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Due to overwhelming volume, OpeningBands.com regrets that is not accepting CD admissions at this time.
| by jordan schwartz (awhitesuit) / chris earnhart (Pocket) | |
1. Let It Out
2. Muy Macho
3. American Love Story
4. Slow
5. Alright
6. Hymnal
7. Flagrante Delicto (3some)
8. Several Days Away
9. Jesus Elephant
10. Buddah
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Band: Lorenzo Goetz
CD: Jesus Elephant |
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Review #1 - Jordan Schwartz
My first exposure to this band Lorenzo Goetz was maybe a month ago at the Union. I had arrived at 7 pm only to find the show didn't start until 9. The friends I came with ditched me for greener pastures. Lorenzo Goetz made their appearance on stage after 11 pm, with maybe a few dozen people left at the Courtyard Café. Despite the lack of audience, pure energy was radiated from that stage, with their mix of Beck and Sublime and a little bit of the weirdness of Modest Mouse.
And now I have the opportunity to listen to their brand spanking new cd, Jesus Elephant. Before it's even out for the general public! Take that, suckas. Right now I am listening to this CD and positively grooving. This whole disc just grooves. I can imagine chilling out with friends listening to this cd and just feeling? cool.
Some of the songs are darker, like "Flagrante Delicto (3some)." Some of the songs are more playful, and others go from upbeat dancer to chill groove, like "American Love Story." And the Jamaican influences, and guest vocals, on "Buddah," are way hip. And yes, they groove. I know I've used the word groove too much, but that's the best way to describe the album. Jesus Elephant arrives in stores November 16th. I recommend getting it sooner, if you can.
Review #2 - Chris Earnhart
Those who don't know me don't know of my love affair with Lorenzo Goetz. I've got the work of the band from their first album, Slowly, and even most of the lead singer's side or former project stuff. At first, I was not planning to review this new album, but it's the end of the wire with no second review in, so here is an educated opinion on the new album, from someone with 2.5 years of experience and countless LG concerts under his belt.
This album is absolutely amazing. I've had some reservations about their old album and EP, because it just didn't grasp the full blast of their live show. There was something missing. When I listened to them, I found myself repeating the live shows over in my head. I found that if I did not, then the album was less enjoyable.
With Jesus Elephant, this is simply not the case. Every track flows seamlessly into the next. Why I would skip a song on this album is beyond me. This album, for lack of any better way to put it, feels right. But what does it sound like?
I could say that Lorenzo Goetz sounds like the lovechild of Sublime and Beck with a hint of the Beatles and a hint more hip-hop. But that doesn't cover the variation between songs. It doesn't cover the wonderful new drummer, Jesse, and his cowbell in "Slow." (That's Jesse with a silent "e," by the way.) It doesn't cover the slight western or punk influences that feed into the music. It's hard to get bored of this album, because every song is a change from the last, but it is still undeniably Lorenzo Goetz.
Even with the changes, songs like "Muy Macho" show that the band has finally found itself in a tumble of wild influences. It's a groove the whole way through. The very sound sways back and forth, forcing the listener to do the same. This is the song that sends that shiver up your spine. It also lends itself to some opportunities for rocking.
Meanwhile, "Jesus Elephant" provides a trippy bedroom adventure, reminiscent of "Yellow Submarine." It's a bouncy, spacy song with a catchy chorus. This one is playing on regular rotation on 107.1. Finally, "Buddah" should be mentioned as it includes the musical stylings of not only Lorenzo Goetz, but Czar Absolute of Animate Objects and Brandon T. Washington of Temple of Low Men.
I apologize for the length, but it would have been longer if I had it my way. Here is the bottom line: In my opinion, Lorenzo Goetz is a must see live show for any who do not like just one type of music (unless that type is one I listed above), and Jesus Elephant is a must buy for any who likes the live show when it comes out Nov 16th. Until then, you can check them out atwww.lorenzogoetz.com.
