Moving locations

Hi to anyone reading this. The content you see here can now be seen at.....

www.musicmagazine.us

This new site will be much more than this blogspot site was ever capable of being. Also, you can read my newest writings at.....

http://mvremix.com/rock_blogs/tag/paul-paradis/

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.

Band Review: Doomsday Student

     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.

     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.

     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.

     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.

     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.

Check 'em out at:

http://www.facebook.com/DoomsdayStudent?sk=wall
 http://www.doomsdaystudent.com

Also, Anchor Brain records, home of Doomsday Student, is Eric Paul's Providence based label. Please support Providence rock and roll. Thank you.

 http://anchorbrain.bigcartel.com/

    

Band review: Slonk Donkerson

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.

     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.

     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.

     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.

     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.

      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.

     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:

http://www.facebook.com/pages/SLONK-DONKERSON/256860612604

http://www.slonkdonkerson.com/

Band Review: ZORCH

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.

     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.

     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.

     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.

     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.

      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.

      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.

     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.

Check 'em out at:


http://www.facebook.com/zzoorrcchh


 http://www.zzoorrcchh.com/

Band Review: Lolita Black

     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.

     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.

     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.

     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.

     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.

     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.

Check them out at:

http://www.facebook.com/pages/Lolita-Black/92115184903

http://myspace.com/lolitablackprovidence

http://lolitablack1.bandcamp.com/

Band Review: The Viennagram

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’.

     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.

     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.

     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.

     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.

     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.

    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.

Check ‘em out at:

http://www.facebook.com/pages/The-Viennagram/127898525498

http://the.viennagram.com/

Band Review: A Troop of Echoes

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.

     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.

      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.

     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.

      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.

      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.

Check them out at:

http://www.facebook.com/atroopofechoes?sk=info

http://atroopofechoes.com/

Band Review: It's A Mountain

‘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.

      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.

     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.

     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
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.

     ‘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.

     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.

     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.

http://www.facebook.com/pages/Its-a-Mountain/122607324431470

http://www.myspace.com/itsamountain

Artist Review: Katie Laub

      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.

     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.

     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

     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.

     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’.

     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.

Check her out at:

http://soundcloud.com/katielaub/sets/noise

     

Global Crash

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.

      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.

     If we turn to a dictionary, we see the following definitions for ‘Echolalia’:

1. Psychiatry The immediate and involuntary repetition of words or phrases just spoken by others

2. An infant's repetition of the sounds made by others, a normal occurrence in childhood development.

      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.

     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.

      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.

     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.

     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.

     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.

Check him out at….

http://www.facebook.com/GlobalCrash

California Smile

     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.

     “Listen to ‘Things Not Worth Saying’.” All of a sudden my attention was diverted…

“Was that a leading tone? Some kind of dominant relationship? This is awesome!”

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.

     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.

     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.

      Concerning this album, I thought it was their newest release, until I checked the dates on the sleeves. ‘Things Not Worth Saying’ is later.

      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.

     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.

     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.

     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.

     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.

 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.

    

     Check em out at:  http://www.facebook.com/pages/California-Smile/122452896274?sk=info

http://www.myspace.com/californiasmile1

You're Under Arrest!

      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.

      I first became aware of them at the Midnight Creeps show at Firehouse 13, back in the 9^th of August. Seeing how much dedication they put into their live show prompted me to want to write about them.

      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.  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.

      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.

      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.

      ‘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.

      ‘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.

      ‘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.

     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.

     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.

      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.

     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.

Check ‘em out at:  

  http://www.facebook.com/pages/Youre-Under-Arrest-Boston/167262563284259?sk=info