.</div>
<div class="MsoNormal">
Their sound has
an uplifting quality to it, while being highly original and experimental. They
know how to build a groove and overlay various keyboard textures to produce a
constantly evolving tapestry of sound.</div>
<div class="MsoNormal">
The amount of
textured sound they manage to produce is massive for a two piece, not in a
heavy metal kind of way, but more in an orchestral sense. The small arsenal of
equipment utilized by Zac enables him to create a fairly varied amount of
texture; this, coupled with the solid drumming of Sam, registers a net effect
of engaging and experimental groove music. Layered on top of all of this, the
often wordless vocalizing of Sam creates a pronounced otherworldly effect.</div>
<div class="MsoNormal">
Consider a track
like Morris the Loris. On top of Sam’s solid groove, Zac constructs a richly
varied sonic structure; the opening major key groove and its subsequent
development, moving forward at a fairly brisk tempo, present music that is
overtly positive without being contrived. The song itself is spun out of a few
ideas that seem to all center around the notion of a big, fat groove. The
melody that Sam hums has a very major key feel to it as well; the fact that there
are almost no words influences the psychedelic quality of it.</div>
<div class="MsoNormal">
For a really solid example of their
ability to groove with serious feel, check out ‘Gimme that Axe’. After the
intro, the song settles into a bit of phrasing based around a keyboard riff
that sounds like a guitar. The whole first part of the song sounds like a
synthetic version of rock and roll. All of a sudden, the riff oscillates back
on itself in a pool of coalescing rhythm. As this subsides, a sample begins,
and this leads into the second part of the song, which features Sam’s drumming.
The contrast between the sections is highly distinct, and highlights the bands
ability to weld disparate elements into a unified whole.</div>
<div class="MsoNormal">
This band sits in
the same arena that is also sometimes inhabited by bands like Health. Listen to
this band if you want to have your horizons broadened. You’ll never think about
music in quite the same way.<br />
<br />
Check 'em out at:<br />
<a href="http://draft.blogger.com/goog_310661331"><br /></a><br />
<a href="http://www.facebook.com/zzoorrcchh">http://www.facebook.com/zzoorrcchh</a><br />
<a href="http://draft.blogger.com/goog_530741554"><br /></a><br />
<a href="http://www.zzoorrcchh.com/"> http://www.zzoorrcchh.com/</a><br />
<br /></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<br /></div>
</div>Paramesvara dashttp://www.blogger.com/profile/04392857887411381449noreply@blogger.com0tag:blogger.com,1999:blog-623399911732107626.post-68531052500410551762011-11-04T11:05:00.000-07:002011-11-04T11:05:33.593-07:00Band Review: Lolita Black<div dir="ltr" style="text-align: left;" trbidi="on">
<style>
<!--
/* Font Definitions */
@font-face
{font-family:"MS 明朝";
panose-1:0 0 0 0 0 0 0 0 0 0;
mso-font-charset:128;
mso-generic-font-family:roman;
mso-font-format:other;
mso-font-pitch:fixed;
mso-font-signature:1 134676480 16 0 131072 0;}
@font-face
{font-family:"MS 明朝";
panose-1:0 0 0 0 0 0 0 0 0 0;
mso-font-charset:128;
mso-generic-font-family:roman;
mso-font-format:other;
mso-font-pitch:fixed;
mso-font-signature:1 134676480 16 0 131072 0;}
@font-face
{font-family:Cambria;
panose-1:2 4 5 3 5 4 6 3 2 4;
mso-font-charset:0;
mso-generic-font-family:auto;
mso-font-pitch:variable;
mso-font-signature:-536870145 1073743103 0 0 415 0;}
/* Style Definitions */
p.MsoNormal, li.MsoNormal, div.MsoNormal
{mso-style-unhide:no;
mso-style-qformat:yes;
mso-style-parent:"";
margin:0in;
margin-bottom:.0001pt;
mso-pagination:widow-orphan;
font-size:12.0pt;
font-family:Cambria;
mso-ascii-font-family:Cambria;
mso-ascii-theme-font:minor-latin;
mso-fareast-font-family:"MS 明朝";
mso-fareast-theme-font:minor-fareast;
mso-hansi-font-family:Cambria;
mso-hansi-theme-font:minor-latin;
mso-bidi-font-family:"Times New Roman";
mso-bidi-theme-font:minor-bidi;}
.MsoChpDefault
{mso-style-type:export-only;
mso-default-props:yes;
font-family:Cambria;
mso-ascii-font-family:Cambria;
mso-ascii-theme-font:minor-latin;
mso-fareast-font-family:"MS 明朝";
mso-fareast-theme-font:minor-fareast;
mso-hansi-font-family:Cambria;
mso-hansi-theme-font:minor-latin;
mso-bidi-font-family:"Times New Roman";
mso-bidi-theme-font:minor-bidi;}
@page WordSection1
{size:8.5in 11.0in;
margin:1.0in 1.25in 1.0in 1.25in;
mso-header-margin:.5in;
mso-footer-margin:.5in;
mso-paper-source:0;}
div.WordSection1
{page:WordSection1;}
-->
</style>
<br />
<div class="MsoNormal">
<span style="mso-spacerun: yes;"> </span>Lolita Black
produces a maelstrom of sound. They excel at a very hard edged, industrial
influenced punk-metal type of music with overtones of mosh. There is a rich
historical vein being tapped by this entity; the influence of past masters in
the art of rocking out permeates this group’s essence. The contemporary
esthetic that results informs us of the fact that this band exists very much in
the here and now. This is reiterated again and again as the songs on their new
album, ‘Flesh, Blood and Bone’, appear in the ordered succession.</div>
<div class="MsoNormal">
<span style="mso-spacerun: yes;"> </span>Guitarist Bob
Otis had the inspiration that lead to the name of the band, which was started
in 2005 after he got together with Kaleigh Crass, the drummer. According to
Bob, the name seemed to fit ‘the vibe of what we were trying to write’.
Continuing in this vein, it is evident that the overall esthetic of the band is
very much congruent with itself. Anyone who managed to get their hands on the
groups first release, ‘Into the Wastleland’, can attest to the cohesiveness of
the presentation; the graphics and name fused with the music to create a
menacing edifice. </div>
<div class="MsoNormal">
<span style="mso-spacerun: yes;"> </span>Their influences
are varied, ranging from various punk, post-punk, metal and industrial bands
all the way to Victorian novels, angst, despair, and sci-fi and horror movies. </div>
<div class="MsoNormal">
<span style="mso-spacerun: yes;"> </span>Bob’s abilities
as guitarist and riff-monger have improved from the first record; he could
always play, and he gets better and better. ‘Hollow’ is a great example of
this. The subtle accenting in the phrasing of the riff is attacked consistently
and with authority. The tight rhythmic net created by Kaleigh and bassist Jacob
Blanchett provides solid support and serious bounce. They keep driving the riff
forward, building an incredible amount of tension along the way. On top of all
of this, Scarlett Delgado delivers as a vocalist, using her voice to enunciate
the lyrics in a highly dramatic way. There’s something about her vocalizing
that calls to mind Bruce Dickinson passed through the diaphragm of a woman. Her
tone is clear and she actually sings the lyrics. This is refreshing.</div>
<div class="MsoNormal">
<span style="mso-spacerun: yes;"> </span>The rest of the
album possesses this level of coherence and articulated delivery. Slower tunes
alternate with faster ones. Of particular interest is the inclusion of
‘Tightrope’, a song from the first record. If memory serves, this version is
more punk-rock, the rhythms tighter and more driving. Scarlett’s delivery is
more dramatic than was Jessica Pacitto’s, who was the group’s first vocalist.</div>
<div class="MsoNormal">
<span style="mso-spacerun: yes;"> </span>This group is
also adept at translating the music to a live setting. As engaging as the
record is, this needs to be experienced live. Their ability to project their
music, to engage the audience, is a powerful asset. They have tons of stage
presence and attack each song like it’s their last. They also know how to employ
lighting effects for an enhanced presentation. A recent set at as220 caught
them bathed in eerie orange light. The effect was quite surreal. They are
aiming at a late November/ December release. Here’s to it.</div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
Check them out at:</div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<a href="http://www.facebook.com/pages/Lolita-Black/92115184903">http://www.facebook.com/pages/Lolita-Black/92115184903</a></div>
<div class="MsoNormal">
</div>
<div class="MsoNormal">
</div>
<br />
<div class="data_field">
<a href="http://myspace.com/lolitablackprovidence" rel="nofollow" target="_blank">http://myspace.com/lolitablackprovidence</a></div>
<br />
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<a href="http://lolitablack1.bandcamp.com/">http://lolitablack1.bandcamp.com/ </a></div>
<div class="MsoNormal">
</div>
<div class="MsoNormal">
</div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<br /></div>
</div>Paramesvara dashttp://www.blogger.com/profile/04392857887411381449noreply@blogger.com0tag:blogger.com,1999:blog-623399911732107626.post-25242751417697826532011-10-21T05:39:00.000-07:002011-10-21T05:39:46.344-07:00Band Review: The Viennagram<div dir="ltr" style="text-align: left;" trbidi="on">
<style>
<!--
/* Font Definitions */
@font-face
{font-family:"MS 明朝";
panose-1:0 0 0 0 0 0 0 0 0 0;
mso-font-charset:128;
mso-generic-font-family:roman;
mso-font-format:other;
mso-font-pitch:fixed;
mso-font-signature:1 134676480 16 0 131072 0;}
@font-face
{font-family:"MS 明朝";
panose-1:0 0 0 0 0 0 0 0 0 0;
mso-font-charset:128;
mso-generic-font-family:roman;
mso-font-format:other;
mso-font-pitch:fixed;
mso-font-signature:1 134676480 16 0 131072 0;}
@font-face
{font-family:Cambria;
panose-1:2 4 5 3 5 4 6 3 2 4;
mso-font-charset:0;
mso-generic-font-family:auto;
mso-font-pitch:variable;
mso-font-signature:-536870145 1073743103 0 0 415 0;}
/* Style Definitions */
p.MsoNormal, li.MsoNormal, div.MsoNormal
{mso-style-unhide:no;
mso-style-qformat:yes;
mso-style-parent:"";
margin:0in;
margin-bottom:.0001pt;
mso-pagination:widow-orphan;
font-size:12.0pt;
font-family:Cambria;
mso-ascii-font-family:Cambria;
mso-ascii-theme-font:minor-latin;
mso-fareast-font-family:"MS 明朝";
mso-fareast-theme-font:minor-fareast;
mso-hansi-font-family:Cambria;
mso-hansi-theme-font:minor-latin;
mso-bidi-font-family:"Times New Roman";
mso-bidi-theme-font:minor-bidi;}
.MsoChpDefault
{mso-style-type:export-only;
mso-default-props:yes;
font-family:Cambria;
mso-ascii-font-family:Cambria;
mso-ascii-theme-font:minor-latin;
mso-fareast-font-family:"MS 明朝";
mso-fareast-theme-font:minor-fareast;
mso-hansi-font-family:Cambria;
mso-hansi-theme-font:minor-latin;
mso-bidi-font-family:"Times New Roman";
mso-bidi-theme-font:minor-bidi;}
@page WordSection1
{size:8.5in 11.0in;
margin:1.0in 1.25in 1.0in 1.25in;
mso-header-margin:.5in;
mso-footer-margin:.5in;
mso-paper-source:0;}
div.WordSection1
{page:WordSection1;}
-->
</style>
<br />
<div class="MsoNormal">
Referencing deconstructed, Syd Barrett era Pink Floyd as the
basis for even more sonic weirdness, The Viennagram burst into your psyche like
theater on acid. Geographically bound by Fall River, their overtly broad scope
gives them much wider terrain to traverse musically. Add in thespian flair, a
fairly extensive list of auxiliary members, and a high degree of showmanship,
and you have something closer to musical theater than a traditional ‘band’.</div>
<div class="MsoNormal">
Aiming to ‘shock,
excite and secretly soothe’, The Viennagram has been building up a
comprehensive body of work since roughly 2006. Ranging from show tunes to Tom
Waits to experimental electronic/industrial and 50’s pop music, the group’s
ability to exist in several different genres simultaneously while maintaining a
coherent identity is impressive. </div>
<div class="MsoNormal">
The brainchild of
A.V. Vienna and Scott Peloquin, The Viennagram seems intent on straddling the
line between kitsch and art. The anchor in this endeavor is the high degree of
talent that is concentrated in this entity. This band can play. Bearing
testament to this is their recent ‘Batman’ show at Firehouse XIII. This was the
first real introduction to them for me. </div>
<div class="MsoNormal">
Attired as
various characters of the Batman universe, and aided by what amounted to a small
ensemble, the band set its own music within the context of a two act mini-drama
pitting A.V. Vienna as Batman against the usual set of villains, including the
Joker and the Penguin. Their penchant for innuendo was apparent when Batman
started making out with Robin, played by Keri Lyn King. At that point in time,
Danger Dan as the Joker popped out of nowhere and started proclaiming, ‘I knew
it! I knew it!’ There would almost seem to be a sense of architectural
completeness in the sense that this moment could be seen as prepared way in
advance by the performance being opened by a fairly crass standup comedian.</div>
<div class="MsoNormal">
And of the
performance itself, the foregoing has implied much. The actual musical core of
the group is tight. On top of that is the ever-present flair that accompanies
the whole spectacle. These guys acquit themselves in high style.</div>
<div class="MsoNormal">
As much as the
references to Tom Waits are apparent in some of the music, there is something
akin to a tripped out union of David Bowie and Kurt Weill, or even The
Residents. Added to this is a fairly sophisticated harmonic sensibility.
Various harmonic sequences and ‘formal types’ are employed effectively,
including cycle progressions and a seeming grasp of standards and older types of American music. </div>
<div class="MsoNormal">
This ten-second analysis
only covers what could be termed the more ‘conservative’ (traditional) side of
the band. The bands experimental side could also come under consideration, as
well as its ability to lay down a groove that is seriously ‘in the pocket’.