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| by art mitchell (Art) / mike heiber (TheUglyOrganist) | |
1. Clear Blue
2. Brightness
3. Last Practice
4. Canyons
5. Seasons
6. Brooklyn
7. Adriatic
8. Half-Light
9. Highways
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Band: Lanterna
CD: Highways |
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Review #1 - Art Mitchell
Lanterna is another good example of the wide range of variety that one can obtain in the music-rich community of the Champaign-Urbana area. Lanterna is actually a one-person show, rolled out by Henry Frayne, who was part of the group The Moon Times Seven who have been part of the music scene here in town over the last decade or so. Frayne's latest effort is titled Highways and it is certainly astounding to think that one person alone accomplished this album.
The album is completely devoid of any lyrics or lyrical incantations, but that does not mean that the music doesn't speak to you. The overall sense received in the music seems to be of a very calm place with moods changing from light-hearted to heavily paced. For someone looking at the names of the tracks to try to find some correspondence between the ambience of the song and the meaning of the title, it might be hard to find. There are times in which it is difficult, like in the 2nd track of the album, in which the fast-paced strumming that echoes and fades throughout the song may not be compatible with this listener's view of what "brightness" may be, however, on the 4th track "Canyons", the acoustic guitar mixed with the electric guitar and the reverb effect gives a wonderful nighttime feeling near a canyon or ridge or mesa or something outdoorsy.
The album itself is very nice for walking on the otherwise quiet nights in your surroundings. It may seem like it's missing something without a voice to soothe your nerves, but if you're in the mood for listening to something without a whole lot of chit-chat, something to calm your mind down, then Highways by Lanterna can certainly deliver. This album will certainly compel one to dive into the rich and strong local music history of the Champaign-Urbana area.
Review #2 - Mike Heiber
For fans of instrumental, ambient post-rock type styles, Champaign's own Laterna provides a great outlet, an escape from the current world and state of mind, as the layered guitars and ambient noises swirl and merge delicately on this albums first track. Have no fear though; the album does not just repeat itself for 7 tracks. There is a lot more to hear and experience as the album progresses to a much more upbeat second track and additional surprises as the journey continues.
Although this album may not be for those listeners looking for catchy hooks and memorable lyrics, this is an obviously very carefully crafted mixture of sound, melody, and lack thereof that deserves respect on a different level. This album provides great background music while studying and I think it can be enjoyed both as background and even when listening intently. With every listen I find a new sound or faint guitar melody that stirs my interest, as it then slowly fades away again into a warm texture of sound.
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| by gabe perez (gaperez2) / yvonne guzman (QueenOfEarth1023) | |
1. No Win Situation
2. The Broken Hearted
3. Sway
4. Goodbye
5. Believe
6. Radio
7. Existence
8. Compassion
9. Listen
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Band: Broken Day
CD: Broken Day |
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Review #1 - Gabe Perez
The self titled album by Broken Day did not live up to its expectations. I went in reviewing the album with an open mind and no previous knowledge of the band. I focused primarily on the lyrics, guitar rhythm, and vocalists of Broken Day.
The lyrics proved to be broad and generalized with very little originality. For example, in Radio, Track 6, the lyrics consist of, "I sing along to the songs on the radio at work in a bar or all alone...Na Na Na..." I can appreciate The Broken Hearted in Track 2, however, there are too many other songs much like this. I thought we were passed the Na, Na, Na's. The lyrics are too "wanna be" philosophical. Broken Day is constantly searching for answers to general questions, such as in Track 7, Existence. Some of the lyrics seem a little too remedial (In Track 8, Compassion, he's tired, cold, and HUNGRY, with no where to turn or go), but with proper revisions, Broken Day is capable of improving their writing abilities.
The guitar rhythm is a unique blend of Metallica, Train, and Three Doors Down. They lack originality. Also, "Radio's" guitar notes sound a little too familiar, perhaps like the notes in Drops of Jupiter by Train. However, they do experiment with some unique string instruments, such as the violin, in Track 4, Goodbye.
As for the vocalists' performance, for their supposed hard rock album, they seem a little too college-band-whiney. I do enjoy the female vocalist's voice in Track 5, Believe. (She makes me want to believe in Broken Day.)