There are times when their sense of groove has some kind of hip-hop flavor to
it. In short, this band is a highly flexible and intelligent entity, which
possesses a holistic view of what it means to be performers. Experience this. You will definitely be
engaged.</div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
Check ‘em out at:</div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<a href="http://www.facebook.com/pages/The-Viennagram/127898525498">http://www.facebook.com/pages/The-Viennagram/127898525498</a></div>
<div class="MsoNormal">
<a href="http://draft.blogger.com/goog_1410097595"><br /></a></div>
<div class="MsoNormal">
<a href="http://the.viennagram.com/"> http://the.viennagram.com/</a></div>
<div class="MsoNormal">
</div>
</div>Paramesvara dashttp://www.blogger.com/profile/04392857887411381449noreply@blogger.com1tag:blogger.com,1999:blog-623399911732107626.post-11421272090375285602011-10-11T23:29:00.000-07:002011-10-11T23:29:08.233-07:00Band Review: A Troop of Echoes<div dir="ltr" style="text-align: left;" trbidi="on">
<!--[if gte mso 9]><xml>
<o:OfficeDocumentSettings>
<o:AllowPNG/>
</o:OfficeDocumentSettings>
</xml><![endif]-->
<!--[if gte mso 9]><xml>
<w:WordDocument>
<w:View>Normal</w:View>
<w:Zoom>0</w:Zoom>
<w:TrackMoves/>
<w:TrackFormatting/>
<w:PunctuationKerning/>
<w:ValidateAgainstSchemas/>
<w:SaveIfXMLInvalid>false</w:SaveIfXMLInvalid>
<w:IgnoreMixedContent>false</w:IgnoreMixedContent>
<w:AlwaysShowPlaceholderText>false</w:AlwaysShowPlaceholderText>
<w:DoNotPromoteQF/>
<w:LidThemeOther>EN-US</w:LidThemeOther>
<w:LidThemeAsian>JA</w:LidThemeAsian>
<w:LidThemeComplexScript>X-NONE</w:LidThemeComplexScript>
<w:Compatibility>
<w:BreakWrappedTables/>
<w:SnapToGridInCell/>
<w:WrapTextWithPunct/>
<w:UseAsianBreakRules/>
<w:DontGrowAutofit/>
<w:SplitPgBreakAndParaMark/>
<w:EnableOpenTypeKerning/>
<w:DontFlipMirrorIndents/>
<w:OverrideTableStyleHps/>
<w:UseFELayout/>
</w:Compatibility>
<m:mathPr>
<m:mathFont m:val="Cambria Math"/>
<m:brkBin m:val="before"/>
<m:brkBinSub m:val="--"/>
<m:smallFrac m:val="off"/>
<m:dispDef/>
<m:lMargin m:val="0"/>
<m:rMargin m:val="0"/>
<m:defJc m:val="centerGroup"/>
<m:wrapIndent m:val="1440"/>
<m:intLim m:val="subSup"/>
<m:naryLim m:val="undOvr"/>
</m:mathPr></w:WordDocument>
</xml><![endif]--><!--[if gte mso 9]><xml>
<w:LatentStyles DefLockedState="false" DefUnhideWhenUsed="true"
DefSemiHidden="true" DefQFormat="false" DefPriority="99"
LatentStyleCount="276">
<w:LsdException Locked="false" Priority="0" SemiHidden="false"
UnhideWhenUsed="false" QFormat="true" Name="Normal"/>
<w:LsdException Locked="false" Priority="9" SemiHidden="false"
UnhideWhenUsed="false" QFormat="true" Name="heading 1"/>
<w:LsdException Locked="false" Priority="9" QFormat="true" Name="heading 2"/>
<w:LsdException Locked="false" Priority="9" QFormat="true" Name="heading 3"/>
<w:LsdException Locked="false" Priority="9" QFormat="true" Name="heading 4"/>
<w:LsdException Locked="false" Priority="9" QFormat="true" Name="heading 5"/>
<w:LsdException Locked="false" Priority="9" QFormat="true" Name="heading 6"/>
<w:LsdException Locked="false" Priority="9" QFormat="true" Name="heading 7"/>
<w:LsdException Locked="false" Priority="9" QFormat="true" Name="heading 8"/>
<w:LsdException Locked="false" Priority="9" QFormat="true" Name="heading 9"/>
<w:LsdException Locked="false" Priority="39" Name="toc 1"/>
<w:LsdException Locked="false" Priority="39" Name="toc 2"/>
<w:LsdException Locked="false" Priority="39" Name="toc 3"/>
<w:LsdException Locked="false" Priority="39" Name="toc 4"/>
<w:LsdException Locked="false" Priority="39" Name="toc 5"/>
<w:LsdException Locked="false" Priority="39" Name="toc 6"/>
<w:LsdException Locked="false" Priority="39" Name="toc 7"/>
<w:LsdException Locked="false" Priority="39" Name="toc 8"/>
<w:LsdException Locked="false" Priority="39" Name="toc 9"/>
<w:LsdException Locked="false" Priority="35" QFormat="true" Name="caption"/>
<w:LsdException Locked="false" Priority="10" SemiHidden="false"
UnhideWhenUsed="false" QFormat="true" Name="Title"/>
<w:LsdException Locked="false" Priority="1" Name="Default Paragraph Font"/>
<w:LsdException Locked="false" Priority="11" SemiHidden="false"
UnhideWhenUsed="false" QFormat="true" Name="Subtitle"/>
<w:LsdException Locked="false" Priority="22" SemiHidden="false"
UnhideWhenUsed="false" QFormat="true" Name="Strong"/>
<w:LsdException Locked="false" Priority="20" SemiHidden="false"
UnhideWhenUsed="false" QFormat="true" Name="Emphasis"/>
<w:LsdException Locked="false" Priority="59" SemiHidden="false"
UnhideWhenUsed="false" Name="Table Grid"/>
<w:LsdException Locked="false" UnhideWhenUsed="false" Name="Placeholder Text"/>
<w:LsdException Locked="false" Priority="1" SemiHidden="false"
UnhideWhenUsed="false" QFormat="true" Name="No Spacing"/>
<w:LsdException Locked="false" Priority="60" SemiHidden="false"
UnhideWhenUsed="false" Name="Light Shading"/>
<w:LsdException Locked="false" Priority="61" SemiHidden="false"
UnhideWhenUsed="false" Name="Light List"/>
<w:LsdException Locked="false" Priority="62" SemiHidden="false"
UnhideWhenUsed="false" Name="Light Grid"/>
<w:LsdException Locked="false" Priority="63" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Shading 1"/>
<w:LsdException Locked="false" Priority="64" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Shading 2"/>
<w:LsdException Locked="false" Priority="65" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium List 1"/>
<w:LsdException Locked="false" Priority="66" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium List 2"/>
<w:LsdException Locked="false" Priority="67" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Grid 1"/>
<w:LsdException Locked="false" Priority="68" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Grid 2"/>
<w:LsdException Locked="false" Priority="69" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Grid 3"/>
<w:LsdException Locked="false" Priority="70" SemiHidden="false"
UnhideWhenUsed="false" Name="Dark List"/>
<w:LsdException Locked="false" Priority="71" SemiHidden="false"
UnhideWhenUsed="false" Name="Colorful Shading"/>
<w:LsdException Locked="false" Priority="72" SemiHidden="false"
UnhideWhenUsed="false" Name="Colorful List"/>
<w:LsdException Locked="false" Priority="73" SemiHidden="false"
UnhideWhenUsed="false" Name="Colorful Grid"/>
<w:LsdException Locked="false" Priority="60" SemiHidden="false"
UnhideWhenUsed="false" Name="Light Shading Accent 1"/>
<w:LsdException Locked="false" Priority="61" SemiHidden="false"
UnhideWhenUsed="false" Name="Light List Accent 1"/>
<w:LsdException Locked="false" Priority="62" SemiHidden="false"
UnhideWhenUsed="false" Name="Light Grid Accent 1"/>
<w:LsdException Locked="false" Priority="63" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Shading 1 Accent 1"/>
<w:LsdException Locked="false" Priority="64" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Shading 2 Accent 1"/>
<w:LsdException Locked="false" Priority="65" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium List 1 Accent 1"/>
<w:LsdException Locked="false" UnhideWhenUsed="false" Name="Revision"/>
<w:LsdException Locked="false" Priority="34" SemiHidden="false"
UnhideWhenUsed="false" QFormat="true" Name="List Paragraph"/>
<w:LsdException Locked="false" Priority="29" SemiHidden="false"
UnhideWhenUsed="false" QFormat="true" Name="Quote"/>
<w:LsdException Locked="false" Priority="30" SemiHidden="false"
UnhideWhenUsed="false" QFormat="true" Name="Intense Quote"/>
<w:LsdException Locked="false" Priority="66" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium List 2 Accent 1"/>
<w:LsdException Locked="false" Priority="67" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Grid 1 Accent 1"/>
<w:LsdException Locked="false" Priority="68" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Grid 2 Accent 1"/>
<w:LsdException Locked="false" Priority="69" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Grid 3 Accent 1"/>
<w:LsdException Locked="false" Priority="70" SemiHidden="false"
UnhideWhenUsed="false" Name="Dark List Accent 1"/>
<w:LsdException Locked="false" Priority="71" SemiHidden="false"
UnhideWhenUsed="false" Name="Colorful Shading Accent 1"/>
<w:LsdException Locked="false" Priority="72" SemiHidden="false"
UnhideWhenUsed="false" Name="Colorful List Accent 1"/>
<w:LsdException Locked="false" Priority="73" SemiHidden="false"
UnhideWhenUsed="false" Name="Colorful Grid Accent 1"/>
<w:LsdException Locked="false" Priority="60" SemiHidden="false"
UnhideWhenUsed="false" Name="Light Shading Accent 2"/>
<w:LsdException Locked="false" Priority="61" SemiHidden="false"
UnhideWhenUsed="false" Name="Light List Accent 2"/>
<w:LsdException Locked="false" Priority="62" SemiHidden="false"
UnhideWhenUsed="false" Name="Light Grid Accent 2"/>
<w:LsdException Locked="false" Priority="63" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Shading 1 Accent 2"/>
<w:LsdException Locked="false" Priority="64" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Shading 2 Accent 2"/>
<w:LsdException Locked="false" Priority="65" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium List 1 Accent 2"/>
<w:LsdException Locked="false" Priority="66" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium List 2 Accent 2"/>
<w:LsdException Locked="false" Priority="67" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Grid 1 Accent 2"/>
<w:LsdException Locked="false" Priority="68" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Grid 2 Accent 2"/>
<w:LsdException Locked="false" Priority="69" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Grid 3 Accent 2"/>
<w:LsdException Locked="false" Priority="70" SemiHidden="false"
UnhideWhenUsed="false" Name="Dark List Accent 2"/>
<w:LsdException Locked="false" Priority="71" SemiHidden="false"
UnhideWhenUsed="false" Name="Colorful Shading Accent 2"/>
<w:LsdException Locked="false" Priority="72" SemiHidden="false"
UnhideWhenUsed="false" Name="Colorful List Accent 2"/>
<w:LsdException Locked="false" Priority="73" SemiHidden="false"
UnhideWhenUsed="false" Name="Colorful Grid Accent 2"/>
<w:LsdException Locked="false" Priority="60" SemiHidden="false"
UnhideWhenUsed="false" Name="Light Shading Accent 3"/>
<w:LsdException Locked="false" Priority="61" SemiHidden="false"
UnhideWhenUsed="false" Name="Light List Accent 3"/>
<w:LsdException Locked="false" Priority="62" SemiHidden="false"
UnhideWhenUsed="false" Name="Light Grid Accent 3"/>
<w:LsdException Locked="false" Priority="63" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Shading 1 Accent 3"/>
<w:LsdException Locked="false" Priority="64" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Shading 2 Accent 3"/>
<w:LsdException Locked="false" Priority="65" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium List 1 Accent 3"/>
<w:LsdException Locked="false" Priority="66" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium List 2 Accent 3"/>
<w:LsdException Locked="false" Priority="67" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Grid 1 Accent 3"/>
<w:LsdException Locked="false" Priority="68" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Grid 2 Accent 3"/>
<w:LsdException Locked="false" Priority="69" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Grid 3 Accent 3"/>
<w:LsdException Locked="false" Priority="70" SemiHidden="false"
UnhideWhenUsed="false" Name="Dark List Accent 3"/>
<w:LsdException Locked="false" Priority="71" SemiHidden="false"
UnhideWhenUsed="false" Name="Colorful Shading Accent 3"/>
<w:LsdException Locked="false" Priority="72" SemiHidden="false"
UnhideWhenUsed="false" Name="Colorful List Accent 3"/>
<w:LsdException Locked="false" Priority="73" SemiHidden="false"
UnhideWhenUsed="false" Name="Colorful Grid Accent 3"/>
<w:LsdException Locked="false" Priority="60" SemiHidden="false"
UnhideWhenUsed="false" Name="Light Shading Accent 4"/>
<w:LsdException Locked="false" Priority="61" SemiHidden="false"
UnhideWhenUsed="false" Name="Light List Accent 4"/>
<w:LsdException Locked="false" Priority="62" SemiHidden="false"
UnhideWhenUsed="false" Name="Light Grid Accent 4"/>
<w:LsdException Locked="false" Priority="63" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Shading 1 Accent 4"/>
<w:LsdException Locked="false" Priority="64" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Shading 2 Accent 4"/>
<w:LsdException Locked="false" Priority="65" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium List 1 Accent 4"/>
<w:LsdException Locked="false" Priority="66" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium List 2 Accent 4"/>
<w:LsdException Locked="false" Priority="67" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Grid 1 Accent 4"/>
<w:LsdException Locked="false" Priority="68" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Grid 2 Accent 4"/>
<w:LsdException Locked="false" Priority="69" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Grid 3 Accent 4"/>
<w:LsdException Locked="false" Priority="70" SemiHidden="false"
UnhideWhenUsed="false" Name="Dark List Accent 4"/>
<w:LsdException Locked="false" Priority="71" SemiHidden="false"
UnhideWhenUsed="false" Name="Colorful Shading Accent 4"/>
<w:LsdException Locked="false" Priority="72" SemiHidden="false"
UnhideWhenUsed="false" Name="Colorful List Accent 4"/>
<w:LsdException Locked="false" Priority="73" SemiHidden="false"
UnhideWhenUsed="false" Name="Colorful Grid Accent 4"/>
<w:LsdException Locked="false" Priority="60" SemiHidden="false"
UnhideWhenUsed="false" Name="Light Shading Accent 5"/>
<w:LsdException Locked="false" Priority="61" SemiHidden="false"
UnhideWhenUsed="false" Name="Light List Accent 5"/>
<w:LsdException Locked="false" Priority="62" SemiHidden="false"
UnhideWhenUsed="false" Name="Light Grid Accent 5"/>
<w:LsdException Locked="false" Priority="63" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Shading 1 Accent 5"/>
<w:LsdException Locked="false" Priority="64" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Shading 2 Accent 5"/>
<w:LsdException Locked="false" Priority="65" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium List 1 Accent 5"/>
<w:LsdException Locked="false" Priority="66" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium List 2 Accent 5"/>
<w:LsdException Locked="false" Priority="67" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Grid 1 Accent 5"/>
<w:LsdException Locked="false" Priority="68" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Grid 2 Accent 5"/>
<w:LsdException Locked="false" Priority="69" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Grid 3 Accent 5"/>
<w:LsdException Locked="false" Priority="70" SemiHidden="false"
UnhideWhenUsed="false" Name="Dark List Accent 5"/>
<w:LsdException Locked="false" Priority="71" SemiHidden="false"
UnhideWhenUsed="false" Name="Colorful Shading Accent 5"/>
<w:LsdException Locked="false" Priority="72" SemiHidden="false"
UnhideWhenUsed="false" Name="Colorful List Accent 5"/>
<w:LsdException Locked="false" Priority="73" SemiHidden="false"
UnhideWhenUsed="false" Name="Colorful Grid Accent 5"/>
<w:LsdException Locked="false" Priority="60" SemiHidden="false"
UnhideWhenUsed="false" Name="Light Shading Accent 6"/>
<w:LsdException Locked="false" Priority="61" SemiHidden="false"
UnhideWhenUsed="false" Name="Light List Accent 6"/>
<w:LsdException Locked="false" Priority="62" SemiHidden="false"
UnhideWhenUsed="false" Name="Light Grid Accent 6"/>
<w:LsdException Locked="false" Priority="63" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Shading 1 Accent 6"/>
<w:LsdException Locked="false" Priority="64" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Shading 2 Accent 6"/>
<w:LsdException Locked="false" Priority="65" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium List 1 Accent 6"/>
<w:LsdException Locked="false" Priority="66" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium List 2 Accent 6"/>
<w:LsdException Locked="false" Priority="67" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Grid 1 Accent 6"/>
<w:LsdException Locked="false" Priority="68" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Grid 2 Accent 6"/>
<w:LsdException Locked="false" Priority="69" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Grid 3 Accent 6"/>
<w:LsdException Locked="false" Priority="70" SemiHidden="false"
UnhideWhenUsed="false" Name="Dark List Accent 6"/>
<w:LsdException Locked="false" Priority="71" SemiHidden="false"
UnhideWhenUsed="false" Name="Colorful Shading Accent 6"/>
<w:LsdException Locked="false" Priority="72" SemiHidden="false"
UnhideWhenUsed="false" Name="Colorful List Accent 6"/>
<w:LsdException Locked="false" Priority="73" SemiHidden="false"
UnhideWhenUsed="false" Name="Colorful Grid Accent 6"/>
<w:LsdException Locked="false" Priority="19" SemiHidden="false"
UnhideWhenUsed="false" QFormat="true" Name="Subtle Emphasis"/>
<w:LsdException Locked="false" Priority="21" SemiHidden="false"
UnhideWhenUsed="false" QFormat="true" Name="Intense Emphasis"/>
<w:LsdException Locked="false" Priority="31" SemiHidden="false"
UnhideWhenUsed="false" QFormat="true" Name="Subtle Reference"/>
<w:LsdException Locked="false" Priority="32" SemiHidden="false"
UnhideWhenUsed="false" QFormat="true" Name="Intense Reference"/>
<w:LsdException Locked="false" Priority="33" SemiHidden="false"
UnhideWhenUsed="false" QFormat="true" Name="Book Title"/>
<w:LsdException Locked="false" Priority="37" Name="Bibliography"/>
<w:LsdException Locked="false" Priority="39" QFormat="true" Name="TOC Heading"/>
</w:LatentStyles>
</xml><![endif]-->
<!--[if gte mso 10]>
<style>
/* Style Definitions */
table.MsoNormalTable
{mso-style-name:"Table Normal";
mso-tstyle-rowband-size:0;
mso-tstyle-colband-size:0;
mso-style-noshow:yes;
mso-style-priority:99;
mso-style-parent:"";
mso-padding-alt:0in 5.4pt 0in 5.4pt;
mso-para-margin:0in;
mso-para-margin-bottom:.0001pt;
mso-pagination:widow-orphan;
font-size:12.0pt;
font-family:Cambria;
mso-ascii-font-family:Cambria;
mso-ascii-theme-font:minor-latin;
mso-hansi-font-family:Cambria;
mso-hansi-theme-font:minor-latin;}
</style>
<![endif]-->
<!--StartFragment-->
<br />
<div class="MsoNormal">
The very notion of a soprano sax as lead voice instantly
gives A Troop of Echoes some distinction. The musical result gives them even
more. Existing somewhere in the land between jazz and ‘prog’ rock, this band
manages to create rock music with a high amount of melodic development and a
very ‘in the pocket’ type groove, which adds propulsive energy to their music.<o:p></o:p></div>
<div class="MsoNormal">
<span style="mso-spacerun: yes;"> </span>Emerging from a
basement in North Kingston sometime in 2005, they are on a mission to write the
best songs they can, record them, and go play them loudly in public. On all
three counts they acquit themselves nicely. While there is a slight drop in
energy on the recordings, their ability to translate the music in recorded form
is evident.<o:p></o:p></div>
<div class="MsoNormal">
<span style="mso-spacerun: yes;"> </span>This music
presents a very interesting hybrid. Listing Battles, Sonic Youth and John
Coltrane as influences gives some indication of things. They also possess a
lyrical quality, imparted somewhat by the inclusion of a soprano saxophone in
the instrumentation, but also seeming to grow from the perceptions of all
involved. There is an obvious emphasis on songcraft in the writing. Given that
this is a group of musicians who have been honing their skills for a number of
years, this isn’t surprising. <o:p></o:p></div>
<div class="MsoNormal">
<span style="mso-spacerun: yes;"> </span>The fifth track
off their bandcamp page, ‘Little Bird’, is a great example of what they’re
capable of. The tempo is fairly up, and the rhythmic interaction of the drums,
bass, guitar and keyboards creates a churning quality, especially due to the influence
of Dan Moriarty’s syncopated accents. Peter Gilli unwinds a melodic line on
soprano, and then drops out as the band plays some connecting passages, which
lead back to a restatement of the melody with varied feel in the rhythm
section; the increase in dynamic intensity is noticeable the second time around.
At the end of the song, everything dies out in an electronically treated
squall. The music abruptly seizes up, and fades off into the distance.<o:p></o:p></div>
<div class="MsoNormal">
<span style="mso-spacerun: yes;"> </span>The bands
musicianship is impeccable, and the sense of ensemble is tight. This fact is
reinforced by the next track, ‘Analog Astronaut’. The sectional feel of the
tune coupled with the melodic development creates a compelling statement. By
the time this track unfolds, the bands ability to work as a coherent unit is
pronounced. The sense of formal development permeates everyone’s playing.
Though performing as instrumentalists, they come to the task with a highly
compositional bent. The Bad Plus is called to mind here, as well as the Wayne
Shorter Quartet. Though not nearly as abstract as these bands, the same feeling
of ‘composition in action’ transpires throughout. From this point of view,
their effort could be considered of a similar type as that undertaken by a
symphony orchestra.<o:p></o:p></div>
<div class="MsoNormal">
<span style="mso-spacerun: yes;"> </span>A Troop of Echoes
manages to stay relevant while remaining completely distinct from the main
lines of musical interest in the Providence scene. Anyone looking for rock
music with a sense of compositional development should seek them out. <o:p></o:p></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
Check them out at:</div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<a href="http://www.facebook.com/atroopofechoes?sk=info">http://www.facebook.com/atroopofechoes?sk=info</a></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<a href="http://atroopofechoes.com/">http://atroopofechoes.com/</a></div>
<!--EndFragment--></div>Paramesvara dashttp://www.blogger.com/profile/04392857887411381449noreply@blogger.com1tag:blogger.com,1999:blog-623399911732107626.post-49215945687983475532011-10-11T23:21:00.001-07:002011-10-11T23:30:56.482-07:00Band Review: It's A Mountain<div dir="ltr" style="text-align: left;" trbidi="on">
<br />
<div class="MsoNormal">
‘We really don’t have a genre, so don’t expect the same
sound from every song’. This quote from the bio on their MySpace page is a
fitting introduction to the entity known as It’s A Mountain. Active since May
of 2009, It’s A Mountain channels its instrumental musings to Providence via
Portsmouth, Rhode Island. The band takes its name from the rather steep path
leading to the practice space they rehearse at. <o:p></o:p></div>
<div class="MsoNormal">
While there is a
lot of truth in the above statement, they do list ‘various post-rock, ambient,
and jam bands’ among their influences. In this sense, they automatically attain
a degree of novelty. The Providence scene is generally known for noise and
metal; post-rock influenced bands are something of a rarity.<o:p></o:p></div>
<div class="MsoNormal">
The band itself
is a four-piece, and with the exception of Alex Klameth, who plays guitar,
everyone is a multi-instrumentalist. With the exception of one line-up change,
the band has consisted of Alex, Alex Perry on drums and synth, Alex Wasilewski
on bass, guitar, mandolin, violin, and vocals, and Jacob Telford, on guitar,
bass, and vocals.<o:p></o:p></div>
<div class="MsoNormal">
The music itself
is a fairly lush affair. There is a fair degree of sensitivity regarding
timbre, and layering of rhythms to create an orchestrated effect. ‘Journey to <br />
Fog Mountain’, one of the tracks on their MySpace page, is a good example of
this type of thinking at work. The track opens with an oscillating synth figure
and some broad tones in the bass. As these elements coalesce, tremolo-picked
guitar enters, presenting an introductory melody that has a haunting quality to
it. As these elements build, the rest of the band kicks in, and everything
breaks loose. The mid-tempo feel and the fundamentally riff-driven accompaniment,
built out of a couple of chords, generate a feeling of wonder and quiet
melancholy.<o:p></o:p></div>
<div class="MsoNormal">
‘4’ is a
fundamentally different affair. Built out of a delay-affected riff, this piece moves with a higher degree of propulsive
rhythm. While this tune is full of interesting ideas, as a whole it is less
satisfying than ‘Journey to Fog Mountain’. There is something about the
recording that sounds more like a rehearsal; it has less of a sense of
confidence in the execution than the other. If the inconsistencies were ironed
out, this would be another compelling musical journey.<o:p></o:p></div>
<div class="MsoNormal">
In general, there
is a fairly close relationship between the recordings and the live show. The
sense of energy loss usually encountered on a recording isn’t as noticeable.
This probably has something to do with the fact that the recordings are
essentially live demos. High-end production isn’t always a good thing.<o:p></o:p></div>
<div class="MsoNormal">
Jacob has
explained that the band is essentially on hold, as the members are all
attending different colleges, and the ‘Mountain has been laid to rest’, until
such time that the band can get back together. So, that should be sometime next
summer. For now, the band can be accessed via MySpace and Facebook. Here are
the links. Check them out.<o:p></o:p><br />
<br />
<a href="http://www.facebook.com/pages/Its-a-Mountain/122607324431470">http://www.facebook.com/pages/Its-a-Mountain/122607324431470</a><br />
<br />
<a href="http://www.myspace.com/itsamountain">http://www.myspace.com/itsamountain</a></div>
</div>Paramesvara dashttp://www.blogger.com/profile/04392857887411381449noreply@blogger.com0tag:blogger.com,1999:blog-623399911732107626.post-79604644087404858572011-10-07T08:37:00.001-07:002011-10-11T23:38:13.782-07:00Artist Review: Katie Laub<div dir="ltr" style="text-align: left;" trbidi="on">
<style>
<!--
/* Font Definitions */
@font-face
{font-family:"MS 明朝";
panose-1:0 0 0 0 0 0 0 0 0 0;
mso-font-charset:128;
mso-generic-font-family:roman;
mso-font-format:other;
mso-font-pitch:fixed;
mso-font-signature:1 134676480 16 0 131072 0;}
@font-face
{font-family:"MS 明朝";
panose-1:0 0 0 0 0 0 0 0 0 0;
mso-font-charset:128;
mso-generic-font-family:roman;
mso-font-format:other;
mso-font-pitch:fixed;
mso-font-signature:1 134676480 16 0 131072 0;}
@font-face
{font-family:Cambria;
panose-1:2 4 5 3 5 4 6 3 2 4;
mso-font-charset:0;
mso-generic-font-family:auto;
mso-font-pitch:variable;
mso-font-signature:3 0 0 0 1 0;}
/* Style Definitions */
p.MsoNormal, li.MsoNormal, div.MsoNormal
{mso-style-unhide:no;
mso-style-qformat:yes;
mso-style-parent:"";
margin:0in;
margin-bottom:.0001pt;
mso-pagination:widow-orphan;
font-size:12.0pt;
font-family:Cambria;
mso-ascii-font-family:Cambria;
mso-ascii-theme-font:minor-latin;
mso-fareast-font-family:"MS 明朝";
mso-fareast-theme-font:minor-fareast;
mso-hansi-font-family:Cambria;
mso-hansi-theme-font:minor-latin;
mso-bidi-font-family:"Times New Roman";
mso-bidi-theme-font:minor-bidi;}
a:link, span.MsoHyperlink
{mso-style-priority:99;
color:blue;
mso-themecolor:hyperlink;
text-decoration:underline;
text-underline:single;}
a:visited, span.MsoHyperlinkFollowed
{mso-style-noshow:yes;
mso-style-priority:99;
color:purple;
mso-themecolor:followedhyperlink;
text-decoration:underline;
text-underline:single;}
.MsoChpDefault
{mso-style-type:export-only;
mso-default-props:yes;
font-family:Cambria;
mso-ascii-font-family:Cambria;
mso-ascii-theme-font:minor-latin;
mso-fareast-font-family:"MS 明朝";
mso-fareast-theme-font:minor-fareast;
mso-hansi-font-family:Cambria;
mso-hansi-theme-font:minor-latin;
mso-bidi-font-family:"Times New Roman";
mso-bidi-theme-font:minor-bidi;}
@page WordSection1
{size:8.5in 11.0in;
margin:1.0in 1.25in 1.0in 1.25in;
mso-header-margin:.5in;
mso-footer-margin:.5in;
mso-paper-source:0;}
div.WordSection1
{page:WordSection1;}
-->
</style>
<br />
<div class="MsoNormal">
Hailing from Stuarts Draft, Virginia,
located in the Shenandoah Valley, Katie Laub creates music that combines
traditional, acoustic style folk ballads with modern electronic soundscapes.