Broken Day needs to work on originality within their lyrics and overall recording. For now, if you like to experiment with different college bands, this may be for you. Check it out if you've got a few extra bucks. By the end of the (Broken) day, this album has potential in all aspects.
Review #2 - Yvonne Guzman
I played the album not knowing what to expect. I was told that it was "hard rock." Now, when I think hard rock, I think of something that I play after a long day of work. It often involves a lot of jumping around, getting out the air guitar and rocking out until my parents (or neighbors) complain about the noise. This was not that album. I think this album is more appropriate for the car ride home when I'm transitioning into that unwinding phase.
The album begins with "No Win Situation," a catchy tune that will leave you singing along for days without even noticing. It's a rock radio ready hit waiting to happen. Which can be a good thing or a bad thing depending on how you look at it. It has the basic rock hit song construction with the appropriately timed heavy guitar strums. Being the layman that I am I don't have the proper terminology for it, but I would say it's a mix of 3 Doors Down with Evanescence, without the girl. I think "Radio" best exemplifies where the band is at right now. It sounds like they want to be more than they are, which is a slave to modern rock radio, and they almost are.
There are some songs that start out promising with interesting hooks like "Sway" and "Existence," but then they fall into the predictable, static pattern at which point my brain turns off. The breaks, like the one in "The Broken Hearted," while not offering a completely fresh sound, provide a nice change of pace. A few soloing flourishes and harmonizing back up vocals bring the listener back into the song. The backup vocals, whether harmonizing or screaming as in "Believe," always added a subtle layer of texture. They do such a good job with that I think it would have been beneficial to use it more. Speaking of subtle, the production on this album is rather impressive. No instrument or part is overpowering and the sound comes out crisp and clear. If I didn't know any better I'd be certain this was a major label production. Getting back to the music...
"Good bye" is a stand out song on the album. It starts out with a phone call being made then cuts into the song. It doesn't make sense until you get into the song and learn that the guy is calling to say goodbye to his girl. The violin, the hushed screams and the dial tone turn what could have been an average song into a cohesive story.
Existence stands out to me as well but if only for being a prime example of one of my biggest pet peeves in music. It has a gentle melody that builds as the drums kick in and the harmony and vocals join in the party. It drifts along quite nicely and I'm totally digging it, until it stops and the song completely changes. Suddenly I'm attacked by the heavy guitars a faster tempo and a completely different tone. I think it would have been more effective, or at least more welcome, if some of the elements of the first half had been carried into the second, or if at the very least brought back in the end. It almost sounds like an incomplete song or two songs thrown into one. I like songs that build and grow more powerful as they go along but only when it's a natural flow, not when it's forced on the listener.
On the other end of the spectrum, I think "Compassion" is the winner of the album. The strings are a flawless addition to the guitar parts, and the fade at the end with the intermittent distortion adds nicely to the theme of the song. I was certainly feeling compassionate by the end.
Overall I think this is a good effort. At times, especially in the middle, it doesn't sound much different from anything you would hear on a top ten modern rock radio station, but when it does move away from that, I hear a lot of solid potential. And the artwork is pretty cool too. These guys get bonus points for excellent presentation.
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| by nellie waddell (farmernell) | |
01. Fear of Failure
02. Move On
03. Have You Ever?
04. This Way
05. Random Life
06. Misplaced (Ina)
07. Perfect Day
08. D.B.D.
09. Away
10. Worthless
11. Porch Song
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Band: Saraphine
CD: Random Life |
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Review #1 - Nellie Waddell
Saraphine's long-awaited full-length debut, Random Life, came out at the end of June. The album far surpasses the seven-track EP they put out in March '02. The five-piece band from the suburbs of Chicago plays an upbeat, completely danceable brand of pop-rock. Not too much bubble gum, but still not too hard. These guys have fun making music, and you'll have fun listening to/seeing them.