The end result is highly engaging, largely due to the fact that the songwriting
serves as a nice relief to the at times abstract intensity of the electronic
music.</div>
<div class="MsoNormal">
Her musical
journey started with the piano; guitar, mandolin, and banjo followed. In the
fall of 2010, she took a sound class through RISD, learning about sound
programming and ‘other ways to approach noise making’. Though musically
involved for most of her life, actively pursuing composition of any type is an
activity that has only recently come to draw her focus. </div>
<div class="MsoNormal">
When the
understanding is given that she lists traditional bluegrass music as well as
Throbbing Gristle among her influences, things begin to clarify. Add John Cage
and Godspeed You Black Emperor, and we have some philosophical insight as well
as an indication of some kind of contemporary esthetic. For the uninitiated,
John Cage left a body of work that raised questions about sound and silence, as
well as the relationship between composer and performer. It is therefore
fitting that a musician with such an overtly searching bent would list him
among her biggest influences. Add in the fact that she was raised up in the
Mennonite church, has blown glass, and is influenced by the idea of home and a
longing for a simpler way of life, and this blend of old and new becomes much
more clear</div>
<div class="MsoNormal">
There is
something naturally authentic about her songwriting. Let us take track 7 of the
SoundCloud site, ‘You Gotta Fly’, as an example. Accompanying herself on banjo,
she sings effectively simple lyrics set to very diatonic, major key melodies, harmonized in very traditionally standard
ways. The end result is a solidly written and executed tune in a much older
style. By the time she abandons spoken language for a series of melodicized ‘La
la las’, you may find yourself wonderfully engaged in the music.</div>
<div class="MsoNormal">
The next couple of tracks highlight her
experimental side. ‘No More’ and ‘Sparcile’ are intensely abstract and ‘out
there’ compared to ‘You Gotta Fly’, but they are just as convincing in their
way as ‘You Gotta Fly’ is in its; you have to be willing to actually listen to
what she has to say. ‘Sparcile’ is particularly interesting because of the way
it combines Katie’s untreated voice intoning against the isorhythmic and
dissonant background. The last two tracks round out the proceedings nicely, as
the long, searching experimentation of ‘Destination’ is met with the brief,
extremely diatonic elegance of ‘Goodnight’. </div>
<div class="MsoNormal">
Katie Laub is a
very talented musician. Aiming to blend
the old with the new, she is carving out her own path; while others have engaged
in similar musings, there is a freshness to her approach that is thoroughly
contemporary. Anyone interested in having their sensibilities stretched, and
fans of such disparate musical entities as Controlled Bleeding and Pete Seeger
would be well-served by investigating the sonic landscapes she creates. </div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
Check her out at:</div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<a href="http://soundcloud.com/katielaub/sets/noise">http://soundcloud.com/katielaub/sets/noise</a></div>
<div class="MsoNormal">
</div>
<div class="MsoNormal">
<br /></div>
</div>Paramesvara dashttp://www.blogger.com/profile/04392857887411381449noreply@blogger.com0tag:blogger.com,1999:blog-623399911732107626.post-42494676747066601062011-09-26T20:50:00.001-07:002011-09-26T20:50:18.511-07:00Global Crash<div dir="ltr" style="text-align: left;" trbidi="on">
<!--[if gte mso 9]><xml>
<o:OfficeDocumentSettings>
<o:AllowPNG/>
</o:OfficeDocumentSettings>
</xml><![endif]-->
<!--[if gte mso 9]><xml>
<w:WordDocument>
<w:View>Normal</w:View>
<w:Zoom>0</w:Zoom>
<w:TrackMoves/>
<w:TrackFormatting/>
<w:PunctuationKerning/>
<w:ValidateAgainstSchemas/>
<w:SaveIfXMLInvalid>false</w:SaveIfXMLInvalid>
<w:IgnoreMixedContent>false</w:IgnoreMixedContent>
<w:AlwaysShowPlaceholderText>false</w:AlwaysShowPlaceholderText>
<w:DoNotPromoteQF/>
<w:LidThemeOther>EN-US</w:LidThemeOther>
<w:LidThemeAsian>JA</w:LidThemeAsian>
<w:LidThemeComplexScript>X-NONE</w:LidThemeComplexScript>
<w:Compatibility>
<w:BreakWrappedTables/>
<w:SnapToGridInCell/>
<w:WrapTextWithPunct/>
<w:UseAsianBreakRules/>
<w:DontGrowAutofit/>
<w:SplitPgBreakAndParaMark/>
<w:EnableOpenTypeKerning/>
<w:DontFlipMirrorIndents/>
<w:OverrideTableStyleHps/>
<w:UseFELayout/>
</w:Compatibility>
<m:mathPr>
<m:mathFont m:val="Cambria Math"/>
<m:brkBin m:val="before"/>
<m:brkBinSub m:val="--"/>
<m:smallFrac m:val="off"/>
<m:dispDef/>
<m:lMargin m:val="0"/>
<m:rMargin m:val="0"/>
<m:defJc m:val="centerGroup"/>
<m:wrapIndent m:val="1440"/>
<m:intLim m:val="subSup"/>
<m:naryLim m:val="undOvr"/>
</m:mathPr></w:WordDocument>
</xml><![endif]--><!--[if gte mso 9]><xml>
<w:LatentStyles DefLockedState="false" DefUnhideWhenUsed="true"
DefSemiHidden="true" DefQFormat="false" DefPriority="99"
LatentStyleCount="276">
<w:LsdException Locked="false" Priority="0" SemiHidden="false"
UnhideWhenUsed="false" QFormat="true" Name="Normal"/>
<w:LsdException Locked="false" Priority="9" SemiHidden="false"
UnhideWhenUsed="false" QFormat="true" Name="heading 1"/>
<w:LsdException Locked="false" Priority="9" QFormat="true" Name="heading 2"/>
<w:LsdException Locked="false" Priority="9" QFormat="true" Name="heading 3"/>
<w:LsdException Locked="false" Priority="9" QFormat="true" Name="heading 4"/>
<w:LsdException Locked="false" Priority="9" QFormat="true" Name="heading 5"/>
<w:LsdException Locked="false" Priority="9" QFormat="true" Name="heading 6"/>
<w:LsdException Locked="false" Priority="9" QFormat="true" Name="heading 7"/>
<w:LsdException Locked="false" Priority="9" QFormat="true" Name="heading 8"/>
<w:LsdException Locked="false" Priority="9" QFormat="true" Name="heading 9"/>
<w:LsdException Locked="false" Priority="39" Name="toc 1"/>
<w:LsdException Locked="false" Priority="39" Name="toc 2"/>
<w:LsdException Locked="false" Priority="39" Name="toc 3"/>
<w:LsdException Locked="false" Priority="39" Name="toc 4"/>
<w:LsdException Locked="false" Priority="39" Name="toc 5"/>
<w:LsdException Locked="false" Priority="39" Name="toc 6"/>
<w:LsdException Locked="false" Priority="39" Name="toc 7"/>
<w:LsdException Locked="false" Priority="39" Name="toc 8"/>
<w:LsdException Locked="false" Priority="39" Name="toc 9"/>
<w:LsdException Locked="false" Priority="35" QFormat="true" Name="caption"/>
<w:LsdException Locked="false" Priority="10" SemiHidden="false"
UnhideWhenUsed="false" QFormat="true" Name="Title"/>
<w:LsdException Locked="false" Priority="1" Name="Default Paragraph Font"/>
<w:LsdException Locked="false" Priority="11" SemiHidden="false"
UnhideWhenUsed="false" QFormat="true" Name="Subtitle"/>
<w:LsdException Locked="false" Priority="22" SemiHidden="false"
UnhideWhenUsed="false" QFormat="true" Name="Strong"/>
<w:LsdException Locked="false" Priority="20" SemiHidden="false"
UnhideWhenUsed="false" QFormat="true" Name="Emphasis"/>
<w:LsdException Locked="false" Priority="59" SemiHidden="false"
UnhideWhenUsed="false" Name="Table Grid"/>
<w:LsdException Locked="false" UnhideWhenUsed="false" Name="Placeholder Text"/>
<w:LsdException Locked="false" Priority="1" SemiHidden="false"
UnhideWhenUsed="false" QFormat="true" Name="No Spacing"/>
<w:LsdException Locked="false" Priority="60" SemiHidden="false"
UnhideWhenUsed="false" Name="Light Shading"/>
<w:LsdException Locked="false" Priority="61" SemiHidden="false"
UnhideWhenUsed="false" Name="Light List"/>
<w:LsdException Locked="false" Priority="62" SemiHidden="false"
UnhideWhenUsed="false" Name="Light Grid"/>
<w:LsdException Locked="false" Priority="63" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Shading 1"/>
<w:LsdException Locked="false" Priority="64" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Shading 2"/>
<w:LsdException Locked="false" Priority="65" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium List 1"/>
<w:LsdException Locked="false" Priority="66" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium List 2"/>
<w:LsdException Locked="false" Priority="67" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Grid 1"/>
<w:LsdException Locked="false" Priority="68" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Grid 2"/>
<w:LsdException Locked="false" Priority="69" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Grid 3"/>
<w:LsdException Locked="false" Priority="70" SemiHidden="false"
UnhideWhenUsed="false" Name="Dark List"/>
<w:LsdException Locked="false" Priority="71" SemiHidden="false"
UnhideWhenUsed="false" Name="Colorful Shading"/>
<w:LsdException Locked="false" Priority="72" SemiHidden="false"
UnhideWhenUsed="false" Name="Colorful List"/>
<w:LsdException Locked="false" Priority="73" SemiHidden="false"
UnhideWhenUsed="false" Name="Colorful Grid"/>
<w:LsdException Locked="false" Priority="60" SemiHidden="false"
UnhideWhenUsed="false" Name="Light Shading Accent 1"/>
<w:LsdException Locked="false" Priority="61" SemiHidden="false"
UnhideWhenUsed="false" Name="Light List Accent 1"/>
<w:LsdException Locked="false" Priority="62" SemiHidden="false"
UnhideWhenUsed="false" Name="Light Grid Accent 1"/>
<w:LsdException Locked="false" Priority="63" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Shading 1 Accent 1"/>
<w:LsdException Locked="false" Priority="64" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Shading 2 Accent 1"/>
<w:LsdException Locked="false" Priority="65" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium List 1 Accent 1"/>
<w:LsdException Locked="false" UnhideWhenUsed="false" Name="Revision"/>
<w:LsdException Locked="false" Priority="34" SemiHidden="false"
UnhideWhenUsed="false" QFormat="true" Name="List Paragraph"/>
<w:LsdException Locked="false" Priority="29" SemiHidden="false"
UnhideWhenUsed="false" QFormat="true" Name="Quote"/>
<w:LsdException Locked="false" Priority="30" SemiHidden="false"
UnhideWhenUsed="false" QFormat="true" Name="Intense Quote"/>
<w:LsdException Locked="false" Priority="66" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium List 2 Accent 1"/>
<w:LsdException Locked="false" Priority="67" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Grid 1 Accent 1"/>
<w:LsdException Locked="false" Priority="68" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Grid 2 Accent 1"/>
<w:LsdException Locked="false" Priority="69" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Grid 3 Accent 1"/>
<w:LsdException Locked="false" Priority="70" SemiHidden="false"
UnhideWhenUsed="false" Name="Dark List Accent 1"/>
<w:LsdException Locked="false" Priority="71" SemiHidden="false"
UnhideWhenUsed="false" Name="Colorful Shading Accent 1"/>
<w:LsdException Locked="false" Priority="72" SemiHidden="false"
UnhideWhenUsed="false" Name="Colorful List Accent 1"/>
<w:LsdException Locked="false" Priority="73" SemiHidden="false"
UnhideWhenUsed="false" Name="Colorful Grid Accent 1"/>
<w:LsdException Locked="false" Priority="60" SemiHidden="false"
UnhideWhenUsed="false" Name="Light Shading Accent 2"/>
<w:LsdException Locked="false" Priority="61" SemiHidden="false"
UnhideWhenUsed="false" Name="Light List Accent 2"/>
<w:LsdException Locked="false" Priority="62" SemiHidden="false"
UnhideWhenUsed="false" Name="Light Grid Accent 2"/>
<w:LsdException Locked="false" Priority="63" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Shading 1 Accent 2"/>
<w:LsdException Locked="false" Priority="64" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Shading 2 Accent 2"/>
<w:LsdException Locked="false" Priority="65" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium List 1 Accent 2"/>
<w:LsdException Locked="false" Priority="66" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium List 2 Accent 2"/>
<w:LsdException Locked="false" Priority="67" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Grid 1 Accent 2"/>
<w:LsdException Locked="false" Priority="68" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Grid 2 Accent 2"/>
<w:LsdException Locked="false" Priority="69" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Grid 3 Accent 2"/>
<w:LsdException Locked="false" Priority="70" SemiHidden="false"
UnhideWhenUsed="false" Name="Dark List Accent 2"/>
<w:LsdException Locked="false" Priority="71" SemiHidden="false"
UnhideWhenUsed="false" Name="Colorful Shading Accent 2"/>
<w:LsdException Locked="false" Priority="72" SemiHidden="false"
UnhideWhenUsed="false" Name="Colorful List Accent 2"/>
<w:LsdException Locked="false" Priority="73" SemiHidden="false"
UnhideWhenUsed="false" Name="Colorful Grid Accent 2"/>
<w:LsdException Locked="false" Priority="60" SemiHidden="false"
UnhideWhenUsed="false" Name="Light Shading Accent 3"/>
<w:LsdException Locked="false" Priority="61" SemiHidden="false"
UnhideWhenUsed="false" Name="Light List Accent 3"/>
<w:LsdException Locked="false" Priority="62" SemiHidden="false"
UnhideWhenUsed="false" Name="Light Grid Accent 3"/>
<w:LsdException Locked="false" Priority="63" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Shading 1 Accent 3"/>
<w:LsdException Locked="false" Priority="64" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Shading 2 Accent 3"/>
<w:LsdException Locked="false" Priority="65" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium List 1 Accent 3"/>
<w:LsdException Locked="false" Priority="66" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium List 2 Accent 3"/>
<w:LsdException Locked="false" Priority="67" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Grid 1 Accent 3"/>
<w:LsdException Locked="false" Priority="68" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Grid 2 Accent 3"/>
<w:LsdException Locked="false" Priority="69" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Grid 3 Accent 3"/>
<w:LsdException Locked="false" Priority="70" SemiHidden="false"
UnhideWhenUsed="false" Name="Dark List Accent 3"/>
<w:LsdException Locked="false" Priority="71" SemiHidden="false"
UnhideWhenUsed="false" Name="Colorful Shading Accent 3"/>
<w:LsdException Locked="false" Priority="72" SemiHidden="false"
UnhideWhenUsed="false" Name="Colorful List Accent 3"/>
<w:LsdException Locked="false" Priority="73" SemiHidden="false"
UnhideWhenUsed="false" Name="Colorful Grid Accent 3"/>
<w:LsdException Locked="false" Priority="60" SemiHidden="false"
UnhideWhenUsed="false" Name="Light Shading Accent 4"/>
<w:LsdException Locked="false" Priority="61" SemiHidden="false"
UnhideWhenUsed="false" Name="Light List Accent 4"/>
<w:LsdException Locked="false" Priority="62" SemiHidden="false"
UnhideWhenUsed="false" Name="Light Grid Accent 4"/>
<w:LsdException Locked="false" Priority="63" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Shading 1 Accent 4"/>
<w:LsdException Locked="false" Priority="64" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Shading 2 Accent 4"/>
<w:LsdException Locked="false" Priority="65" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium List 1 Accent 4"/>
<w:LsdException Locked="false" Priority="66" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium List 2 Accent 4"/>
<w:LsdException Locked="false" Priority="67" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Grid 1 Accent 4"/>
<w:LsdException Locked="false" Priority="68" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Grid 2 Accent 4"/>
<w:LsdException Locked="false" Priority="69" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Grid 3 Accent 4"/>
<w:LsdException Locked="false" Priority="70" SemiHidden="false"
UnhideWhenUsed="false" Name="Dark List Accent 4"/>
<w:LsdException Locked="false" Priority="71" SemiHidden="false"
UnhideWhenUsed="false" Name="Colorful Shading Accent 4"/>
<w:LsdException Locked="false" Priority="72" SemiHidden="false"
UnhideWhenUsed="false" Name="Colorful List Accent 4"/>
<w:LsdException Locked="false" Priority="73" SemiHidden="false"
UnhideWhenUsed="false" Name="Colorful Grid Accent 4"/>
<w:LsdException Locked="false" Priority="60" SemiHidden="false"
UnhideWhenUsed="false" Name="Light Shading Accent 5"/>
<w:LsdException Locked="false" Priority="61" SemiHidden="false"
UnhideWhenUsed="false" Name="Light List Accent 5"/>
<w:LsdException Locked="false" Priority="62" SemiHidden="false"
UnhideWhenUsed="false" Name="Light Grid Accent 5"/>
<w:LsdException Locked="false" Priority="63" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Shading 1 Accent 5"/>
<w:LsdException Locked="false" Priority="64" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Shading 2 Accent 5"/>
<w:LsdException Locked="false" Priority="65" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium List 1 Accent 5"/>
<w:LsdException Locked="false" Priority="66" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium List 2 Accent 5"/>
<w:LsdException Locked="false" Priority="67" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Grid 1 Accent 5"/>
<w:LsdException Locked="false" Priority="68" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Grid 2 Accent 5"/>
<w:LsdException Locked="false" Priority="69" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Grid 3 Accent 5"/>
<w:LsdException Locked="false" Priority="70" SemiHidden="false"
UnhideWhenUsed="false" Name="Dark List Accent 5"/>
<w:LsdException Locked="false" Priority="71" SemiHidden="false"
UnhideWhenUsed="false" Name="Colorful Shading Accent 5"/>
<w:LsdException Locked="false" Priority="72" SemiHidden="false"
UnhideWhenUsed="false" Name="Colorful List Accent 5"/>
<w:LsdException Locked="false" Priority="73" SemiHidden="false"
UnhideWhenUsed="false" Name="Colorful Grid Accent 5"/>
<w:LsdException Locked="false" Priority="60" SemiHidden="false"
UnhideWhenUsed="false" Name="Light Shading Accent 6"/>
<w:LsdException Locked="false" Priority="61" SemiHidden="false"
UnhideWhenUsed="false" Name="Light List Accent 6"/>
<w:LsdException Locked="false" Priority="62" SemiHidden="false"
UnhideWhenUsed="false" Name="Light Grid Accent 6"/>
<w:LsdException Locked="false" Priority="63" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Shading 1 Accent 6"/>
<w:LsdException Locked="false" Priority="64" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Shading 2 Accent 6"/>
<w:LsdException Locked="false" Priority="65" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium List 1 Accent 6"/>
<w:LsdException Locked="false" Priority="66" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium List 2 Accent 6"/>
<w:LsdException Locked="false" Priority="67" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Grid 1 Accent 6"/>
<w:LsdException Locked="false" Priority="68" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Grid 2 Accent 6"/>
<w:LsdException Locked="false" Priority="69" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Grid 3 Accent 6"/>
<w:LsdException Locked="false" Priority="70" SemiHidden="false"
UnhideWhenUsed="false" Name="Dark List Accent 6"/>
<w:LsdException Locked="false" Priority="71" SemiHidden="false"
UnhideWhenUsed="false" Name="Colorful Shading Accent 6"/>
<w:LsdException Locked="false" Priority="72" SemiHidden="false"
UnhideWhenUsed="false" Name="Colorful List Accent 6"/>
<w:LsdException Locked="false" Priority="73" SemiHidden="false"
UnhideWhenUsed="false" Name="Colorful Grid Accent 6"/>
<w:LsdException Locked="false" Priority="19" SemiHidden="false"
UnhideWhenUsed="false" QFormat="true" Name="Subtle Emphasis"/>
<w:LsdException Locked="false" Priority="21" SemiHidden="false"
UnhideWhenUsed="false" QFormat="true" Name="Intense Emphasis"/>
<w:LsdException Locked="false" Priority="31" SemiHidden="false"
UnhideWhenUsed="false" QFormat="true" Name="Subtle Reference"/>
<w:LsdException Locked="false" Priority="32" SemiHidden="false"
UnhideWhenUsed="false" QFormat="true" Name="Intense Reference"/>
<w:LsdException Locked="false" Priority="33" SemiHidden="false"
UnhideWhenUsed="false" QFormat="true" Name="Book Title"/>
<w:LsdException Locked="false" Priority="37" Name="Bibliography"/>
<w:LsdException Locked="false" Priority="39" QFormat="true" Name="TOC Heading"/>
</w:LatentStyles>
</xml><![endif]-->
<!--[if gte mso 10]>
<style>
/* Style Definitions */
table.MsoNormalTable
{mso-style-name:"Table Normal";
mso-tstyle-rowband-size:0;
mso-tstyle-colband-size:0;
mso-style-noshow:yes;
mso-style-priority:99;
mso-style-parent:"";
mso-padding-alt:0in 5.4pt 0in 5.4pt;
mso-para-margin:0in;
mso-para-margin-bottom:.0001pt;
mso-pagination:widow-orphan;
font-size:12.0pt;
font-family:Cambria;
mso-ascii-font-family:Cambria;
mso-ascii-theme-font:minor-latin;
mso-hansi-font-family:Cambria;
mso-hansi-theme-font:minor-latin;}
</style>
<![endif]-->
<!--StartFragment-->
<br />
<div class="MsoNormal">
Global Crash creates iridescent waves of rhythm. Conceived
around 2008, and representing the culmination of a long exploration in the
world of electronic music, this project represents the ever-unfolding
musicality of Paul Holder.<o:p></o:p></div>
<div class="MsoNormal">
<span style="mso-spacerun: yes;"> </span>At present,
there are two releases under this moniker; the first, ‘Fragility in
Technology’, and now, ‘Echolalia’. After spending some time with the new album,
I revisited ‘Fragility’. The advance in conception is astounding.<o:p></o:p></div>
<div class="MsoNormal">
<span style="mso-spacerun: yes;"> </span>If we turn to a
dictionary, we see the following definitions for ‘Echolalia’:<o:p></o:p></div>
<div class="MsoNormal">
<b><span style="font-family: Times; font-size: 10.0pt; mso-bidi-font-family: "Times New Roman"; mso-fareast-font-family: "Times New Roman";">1.
</span></b><i><span style="font-family: Times; font-size: 10.0pt; mso-bidi-font-family: "Times New Roman"; mso-fareast-font-family: "Times New Roman";">Psychiatry</span></i><span style="font-family: Times; font-size: 10.0pt; mso-bidi-font-family: "Times New Roman"; mso-fareast-font-family: "Times New Roman";"> The immediate and involuntary
repetition of words or phrases just spoken by others<o:p></o:p></span></div>
<div class="MsoNormal">
<b><span style="font-family: Times; font-size: 10.0pt; mso-bidi-font-family: "Times New Roman"; mso-fareast-font-family: "Times New Roman";">2.
</span></b><span style="font-family: Times; font-size: 10.0pt; mso-bidi-font-family: "Times New Roman"; mso-fareast-font-family: "Times New Roman";">An infant's
repetition of the sounds made by others, a normal occurrence in childhood
development.<o:p></o:p></span></div>
<div class="MsoNormal">
<span style="font-family: Times; font-size: 10.0pt; mso-bidi-font-family: "Times New Roman"; mso-fareast-font-family: "Times New Roman";"><span style="mso-spacerun: yes;"> </span></span><span style="mso-bidi-font-family: "Times New Roman"; mso-fareast-font-family: "Times New Roman";"><span style="mso-spacerun: yes;"> </span>Acknowledging the titles of the songs
elicits a similar feeling, that of responding to the outside world, possibly
through the naiveté of youth. ‘Baby’s Breath’, ‘Shimmer Reflection Underneath
The Water’, and ‘Spectral’ are three of the nine tracks listed, and the names
themselves imply some sense of reflected existence. <o:p></o:p></span></div>
<div class="MsoNormal">
<span style="mso-bidi-font-family: "Times New Roman"; mso-fareast-font-family: "Times New Roman";"><span style="mso-spacerun: yes;">
</span>The fact that this project was conceived of as an album with individual
tracks is one of the reasons why it is a more satisfying listening experience
than ‘Fragility’. ‘Fragility’ was essentially a collection of bright spots
amidst an amorphous stream of unfolding sound; ‘Echolalia’ consists of
individually conceived tracks that are generally well presented from start to
finish.<o:p></o:p></span></div>
<div class="MsoNormal">
<span style="mso-bidi-font-family: "Times New Roman"; mso-fareast-font-family: "Times New Roman";"><span style="mso-spacerun: yes;"> </span><span style="mso-spacerun: yes;"> </span>There is a wide range of variety within
the scope of the project. On one hand, there is a track like ‘Until you’re
numb’, which lies somewhere in the realm of trip-hop and ambient; a slowed
down, jungle-esque beat wedded to a set of vaguely arrhythmic chordal and
melodic ideas. The upper register ideas seem to float out of the churning
rhythm like vapor from a fissure.<o:p></o:p></span></div>
<div class="MsoNormal">
<span style="mso-bidi-font-family: "Times New Roman"; mso-fareast-font-family: "Times New Roman";"><span style="mso-spacerun: yes;">
</span>On the other hand we have ‘Delicate Cadence’, which produces a
completely different effect. In this case, the track evolves from the most
minimal elements, and each instrument enters in a more leisurely manner. A
major key vamp carries the body of the tune, and the effect is more uplifting.
More rhythmically defined than pure trance techno, this track would be a great
accompaniment to a beautiful sunrise in the woods or a cool down at the end of
a show.<o:p></o:p></span></div>
<div class="MsoNormal">
<span style="mso-bidi-font-family: "Times New Roman"; mso-fareast-font-family: "Times New Roman";"><span style="mso-spacerun: yes;">
</span>The strengths of this recording lie in the realm of pacing, the unity of
the ideas presented, and the variety of styles on display in the music itself. The
end result is music that maintains a consistent point of view while diving into
many areas. <o:p></o:p></span></div>
<div class="MsoNormal">
<span style="mso-bidi-font-family: "Times New Roman"; mso-fareast-font-family: "Times New Roman";"><span style="mso-spacerun: yes;">
</span>Go see this live. I have had the pleasure of experiencing this thing
twice now, and the difference in effect is highly noticeable. Admittedly, DJ
sets are generally a little less dynamic than a rock show. One guy scrunched
over a G4 isn’t very exciting. What is exciting is the increased texture
afforded by a superior sound system. On top of that, Paul has interest in
various media, which is incorporated into the proceedings. He likes to project
movies produced by a company dedicated to such things, and the accompanying
visuals enhance the music in generally interesting ways.<o:p></o:p></span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span style="mso-bidi-font-family: "Times New Roman"; mso-fareast-font-family: "Times New Roman";">Check him out at….<o:p></o:p></span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span style="mso-bidi-font-family: "Times New Roman"; mso-fareast-font-family: "Times New Roman";"><a href="http://www.facebook.com/GlobalCrash">http://www.facebook.com/GlobalCrash</a><o:p></o:p></span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<br /></div>
<!--EndFragment--></div>
Paramesvara dashttp://www.blogger.com/profile/04392857887411381449noreply@blogger.com0tag:blogger.com,1999:blog-623399911732107626.post-34688039950802615392011-09-01T15:42:00.000-07:002011-09-01T15:42:02.867-07:00California Smile<div dir="ltr" style="text-align: left;" trbidi="on">
<style>
<!--
/* Font Definitions */
@font-face
{font-family:"MS 明朝";
panose-1:0 0 0 0 0 0 0 0 0 0;
mso-font-charset:128;
mso-generic-font-family:roman;
mso-font-format:other;
mso-font-pitch:fixed;
mso-font-signature:1 134676480 16 0 131072 0;}
@font-face
{font-family:"MS 明朝";
panose-1:0 0 0 0 0 0 0 0 0 0;
mso-font-charset:128;
mso-generic-font-family:roman;
mso-font-format:other;
mso-font-pitch:fixed;
mso-font-signature:1 134676480 16 0 131072 0;}
@font-face
{font-family:Cambria;
panose-1:2 4 5 3 5 4 6 3 2 4;
mso-font-charset:0;
mso-generic-font-family:auto;
mso-font-pitch:variable;
mso-font-signature:-536870145 1073743103 0 0 415 0;}
/* Style Definitions */
p.MsoNormal, li.MsoNormal, div.MsoNormal
{mso-style-unhide:no;
mso-style-qformat:yes;
mso-style-parent:"";
margin:0in;
margin-bottom:.0001pt;
mso-pagination:widow-orphan;
font-size:12.0pt;
font-family:Cambria;
mso-ascii-font-family:Cambria;
mso-ascii-theme-font:minor-latin;
mso-fareast-font-family:"MS 明朝";
mso-fareast-theme-font:minor-fareast;
mso-hansi-font-family:Cambria;
mso-hansi-theme-font:minor-latin;
mso-bidi-font-family:"Times New Roman";
mso-bidi-theme-font:minor-bidi;}
a:link, span.MsoHyperlink
{mso-style-priority:99;
color:blue;
mso-themecolor:hyperlink;
text-decoration:underline;
text-underline:single;}
a:visited, span.MsoHyperlinkFollowed
{mso-style-noshow:yes;
mso-style-priority:99;
color:purple;
mso-themecolor:followedhyperlink;
text-decoration:underline;
text-underline:single;}
.MsoChpDefault
{mso-style-type:export-only;
mso-default-props:yes;
font-family:Cambria;
mso-ascii-font-family:Cambria;
mso-ascii-theme-font:minor-latin;
mso-fareast-font-family:"MS 明朝";
mso-fareast-theme-font:minor-fareast;
mso-hansi-font-family:Cambria;
mso-hansi-theme-font:minor-latin;
mso-bidi-font-family:"Times New Roman";
mso-bidi-theme-font:minor-bidi;}
@page WordSection1
{size:8.5in 11.0in;
margin:1.0in 1.25in 1.0in 1.25in;
mso-header-margin:.5in;
mso-footer-margin:.5in;
mso-paper-source:0;}
div.WordSection1
{page:WordSection1;}
-->
</style>
<br />
<div class="MsoNormal">
<span style="mso-spacerun: yes;"> </span>My introduction
to California Smile was ‘Secret Message From Your Teeth’, given to me by Victor
after meeting him for the first time at as220. “Postrock”! I thought. “You’re
wrong”, said Cameron. “Keep listening.” And so I have. Cameron was right.</div>
<div class="MsoNormal">
<span style="mso-spacerun: yes;"> </span>“Listen to ‘Things
Not Worth Saying’.” All of a sudden my attention was diverted…</div>
<div class="MsoNormal">
“Was that a leading tone? Some kind of dominant
relationship? This is awesome!”</div>
<div class="MsoNormal">
California Smile is a highly complex musical entity from New
England. There appear to be many musicians associated with this group, chief
among whom are Victor Mansella, Michael Murphy, Jared LaFond, Jake LaFond, and
Cameron Brennan.</div>
<div class="MsoNormal">
<span style="mso-spacerun: yes;"> </span>The fact that
there is some ‘traditional’ thinking involved in the creation of this music is
very fascinating. The linear motion (voice leading) and harmonic schemes have a
classical bias in certain respects, but the framework is definitely clothed ‘in
the now’. There are so many inferred influences, and there was one definite
time when I was reminded of an instrumental, off- Broadway version of Queen.</div>
<div class="MsoNormal">
<span style="mso-spacerun: yes;"> </span>After this was
‘Roof Came Off House’. I had to reconsider my position yet again. This had a
metallic-synth edge to it, with the same harmonic sensibility. Listen to that
insane noise at the beginning of the first track and the way it dissolves into
the band. There is, for me at least, something almost Schubertesque about them
at times. Here, in ‘Sermons From Snakes’, the leisurely pace of the tempo and
the broad, expansive quality of the melody line reminds me of the slow movement
of the ‘Trout Quartet’ of Mr. Franz. This is to be taken in the most general
sense. </div>
<div class="MsoNormal">
<span style="mso-spacerun: yes;"> </span>Concerning this
album, I thought it was their newest release, until I checked the dates on the
sleeves. ‘Things Not Worth Saying’ is later.</div>
<div class="MsoNormal">
<span style="mso-spacerun: yes;"> </span>This group
excels at high musical drama, not in some ‘classical’ sense, but more in the
sense of knowing how to build and develop an idea as a complete unit, and
utilize emotional contrasts. In my opinion, this is due to their understanding of both
pacing and the specific relationship that melodic rhythm has to metrical flow,
to musical time in general. The end result has a very refined sense of
ensemble, where that ‘band as one giant instrument’ effect begins to make
itself felt. With the right sound engineer, this would be an awesome thing to
experience live.</div>
<div class="MsoNormal">
<span style="mso-spacerun: yes;"> </span>On top of the
European influence in the department of harmony, there is also an ‘orchestral’
feel to the band. The compositions have the quality of being composed and then
arranged for the band. From talking to Victor, I was given that he did in fact
attend music school, but didn’t feel it benefited him that much on many levels.
Still, that kind of influence will have some sort of effect somewhere, even if
it is not consciously perceived.</div>
<div class="MsoNormal">
<span style="mso-spacerun: yes;"> </span>After this, I was
forced to go back to ‘Secret Message From Your Teeth’. This time I didn’t hear
it being so post-rock; the nascent quality of the harmonic approach was more
readily felt.</div>
<div class="MsoNormal">
<span style="mso-spacerun: yes;"> </span>This is a musical
being that doesn’t fear change. ‘Variation on a Theme’ could possibly stand in
as the group’s motto, if such things existed. ‘Constant Reinvention’ is
another. This group presents music that is accessible while still being a
positive challenge, music that is serious in its expressive intent while still
being ballsy. </div>
<div class="MsoNormal">
<span style="mso-spacerun: yes;"> </span>In a recent
conversation I had with Cameron, he told me that the band is planning to play
sometime this month. Also, Victor told me that the band is currently at work on
material for a new album and plan on debuting some of it this fall.</div>
<div class="MsoNormal">
<span style="mso-spacerun: yes;"> </span>Go check them out.
They are yet another example of the best parts of the scene, awesome music made
by people who love to play. </div>
<div class="MsoNormal">
<span style="mso-spacerun: yes;"> </span></div>
<div class="MsoNormal">
<span style="mso-spacerun: yes;"> </span>Check em out
at:<span style="mso-spacerun: yes;"> </span><a href="http://www.facebook.com/pages/California-Smile/122452896274?sk=info">http://www.facebook.com/pages/California-Smile/122452896274?sk=info</a></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<a href="http://www.myspace.com/californiasmile1">http://www.myspace.com/californiasmile1</a></div>
<div class="MsoNormal">
<br /></div>
</div>
Paramesvara dashttp://www.blogger.com/profile/04392857887411381449noreply@blogger.com0tag:blogger.com,1999:blog-623399911732107626.post-26610619306892461202011-08-31T17:23:00.000-07:002011-08-31T17:23:50.808-07:00You're Under Arrest!<div dir="ltr" style="text-align: left;" trbidi="on">
<style>
<!--
/* Font Definitions */
@font-face
{font-family:"MS 明朝";
panose-1:0 0 0 0 0 0 0 0 0 0;
mso-font-charset:128;
mso-generic-font-family:roman;
mso-font-format:other;
mso-font-pitch:fixed;
mso-font-signature:1 134676480 16 0 131072 0;}
@font-face
{font-family:"MS 明朝";
panose-1:0 0 0 0 0 0 0 0 0 0;
mso-font-charset:128;
mso-generic-font-family:roman;
mso-font-format:other;
mso-font-pitch:fixed;
mso-font-signature:1 134676480 16 0 131072 0;}
@font-face
{font-family:Cambria;
panose-1:2 4 5 3 5 4 6 3 2 4;
mso-font-charset:0;
mso-generic-font-family:auto;
mso-font-pitch:variable;
mso-font-signature:-536870145 1073743103 0 0 415 0;}
/* Style Definitions */
p.MsoNormal, li.MsoNormal, div.MsoNormal
{mso-style-unhide:no;
mso-style-qformat:yes;
mso-style-parent:"";
margin:0in;
margin-bottom:.0001pt;
mso-pagination:widow-orphan;
font-size:12.0pt;
font-family:Cambria;
mso-ascii-font-family:Cambria;
mso-ascii-theme-font:minor-latin;
mso-fareast-font-family:"MS 明朝";
mso-fareast-theme-font:minor-fareast;
mso-hansi-font-family:Cambria;
mso-hansi-theme-font:minor-latin;
mso-bidi-font-family:"Times New Roman";
mso-bidi-theme-font:minor-bidi;}
.MsoChpDefault
{mso-style-type:export-only;
mso-default-props:yes;
font-family:Cambria;
mso-ascii-font-family:Cambria;
mso-ascii-theme-font:minor-latin;
mso-fareast-font-family:"MS 明朝";
mso-fareast-theme-font:minor-fareast;
mso-hansi-font-family:Cambria;
mso-hansi-theme-font:minor-latin;
mso-bidi-font-family:"Times New Roman";
mso-bidi-theme-font:minor-bidi;}
@page WordSection1
{size:8.5in 11.0in;
margin:1.0in 1.25in 1.0in 1.25in;
mso-header-margin:.5in;
mso-footer-margin:.5in;
mso-paper-source:0;}
div.WordSection1
{page:WordSection1;}
-->
</style>
<br />
<div class="MsoNormal">
<span style="mso-spacerun: yes;"> </span>You’re Under
Arrest rocks. Coming from Boston, and playing hardcore tinged punk rock, you
can very well guess that this band plays as if each song is the last thing they’ll ever perform. The fact that they’re a ‘co-ed’ rock band makes the whole
thing even cooler.</div>
<div class="MsoNormal">
<span style="mso-spacerun: yes;"> </span>I first became
aware of them at the Midnight Creeps show at Firehouse 13, back in the 9<sup>th</sup>
of August. Seeing how much dedication they put into their live show prompted me
to want to write about them. </div>
<div class="MsoNormal">
<span style="mso-spacerun: yes;"> </span>The band is a
five piece with a twist. In addition to the old school hardcore lineup of one
guitar, bass, drums, and vocals, there is a second vocalist, named Amanda.<span style="mso-spacerun: yes;"> </span>Though she isn’t present on every track, the
presence of a female vocalist in the mix rounds out the proceedings nicely.
Aside from Amanda, the rest of the group is comprised of Jaye, on vocals, John,
on bass, Damien, on drums, and Mike, on guitar.</div>
<div class="MsoNormal">
<span style="mso-spacerun: yes;"> </span>There seems to
be a trend in the underground scene in general. I noticed this to a degree with
White Devils, though they’re a completely different musical animal. This is a
tendency to mix influences from every aspect of whatever genre the band is
working in. In other words, this band utilizes the entire range of
possibilities in the ‘punk’ genre, to interesting effect.</div>
<div class="MsoNormal">
<span style="mso-spacerun: yes;"> </span><span style="mso-spacerun: yes;"> </span>Take a song like ‘Shattering’, for instance.
To draw a comparison to another Boston band, this tune smacks of Negative FX,
or even Cro-Mags, which is still East Coast, even if it’s coming from New
York.</div>
<div class="MsoNormal">
<span style="mso-spacerun: yes;"> </span>‘The Murder
Mile’, on the other hand, is more moshy, with tons of palm muting in the
riffage. It is also one of the more complex of their songs, even though
clocking in at roughly a minute.</div>
<div class="MsoNormal">
<span style="mso-spacerun: yes;"> </span>‘Hard Times’ is
straight up hardcore, simple and to the point. It also contains a lot of
aggression, and should get people bouncing around at shows.</div>
<div class="MsoNormal">
<span style="mso-spacerun: yes;"> </span>‘The Hard
Goodbye’ has an anthemic, sing-along quality to it. I found myself singing the
chorus while doing housework. I think most guys will take something personal from
the lyrics of this one.</div>
<div class="MsoNormal">
<span style="mso-spacerun: yes;"> </span>Of all the songs
featuring Amanda, my personal favorite is ‘Sick To Death’. She exudes a lot of
personality on every song she’s featured on, but this one is rendered extra
aggressive because of her. She lays into the vocals with force.</div>
<div class="MsoNormal">
<span style="mso-spacerun: yes;"> </span>In many respects,
this bands secret weapon is rhythm. Seeing them live only serves to reinforce
that impression. They are really adept at switching tempos on a dime, and, to
reiterate, their command of subgenres lends a lot of variety to the
songwriting. The sudden hardcore blasts in the middle of songs definitely
caught my attention.</div>
<div class="MsoNormal">
<span style="mso-spacerun: yes;"> </span>If you think
you’ll get anything more than an impression of the band from the recordings,
guess again. In this instance, as with other bands, there’s a lack
of energy in relation to the live show. While this is generally the case, it is
very noticeable here. Also, they have a tendency to use the same guitar tone on
every song. I am a fan of timbral variation, and think that a little more
variety in tone settings would be a great addition. Then again,
this is my personal bias, and taking this advice to heart might damage the
personality of the band. </div>
<div class="MsoNormal">
<span style="mso-spacerun: yes;"> </span>In summary, if
you like punk rock, and you like to lose your mind at shows, then check out
You’re Under Arrest. The energy and dedication they put into the music they
make is obvious, and they should be supported by everyone who loves aggro rock.
Go see them. You won’t be disappointed.</div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
Check ‘em out at:<span style="mso-spacerun: yes;"> </span></div>
<div class="MsoNormal">
<a href="http://draft.blogger.com/goog_1001380418"><br /></a></div>
<div class="MsoNormal">
<a href="http://www.facebook.com/pages/Youre-Under-Arrest-Boston/167262563284259?sk=info%20%20%20%20%20%20"> http://www.facebook.com/pages/Youre-Under-Arrest-Boston/167262563284259?sk=info </a></div>
</div>
Paramesvara dashttp://www.blogger.com/profile/04392857887411381449noreply@blogger.com0tag:blogger.com,1999:blog-623399911732107626.post-55771150743129468322011-08-31T07:17:00.000-07:002011-08-31T07:17:41.348-07:00Extraordinary Rendition Band<div dir="ltr" style="text-align: left;" trbidi="on">
<style>
<!--
/* Font Definitions */
@font-face
{font-family:"MS 明朝";
panose-1:0 0 0 0 0 0 0 0 0 0;
mso-font-charset:128;
mso-generic-font-family:roman;
mso-font-format:other;
mso-font-pitch:fixed;
mso-font-signature:1 134676480 16 0 131072 0;}
@font-face
{font-family:"MS 明朝";
panose-1:0 0 0 0 0 0 0 0 0 0;
mso-font-charset:128;
mso-generic-font-family:roman;
mso-font-format:other;
mso-font-pitch:fixed;
mso-font-signature:1 134676480 16 0 131072 0;}
@font-face
{font-family:Cambria;
panose-1:2 4 5 3 5 4 6 3 2 4;
mso-font-charset:0;
mso-generic-font-family:auto;
mso-font-pitch:variable;
mso-font-signature:-536870145 1073743103 0 0 415 0;}
/* Style Definitions */
p.MsoNormal, li.MsoNormal, div.MsoNormal
{mso-style-unhide:no;
mso-style-qformat:yes;
mso-style-parent:"";
margin:0in;
margin-bottom:.0001pt;
mso-pagination:widow-orphan;
font-size:12.0pt;
font-family:Cambria;
mso-ascii-font-family:Cambria;
mso-ascii-theme-font:minor-latin;
mso-fareast-font-family:"MS 明朝";
mso-fareast-theme-font:minor-fareast;
mso-hansi-font-family:Cambria;
mso-hansi-theme-font:minor-latin;
mso-bidi-font-family:"Times New Roman";
mso-bidi-theme-font:minor-bidi;}
.MsoChpDefault
{mso-style-type:export-only;
mso-default-props:yes;
font-family:Cambria;
mso-ascii-font-family:Cambria;
mso-ascii-theme-font:minor-latin;
mso-fareast-font-family:"MS 明朝";
mso-fareast-theme-font:minor-fareast;
mso-hansi-font-family:Cambria;
mso-hansi-theme-font:minor-latin;
mso-bidi-font-family:"Times New Roman";
mso-bidi-theme-font:minor-bidi;}
@page WordSection1
{size:8.5in 11.0in;
margin:1.0in 1.25in 1.0in 1.25in;
mso-header-margin:.5in;
mso-footer-margin:.5in;
mso-paper-source:0;}
div.WordSection1
{page:WordSection1;}
-->
</style>
<br />
<div class="MsoNormal">
Extraordinary Rendition Band is a marching band from
Providence, RI. Comprised of up to 25 members, they play ‘guerilla-style’
marching band music with intent to raising awareness and opening minds. The
idea is expressed in their name, which is something of a double entendre. They
have been active since 2008.</div>
<div class="MsoNormal">
<span style="mso-spacerun: yes;"> </span>Marching bands
have a very rich history going back a very long time, growing out of groups of
musicians who would gather to play at festivals. As time passed, this type of
outfit became confined to the military sector, as the musicians were needed to
help direct troop movements. Eventually the powers that be realized that this
was an incredibly bad use of resources, and discontinued the practice.</div>
<div class="MsoNormal">
<span style="mso-spacerun: yes;"> </span><span style="mso-spacerun: yes;"> </span>As of the current moment, marching bands are
most strongly identified with football and events like the Macy’s Thanksgiving
Parade. This automatically sets ERB and other grassroots style marching bands
apart. While operating from a point of view that is decidedly left of center,
the spirit of the paradigm invoked still relates to the idea of civic function.
In this sense, ERB are rooted in tradition, even as they seek to use that
tradition in service to the present moment.</div>
<div class="MsoNormal">
<span style="mso-spacerun: yes;"> </span>A trip to their
main website reveals that they consider themselves to be a ‘grassroots,
guerilla-style marching band’. Membership is open to all ages and ability
levels. They reserve the right to play for whatever causes they feel inspired
to support. The point here isn’t to create something elitist, but egalitarian
in its overall purpose. This is about music as a social activity that brings
people together and builds a sense of community.</div>
<div class="MsoNormal">
<span style="mso-spacerun: yes;"> </span>Given that this
is Providence, performances by the Band seem to carry an air of gleeful
anarchy. At times, one of the instrumentalists might possibly break into song,
the band falling right in line behind whoever is vocalizing. It appears that
there is even a bit of choreography to round out the performances; that or some
inspired improvisational movement.</div>
<div class="MsoNormal">
<span style="mso-spacerun: yes;"> </span><span style="mso-spacerun: yes;"> </span>The band possesses a fairly varied songbook.
Smooth Criminal, Mercy, Mercy, Mercy, A Las Barricadas, and Matador are among
the tunes you might possibly hear at a given performance. “Get up, Stand up”
undergoes a fairly unique treatment.</div>
<div class="MsoNormal">
<span style="mso-spacerun: yes;"> </span>At this point in
time, I’ve only had the opportunity to witness this thing via Youtube. Luckily,
the sound quality is passable enough that everything is fairly clear. The sense
of ensemble is generally good; the interaction of the percussion is
particularly good, and imparts some serious bounce at times. </div>
<div class="MsoNormal">
<span style="mso-spacerun: yes;"> </span>The biggest
challenges would seem to lie in the realm of metric discipline; a clear
understanding of where the downbeats are would seem to be the most fundamental
requirement to achieve a strict sense of ensemble. Factor in the lack of a
conductor and the need to actually perambulate and you have the makings of a
potential musical disaster. Yet, somehow, the desire of the group prevails, and
a way is found amongst the seeming chaos. The end result is a band that has
disciplined itself through the usual rigor of rehearsal. </div>
<div class="MsoNormal">
<span style="mso-spacerun: yes;"> </span>Everyone is
invited to join in. Attendance policy is fairly strict, and beginners, while
definitely welcome, are advised to be patient in assimilating the material. At
the same time, anyone who has any interest that may suit the intentions of the
organization is welcome to join; there are possibilities for participation that
are not directly music related.</div>
<div class="MsoNormal">
<span style="mso-spacerun: yes;"> </span>They can be found
online at:</div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<a href="http://www.facebook.com/extraordinary.rendition.band">http://www.facebook.com/extraordinary.rendition.band </a></div>
<div class="MsoNormal">
<a href="http://draft.blogger.com/goog_1001380405"><br /></a></div>
<div class="MsoNormal">
<a href="http://extraordinaryrenditionband.com/">http://extraordinaryrenditionband.com/</a></div>
<div class="MsoNormal">
<br /></div>
</div>
Paramesvara dashttp://www.blogger.com/profile/04392857887411381449noreply@blogger.com2tag:blogger.com,1999:blog-623399911732107626.post-6626296627621081152011-08-23T17:28:00.001-07:002011-08-23T17:28:58.916-07:00White Devils<div dir="ltr" style="text-align: left;" trbidi="on">
<style>
<!--
/* Font Definitions */
@font-face
{font-family:Times;
panose-1:2 0 5 0 0 0 0 0 0 0;
mso-font-charset:0;
mso-generic-font-family:auto;
mso-font-pitch:variable;
mso-font-signature:3 0 0 0 1 0;}
@font-face
{font-family:"MS 明朝";
panose-1:0 0 0 0 0 0 0 0 0 0;
mso-font-charset:128;
mso-generic-font-family:roman;
mso-font-format:other;
mso-font-pitch:fixed;
mso-font-signature:1 134676480 16 0 131072 0;}
@font-face
{font-family:"MS 明朝";
panose-1:0 0 0 0 0 0 0 0 0 0;
mso-font-charset:128;
mso-generic-font-family:roman;
mso-font-format:other;
mso-font-pitch:fixed;
mso-font-signature:1 134676480 16 0 131072 0;}
@font-face
{font-family:Cambria;
panose-1:2 4 5 3 5 4 6 3 2 4;
mso-font-charset:0;
mso-generic-font-family:auto;
mso-font-pitch:variable;
mso-font-signature:3 0 0 0 1 0;}
/* Style Definitions */
p.MsoNormal, li.MsoNormal, div.MsoNormal
{mso-style-unhide:no;
mso-style-qformat:yes;
mso-style-parent:"";
margin:0in;
margin-bottom:.0001pt;
mso-pagination:widow-orphan;
font-size:12.0pt;
font-family:Cambria;
mso-ascii-font-family:Cambria;
mso-ascii-theme-font:minor-latin;
mso-fareast-font-family:"MS 明朝";
mso-fareast-theme-font:minor-fareast;
mso-hansi-font-family:Cambria;
mso-hansi-theme-font:minor-latin;
mso-bidi-font-family:"Times New Roman";
mso-bidi-theme-font:minor-bidi;}
a:link, span.MsoHyperlink
{mso-style-priority:99;
color:blue;
mso-themecolor:hyperlink;
text-decoration:underline;
text-underline:single;}
a:visited, span.MsoHyperlinkFollowed
{mso-style-noshow:yes;
mso-style-priority:99;
color:purple;
mso-themecolor:followedhyperlink;
text-decoration:underline;
text-underline:single;}
.MsoChpDefault
{mso-style-type:export-only;
mso-default-props:yes;
font-family:Cambria;
mso-ascii-font-family:Cambria;
mso-ascii-theme-font:minor-latin;
mso-fareast-font-family:"MS 明朝";
mso-fareast-theme-font:minor-fareast;
mso-hansi-font-family:Cambria;
mso-hansi-theme-font:minor-latin;
mso-bidi-font-family:"Times New Roman";
mso-bidi-theme-font:minor-bidi;}
@page WordSection1
{size:8.5in 11.0in;
margin:1.0in 1.25in 1.0in 1.25in;
mso-header-margin:.5in;
mso-footer-margin:.5in;
mso-paper-source:0;}
div.WordSection1
{page:WordSection1;}
-->
</style>
<div class="MsoNormal">
<span style="mso-spacerun: yes;"> </span><span style="mso-spacerun: yes;"> </span>White Devils play rock and roll. Sitting
here with the jukebox on FaceBook blaring away, a living anachronism is
invoked: Rock with an old-school, mid-sixties feel, recorded in a lo-fi way
that captures the band somehow, transmitted via the internet, accessed through
the mind of Mark Zuckerberg. </div>
<div class="MsoNormal">
<span style="mso-spacerun: yes;"> </span>Growing out of
the West End, this band is a four-piece who have been active for the last few
months. The line-up, as listed on FB, is Stimbot - guitar/vox, <span style="mso-bidi-font-family: "Times New Roman"; mso-fareast-font-family: "Times New Roman";">Jonas
Parmelee - Bass/back vox, Richie Rebounds - Guitar, Matthew Donnelly – Skins.</span></div>
<div class="MsoNormal">
<span style="font-family: Times; font-size: 10.0pt; mso-bidi-font-family: "Times New Roman"; mso-fareast-font-family: "Times New Roman";"><span style="mso-spacerun: yes;"> </span></span>This music is permeated with
references that strike at the very roots of rock history. The Rolling Stones
and The Stooges are two groups that spring to mind. Possibly NY Dolls to a
degree. The Velvet Underground gets a mention more in terms of the ‘spirit of the
times’; at times they share a passing resemblance to an over-driven version of
the band. </div>
<div class="MsoNormal">
<span style="mso-spacerun: yes;"> </span>Even in terms of
their appearance, the throwback quality is there. In fact, the memory remains
of the August 9<sup>th</sup> show at Firehouse that in their respective mode of
dress one could draw parallels to the various influences at work- punk, garage
rock, indie, alternative. Normally the intent is to avoid this type of
commentary, but the fact was so self-evident as to be striking.<span style="mso-spacerun: yes;"> </span></div>
<div class="MsoNormal">
<span style="mso-spacerun: yes;"> </span>In a very real
sense, these guys are more proto-punk, harkening back to the roots of punk.
This may seem redundant, but in the corner of the musical world they operate
in, ‘Punk’ is still the aesthetic that is very much dominant. </div>
<div class="MsoNormal">
<span style="mso-spacerun: yes;"> </span>As mentioned
already, the production on the FB jukebox is lo-fi by the standards of now.
However, it is felt that this type of presentation is much more suited to the
bands temperament than something glossy. I really think that a more polished
production style would hamper them. </div>
<div class="MsoNormal">
<span style="mso-spacerun: yes;"> </span>The songs
themselves are a generally memorable set. ‘The World Ain’t Round Baby, it’s
square” got me all excited the first time I listened to it. And then I found
myself singing the chorus later on at work. Jason knows how to walk the fine line
between singing and yelling, and the rawness of his vocal tone adds some
urgency to the melody. <span style="mso-spacerun: yes;"> </span>Add to that a
memorable hook in the chorus and a timeless quality ala “Time is on My Side”
and I think this song will be listened to down the line.</div>
<div class="MsoNormal">
<span style="mso-spacerun: yes;"> </span>Moving through
each song on the FB player moves to a different style of rock. Moving to the
second song in the player, All In, we find an uptempo, hook-driven tune with
something of a Stooges influence. Comparing this song to the first drives home
the ever-present influence that timbre brings to bear on songcraft in
electrified guitar music. Trading timbres with the first song would destroy
everything.</div>
<div class="MsoNormal">
<span style="mso-spacerun: yes;"> </span>‘Monday Night
Girl’ is much more pop, with a catchy vocal hook; ‘No Protection’ is based on
twelve bar blues. ‘My Weakness’ is another poppy number, but a style of pop
that strikes me as being more in line with something from the soundtrack to
Stand By Me.</div>
<div class="MsoNormal">
<span style="mso-spacerun: yes;"> </span>If there were any
one area where things seem like they could be improved, I would posit the lead
guitar work. There were a couple of times during the show where it seemed like
Ritchie Rebounds was holding back to a degree, and this had a temporary
dampening effect on the energy. The same thing appears on the recordings at a
couple of spots. I don’t know what he is feeling shy about; he can play. There
were interesting ideas in his solos. They just need to be pushed into the world
with a little more confidence.</div>
<div class="MsoNormal">
<span style="mso-spacerun: yes;"> </span>All in all, White
Devils is a talented group who put on a great show. Straight up, no frills rock
and roll that will get you moving. Dig it.</div>
<div class="MsoNormal">
White Devils can be found online at:</div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<a href="http://www.facebook.com/thewhitedevils?sk=info">http://www.facebook.com/thewhitedevils?sk=info</a></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<a href="http://www.reverbnation.com/WhiteDevils">http://www.reverbnation.com/WhiteDevils</a></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<br /></div>
<br /></div>
Paramesvara dashttp://www.blogger.com/profile/04392857887411381449noreply@blogger.com0tag:blogger.com,1999:blog-623399911732107626.post-63541035073553749502011-08-10T15:05:00.000-07:002011-08-10T15:05:44.661-07:00Broadcaster<div dir="ltr" style="text-align: left;" trbidi="on">
<style>
<!--
/* Font Definitions */
@font-face
{font-family:"MS 明朝";
panose-1:0 0 0 0 0 0 0 0 0 0;
mso-font-charset:128;
mso-generic-font-family:roman;
mso-font-format:other;
mso-font-pitch:fixed;
mso-font-signature:1 134676480 16 0 131072 0;}
@font-face
{font-family:"MS 明朝";
panose-1:0 0 0 0 0 0 0 0 0 0;
mso-font-charset:128;
mso-generic-font-family:roman;
mso-font-format:other;
mso-font-pitch:fixed;
mso-font-signature:1 134676480 16 0 131072 0;}
@font-face
{font-family:Cambria;
panose-1:2 4 5 3 5 4 6 3 2 4;
mso-font-charset:0;
mso-generic-font-family:auto;
mso-font-pitch:variable;
mso-font-signature:3 0 0 0 1 0;}
/* Style Definitions */
p.MsoNormal, li.MsoNormal, div.MsoNormal
{mso-style-unhide:no;
mso-style-qformat:yes;
mso-style-parent:"";
margin:0in;
margin-bottom:.0001pt;
mso-pagination:widow-orphan;
font-size:12.0pt;
font-family:Cambria;
mso-ascii-font-family:Cambria;
mso-ascii-theme-font:minor-latin;
mso-fareast-font-family:"MS 明朝";
mso-fareast-theme-font:minor-fareast;
mso-hansi-font-family:Cambria;
mso-hansi-theme-font:minor-latin;
mso-bidi-font-family:"Times New Roman";
mso-bidi-theme-font:minor-bidi;}
.MsoChpDefault
{mso-style-type:export-only;
mso-default-props:yes;
font-family:Cambria;
mso-ascii-font-family:Cambria;
mso-ascii-theme-font:minor-latin;
mso-fareast-font-family:"MS 明朝";
mso-fareast-theme-font:minor-fareast;
mso-hansi-font-family:Cambria;
mso-hansi-theme-font:minor-latin;
mso-bidi-font-family:"Times New Roman";
mso-bidi-theme-font:minor-bidi;}
@page WordSection1
{size:8.5in 11.0in;
margin:1.0in 1.25in 1.0in 1.25in;
mso-header-margin:.5in;
mso-footer-margin:.5in;
mso-paper-source:0;}
div.WordSection1
{page:WordSection1;}
-->
</style>
<div class="MsoNormal">
<span style="mso-spacerun: yes;"> </span>Broadcaster makes
their home in Providence, aside from the recent arrival of their drummer Rainy,
who hails from scenic Worcester, Mass. They have been active on the scene since
2008, and were voted 2011’s Breakthrough Artist of the Year in the Providence
Phoenix. </div>
<div class="MsoNormal">
<span style="mso-spacerun: yes;"> </span>Creating this review
was an interesting experience for me, because I have been able to experience
two distinct incarnations of the band. One is the band itself, four members,
captured by recording technology and placed online for the enjoyment of all.
The other version of the band was the one I saw performing at 121, a three
piece, recontextualized in the moment, and presenting the music in a different
way. </div>
<div class="MsoNormal">
<span style="mso-spacerun: yes;"> </span>In comparing the
two, I find an interesting paradox, in that there was something more raw and
fundamental about the band live. The layering of two guitar parts was missing,
and the space created seemed to spawn and extra element of ferocity. At the
same time, the sonority generated on the recordings by the interplay of the two
guitars creates an extra dimension of poetry in the musical presentation.</div>
<div class="MsoNormal">
<span style="mso-spacerun: yes;"> </span>This band has
found a nice balance between songwriting and noise, two things I happen to
enjoy. Listen to the squall at the end of Drunkard’s Walk, and the way it
contrasts the vocal line and the riff writing. </div>
<div class="MsoNormal">
<span style="mso-spacerun: yes;"> </span>Another aspect of
their sound that provides a nice sense of variety is the country influence.
Their ability to contrast this with a more straight up indie rock type of sound
is demonstrated to ample effect on Passerby, the first track of Drunkard’s
Walk. Listen closely to this song for a study in stylistic variation.</div>
<div class="MsoNormal">
<span style="mso-spacerun: yes;"> </span>Moving to the
second track (Choke) demonstrates their versatility, mostly due to the fact
that while the personality of the band is squarely intact, the aesthetic evoked
is nothing like that found in the first track. Here, as elsewhere, the band
demonstrates its understanding of guitar tone as a songwriting tool. Their
ability to utilize a couple of types of tone colors at different points in a
given song goes a long way towards aiding the development. This also makes
itself felt in the relationship between Chris’s vocals and the guitar. They
complement one another. In another sense, the guitar tone seems to capture the
entire essence of the band in itself.</div>
<div class="MsoNormal">
<span style="mso-spacerun: yes;"> </span>The members of
the band are currently <span style="mso-bidi-font-family: "Times New Roman"; mso-fareast-font-family: "Times New Roman";">Rainy - drums. Moe - guitar/backing
vocals. Derek - bass/backing vocals. Chris - guitar/vocals. From what I
understand, this band is mostly the brainchild of Chris; the impression I got
watching him go off onstage was of a man exposing his own personal mode of
catharsis. Although angst-ridden, the vibe emitted isn’t nihilistic or
hopeless. It is the angst of emotional release. In the end, however, the
resulting sounds are the product of focused effort by a group of people, and
the personalities of the musicians involved enrich the proceedings in a way
inimitable by anyone else. Such is the way of things with good bands.</span></div>
<div class="MsoNormal">
<span style="mso-bidi-font-family: "Times New Roman"; mso-fareast-font-family: "Times New Roman";"><span style="mso-spacerun: yes;">
</span>The band has three webpages. You can find them on:</span></div>
<div class="MsoNormal">
<span> Facebook (<a href="http://www.facebook.com/BroadcasterRI">http://www.facebook.com/BroadcasterRI</a>)</span></div>
<div class="MsoNormal">
<span>ReverbNation (<a href="http://www.reverbnation.com/broadcasterri">http://www.reverbnation.com/broadcasterri</a>)</span></div>
<div class="MsoNormal">
<span>BandCamp (<a href="http://broadcaster.bandcamp.com/">http://broadcaster.bandcamp.com/</a>)</span></div>
<div class="MsoNormal">
<span>Their BandCamp page is especially rich with
streaming audio. In addition to the two studio recordings, three live bootlegs
can be found. They’re definitely worth checking out. </span></div>
<div class="MsoNormal">
<span style="mso-bidi-font-family: "Times New Roman"; mso-fareast-font-family: "Times New Roman";"><span style="mso-spacerun: yes;">
</span>These guys are fairly busy as a unit right now, seeming to play a couple
of shows a month. Their show dates are all readily available on their webpages.
Go see them. They kill it live.</span></div>
<br /></div>
Paramesvara dashttp://www.blogger.com/profile/04392857887411381449noreply@blogger.com0tag:blogger.com,1999:blog-623399911732107626.post-22617012723101928472011-07-31T10:27:00.001-07:002011-07-31T10:27:44.602-07:00Panther Moderns<div dir="ltr" style="text-align: left;" trbidi="on">
<style>
<!--
/* Font Definitions */
@font-face
{font-family:"MS 明朝";
panose-1:0 0 0 0 0 0 0 0 0 0;
mso-font-charset:128;
mso-generic-font-family:roman;
mso-font-format:other;
mso-font-pitch:fixed;
mso-font-signature:1 134676480 16 0 131072 0;}
@font-face
{font-family:"MS 明朝";
panose-1:0 0 0 0 0 0 0 0 0 0;
mso-font-charset:128;
mso-generic-font-family:roman;
mso-font-format:other;
mso-font-pitch:fixed;
mso-font-signature:1 134676480 16 0 131072 0;}
@font-face
{font-family:Cambria;
panose-1:2 4 5 3 5 4 6 3 2 4;
mso-font-charset:0;
mso-generic-font-family:auto;
mso-font-pitch:variable;
mso-font-signature:-536870145 1073743103 0 0 415 0;}
/* Style Definitions */
p.MsoNormal, li.MsoNormal, div.MsoNormal
{mso-style-unhide:no;
mso-style-qformat:yes;
mso-style-parent:"";
margin:0in;
margin-bottom:.0001pt;
mso-pagination:widow-orphan;
font-size:12.0pt;
font-family:Cambria;
mso-ascii-font-family:Cambria;
mso-ascii-theme-font:minor-latin;
mso-fareast-font-family:"MS 明朝";
mso-fareast-theme-font:minor-fareast;
mso-hansi-font-family:Cambria;
mso-hansi-theme-font:minor-latin;
mso-bidi-font-family:"Times New Roman";
mso-bidi-theme-font:minor-bidi;}
a:link, span.MsoHyperlink
{mso-style-priority:99;
color:blue;
mso-themecolor:hyperlink;
text-decoration:underline;
text-underline:single;}
a:visited, span.MsoHyperlinkFollowed
{mso-style-noshow:yes;
mso-style-priority:99;
color:purple;
mso-themecolor:followedhyperlink;
text-decoration:underline;
text-underline:single;}
.MsoChpDefault
{mso-style-type:export-only;
mso-default-props:yes;
font-family:Cambria;
mso-ascii-font-family:Cambria;
mso-ascii-theme-font:minor-latin;
mso-fareast-font-family:"MS 明朝";
mso-fareast-theme-font:minor-fareast;
mso-hansi-font-family:Cambria;
mso-hansi-theme-font:minor-latin;
mso-bidi-font-family:"Times New Roman";
mso-bidi-theme-font:minor-bidi;}
@page WordSection1
{size:8.5in 11.0in;
margin:1.0in 1.25in 1.0in 1.25in;
mso-header-margin:.5in;
mso-footer-margin:.5in;
mso-paper-source:0;}
div.WordSection1
{page:WordSection1;}
-->
</style>
<br />
<div class="MsoNormal">
<span style="mso-spacerun: yes;"> </span>Panther Moderns
offer up music of seeming simplicity that communicates a lot of emotion.
Broadcasting from Providence, RI, the band has been performing as a unit for
the past couple of years; its current lineup has been together for a little
over a year. </div>
<div class="MsoNormal">
<span style="mso-spacerun: yes;"> </span>As a four piece,
there is considerable room for Kate’s bass playing. Though often staying within
the limits of doubling the root motion of the guitar part, her playing conveys
a well-defined, large tone, which rounds out the bottom end nicely, coupled
with a connected, legato feel that underpins the rhythm section. The rhythmic
quality of her playing is solid, as well as the legato quality of her
basslines; her rappour with the drummer, Peter, is immediately evident. The
fact that she uses a traditional right hand style in this context is
refreshing. </div>
<div class="MsoNormal">
<span style="mso-spacerun: yes;"> </span>Concerning the
drumming, I find myself drawing the same conclusion as I did when I saw the
band at Local 121; Peter is a man who favors understatement, and manages to
compress a lot of energy in his playing. His focus seems to be on laying down
the beat while helping to shape the proceedings through fills and accents
played with musicality. This quality comes through even more forcefully live.
His understanding of pacing and dynamics helps him communicate with the band in
terms of building climaxes and the like.</div>
<div class="MsoNormal">
<span style="mso-spacerun: yes;"> </span>Way O’malley’s
guitar playing conveys a lot of rhythm and phrase shaping, put forth in a
manner that is somewhat off the beaten path of ‘traditional’ riff-writing. A
good example of this is the last track off of the player on their PureVolume
page, a song called ‘Yellow and Red.’ The verse riff is composed of two
alternating two bar phrases. The second phrase is a little lower in register
than the first. Aside from syncopating against the drums in a way that drives
the beat, the riff is developed through the course of the song as the sections
change; this development extends the emotional range of the song, and also
complements Jane’s vocal line nicely.</div>
<div class="MsoNormal">
<span style="mso-spacerun: yes;"> </span>Jane is well
suited to the task of fronting the band. She actually sings; in tune, and with
a clearly articulated upper register that allows her to cut through the guitar
line. The music geek in me is wondering if she has ever received any coaching,
because listening to her closely reveals strong breath support during register
shifts, full presence throughout the whole of her range, and good dynamic
contrast. In other words, she sounds like she has some formal technique.</div>
<div class="MsoNormal">
<span style="mso-spacerun: yes;"> </span>The music itself
has a classic metal feel to it, without being able to be pigeonholed very
easily. The songs are primarily played at midtempo, the emphasis obviously
focusing on songwriting. This band writes songs, musical miniatures that tell
stories and color your existence with emotive life. My personal favorites are
‘Too Soon’ and ‘Yellow and Red’; the former contains something vaguely teasing
and sexual about it, while still being loud and musical; Jane’s performance at
the 121 only served to reinforce that notion in retrospect. ‘Yellow and Red’,
on the other hand, contains something compelling. It is a beautifully written
song, and the oscillating quality of the guitar part matched with the shape of
the vocal line grabs your attention; Jane’s singing and the emotions conveyed
keep that attention in check.</div>
<div class="MsoNormal">
<span style="mso-spacerun: yes;"> </span><span style="mso-spacerun: yes;"> </span>While the songs showcased on PureVolume are
good, the live version of the band blows the recordings away. The band informed
me that the songs posted are lo-fi demo versions, so keep that in mind when
listening. My suggestion is to familiarize yourself with the band through the
recordings, and then expect the songs to sound even better live. In some ways,
I feel like they were playing it safe when recording the demo. This is the only
way I account for the difference in energy output. Maybe they’re more suited to
the stage.</div>
<div class="MsoNormal">
<span style="mso-spacerun: yes;"> </span>The band has one
recording available now, and is currently at work on an album at Machines with
Magnets. Their website is: <a href="http://www.purevolume.com/panthermoderns">http://www.purevolume.com/panthermoderns</a></div>
</div>
Paramesvara dashttp://www.blogger.com/profile/04392857887411381449noreply@blogger.com0tag:blogger.com,1999:blog-623399911732107626.post-56069939763459125222009-08-26T08:56:00.000-07:002009-09-01T09:05:56.575-07:00The Rest<p>The Rest are a seven piece from Hamilton, Ontario, Canada.</p><p>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.</p><p>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.</p><p>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.</p><p>That is the best way I can describe the effect that this band has had on me.</p><p>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.</p><p>The first track on the player is a song called "Walk on Water (auspicious beginnings)."</p><p>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.</p><p>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.<br />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.</p><p>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.</p><p>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."</p><p>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.</p><p>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.</p><br />Check em out at:<br /><a href="http://www.blogger.com/%20www.myspace.com/therestband"><br />www.myspace.com/therestband</a><br /><a href="http://www.blogger.com/www.therestmusic.com%20">www.therestmusic.com </a>Paramesvara dashttp://www.blogger.com/profile/04392857887411381449noreply@blogger.com0tag:blogger.com,1999:blog-623399911732107626.post-41238432589697708812009-08-24T08:35:00.000-07:002009-08-25T05:36:37.202-07:00 Sortiariae Mulier<p><strong>Sortiariae Mulier</strong> is a band from Coppenhagen,Denmark.<br />Taking their name from a sixteenth century term for a certain kind of witch (<i>Sortiariae Mulier</i>-<strong> a woman who prophesies by lots, witch</strong>) is an immediate indication of the type of impression that this band conveys.</p><p>Coupled with this arcane terminology is the general aesthetic of the MySpace page.<br />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.</p><p>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.</p><p>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.</p><p>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.</p><p>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.</p><p>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.<br />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.</p><br /><h4>Check 'em out at:</h4><a href="http://www.blogger.com/%20www.myspace.com/pauldamianc"><br />www.myspace.com/pauldamianc</a>Paramesvara dashttp://www.blogger.com/profile/04392857887411381449noreply@blogger.com0tag:blogger.com,1999:blog-623399911732107626.post-42826483206141389772009-08-18T08:22:00.000-07:002009-08-20T07:53:23.403-07:00Richard JayRichard 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.<br />
<br />
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.<br />
<br />
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.<br />
<br />
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.<br />
<br />
For a song that is just under four minutes, a huge amount of musical activity takes place.<br />
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.<br />
<br />
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.<br />
<br />
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.<br />
<br />
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.<br />
<br />
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.<br />
<br />
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.<br />
<br />
Check him out at:<br />
<br />
<a href="http://www.myspace.com/therichardjay">www.myspace.com/therichardjay</a><br />
<br />
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:<br />
<br />
<a href="http://news.bbc.co.uk/2/hi/entertainment/8208310.stm">http://news.bbc.co.uk/2/hi/entertainment/8208310.stm</a>Paramesvara dashttp://www.blogger.com/profile/04392857887411381449noreply@blogger.com0tag:blogger.com,1999:blog-623399911732107626.post-26966942397053127022009-08-09T03:25:00.000-07:002009-08-09T05:56:56.350-07:00Sarah TolarSarah 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.<br /><br />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.<br /><br />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.<br /><br />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.<br /><br />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.<br /><br />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.<br /><br />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.<br /><br />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.<br /><br />"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.<br /><br />Check her out at:<br /><br /><a href="http://www.sarahtolar.com/">www.sarahtolar.com</a>Paramesvara dashttp://www.blogger.com/profile/04392857887411381449noreply@blogger.com0tag:blogger.com,1999:blog-623399911732107626.post-37407273073698444262009-07-29T09:21:00.000-07:002009-07-29T09:38:23.442-07:00SilasComing 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.<br /><br />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.<br /><br />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.<br /><br />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.<br /><br />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.<br /><br />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.<br /><br />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.<br /><br />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.<br /><br />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.<br /><br />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.<br /><br />check em out at:<br /><a href="www.myspace.com/silasfl"><br />www.myspace.com/silasfl</a>Paramesvara dashttp://www.blogger.com/profile/04392857887411381449noreply@blogger.com0tag:blogger.com,1999:blog-623399911732107626.post-77386127316950231792009-07-22T08:24:00.000-07:002009-07-23T05:39:50.140-07:00PASBroadcasting from Brooklyn, NY, to all the known points in the universe, is PAS.<br /><br />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.<br /><br />The current line-up is divided this way:<br /><br />Robert Pepper - Keyboards, percussion, loops, various analog<br />Amber Brien - Drums, Percussion, Bass, Electronics<br />Jon "Vomit" Worthley - Guitar, Effects, Electronics, various analog<br /><br />Amber is also trained in Taiko, the Japanese drum art.<br /><br />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.<br /><br />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.<br /><br />The compositions themselves are more akin to soundscapes than "songs" in the traditional sense.<br />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.<br /><br />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.<br /><br />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.<br /><br />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.<br /><br />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.<br /><br />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.<br /><br />For another example of the bands approach to music, let us turn to the title track on the album.<br /><br />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.<br /><br />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.<br /><br />In keeping with their deep interest in visual media, there are several videos available on their MySpace page.<br /><br />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 <a href="http://www.cdbaby.com/">www.cdbaby.com</a> or iTunes and various internet dealers.<br /><br />Check 'em out at:<br /><a href="www.myspace.com/postabortionstress"><br />www.myspace.com/postabortionstress</a>Paramesvara dashttp://www.blogger.com/profile/04392857887411381449noreply@blogger.com0tag:blogger.com,1999:blog-623399911732107626.post-12979825646209732522009-07-20T07:47:00.000-07:002009-07-24T08:48:11.049-07:00RingBearerRingBearer are a slab of sonic concrete. Hailing from Iowa, these guys come on like a weapon. <br />
<br />
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.<br />
<br />
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. <br />
<br />
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.<br />
<br />
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. <br />
<br />
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. <br />
<br />
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.<br />
<br />
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. <br />
<br />
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.<br />
<br />
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.<br />
<br />
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.<br />
<br />
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.<br />
<br />
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. <br />
<br />
Check em out at:<br />
<a href="http://draft.blogger.com/goog_1248450289339"><br />
</a><br />
<a href="http://www.myspace.com/ringbearer1">www.myspace.com/ringbearer1</a>Paramesvara dashttp://www.blogger.com/profile/04392857887411381449noreply@blogger.com0tag:blogger.com,1999:blog-623399911732107626.post-55696868251677134312009-07-18T09:42:00.000-07:002009-07-24T08:44:33.529-07:00Feeding The FoxesFeeding the Foxes is a band from the land of Andre 3000 and Big Boi.<br />
<br />
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.<br />
<br />
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.<br />
<br />
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. <br />
<br />
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. <br />
<br />
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. <br />
<br />
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.<br />
<br />
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. <br />
<br />
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. <br />
<br />
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.<br />
<br />
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. <br />
<br />
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. <br />
<br />
Check 'em out at:<br />
<a href="http://draft.blogger.com/goog_1248450250364"><br />
</a><br />
<a href="http://www.myspace.com/feedingthefoxes">www.myspace.com/feedingthefoxes</a>Paramesvara dashttp://www.blogger.com/profile/04392857887411381449noreply@blogger.com0tag:blogger.com,1999:blog-623399911732107626.post-34703460370754657142009-07-14T07:08:00.001-07:002009-07-24T08:43:41.458-07:00Melted CassettesHailing 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.<br />
<br />
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.<br />
<br />
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. <br />
<br />
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.<br />
<br />
The inventiveness they display within the confines of their chosen mode of expression is indicative of their desire to engage in some serious experimentation. <br />
<br />
"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.<br />
<br />
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. <br />
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.<br />
<br />
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.<br />
<br />
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:<br />
<br />
"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."<br />
<br />
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.<br />
<br />
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 <a href="http://www.myspace.com/liberalsquid">(www.myspace.com/liberalsquid</a> ), Lovetorture Records (<a href="http://www.myspace.com/lovetroturerecords">www.myspace.com/lovetroturerecords</a>), Sunwarped records (<a href="http://www.myspace.com/sunwarpedrecords">www.myspace.com/sunwarpedrecords</a>), and Seattle based UF records (<a href="http://www.ufrecords.com/">www.ufrecords.com</a>)<br />
<br />
<br />
<br />
Check out the band at:<br />
<br />
<a href="http://www.myspace.com/sportslazer">www.myspace.com/sportslazer</a>Paramesvara dashttp://www.blogger.com/profile/04392857887411381449noreply@blogger.com0