"Away," the EP's strong opening track, has been reworked and sounds even better. "Porch Song" was on the EP as a live recording. It remains an acoustic solo by singer Scott Sweeney, but now has the nice polish of a studio recording without the background crowd noise. "Worthless" was recorded for the EP, but didn't make it on. Luckily, Saraphine held onto it and put it on this album. Another improvement over the EP is the song order; slower songs never disrupt the flow of Random Life for too long.
The title track, "Random Life," is an extremely catchy story of someone who left and came back: "I'm surviving off of alcohol./Long nights alone by the stereo./You left why did you come here at all?" "D.B.D." is another quick, catchy song. So energetic, it was a great opening for their Oct. 2 Courtyard Cafe show with Local H.
Don't stop your CD player as soon as "Porch Song" ends or you'll miss the bonus tracks. They're goofy and out of place, but listen anyway. Sweeney says "Rose in a Desert Storm" appears on the album as a tribute to Saraphine's former guitarist Matt Wydra who left the band to join the Navy just after recording the song.
Despite being a proclaimed hater of pop-rock, which you'll know me to be if you read my review of Pale Morning Dawn, it's hard to find a weak point of Random Life. If I had to choose something, I'd say I don't like the end of "Away" with the unnecessary repetition of "fly away." Basically, if I have to be that picky to find something bad, this is a solid album. Saraphine will be back in Champaign Nov. 4 at Cowboy Monkey.
Review #2 - Casey Best
Chicago-based Saraphine has just released it's first full length LP, and it sounds really good. The band's pop-rock sound may sound similiar to things heard on "pop mix" radio stations, but it firmly separates itself from its distant cousins like the Goo Goo Dolls. Although the lyrics nearly all focus on common pop issues like relationships and lacking relationships, Saraphine's guitars bite a little harder, drums sound a little louder, and vocals are a little more intense than their more famous brethren.
My personal favorite track is "D.B.D." Of all the tracks, it probably shies away the most from poppiness. The guitars are distorted, and--most importantly--there is a prominant cowbell. The CD has great transitions too, as D.B.D. is immediately followed by a song that brings the pop back around full force, yet doesn't sound out of place. These tracks, as well as all the others on the album, show that the band is VERY good at what they do. The songs are all very well crafted, and the instrumentation and mixing is phenomenal. If you'd like to hear some tracks off the CD or just investigate the band a bit, go to www.saraphineonline.com.
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| by dan schreiber (franzDan) / casey best (happyhobo) | |
1. Busy Bodies
2. Dollars
3. Riding Shotgun
4. Yellow Belly!
5. Warning In Love
6. Hey Watchout!
7. Drop
8. Sunset Dues & Morning Blues
9. To You
10. Thee End
11. Exit
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Band: Asopriam
CD: Warnings |
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Review #1 - Dan Schreiber
Asopriam is an experienced Christian rock band out of Mariposa, CA (Asopriam is Mariposa practically spelled backwards). They sound like Switchfoot but with a more classic rock edge. They also seem to have a tendancy to put spoken word bible, or just random phrases into their music
I must say that I am not that much of a fan of either Christian or classic rock, and although much of the album does not do much for me, there are a few songs that I found enjoyable. On the top of that list would be "Thee End," it combines swirly, I don't exactly know what the term for it would be, but swirly, jumpy guitars over heartfelt lyics. It is on the most distinctive songs and unlike some of the others does not come off sounding preachy. Another of my favorites is the opening track, "Busy Bodies," it is pretty high paced for the album, and lets the lyrics be the focal point. At the beginning and end of the song are pretty random conversations of people, leaving a lot for interperatation. The song ends with, "Need a penny, take a penny, have a penny, leave a penny." Probably one of the most profound fortune cookie-ish nuggets of wisdom I have ever heard.
If you are into classic Christian rock you might really enjoy this album, and even if you are not there are still several great songs to mull over, but unfortunatly since they are from California, we probably won't be seeing Asopriam in C-U anytime soon.
Review #2 - Casey Best
Asopriam is a fairly traditional rock band that hails out of Mariposa, California. The songs are all pretty guitar-and-vocal driven, which works out well of the album because Asopriam is pretty strong in those departments; not ground breakingly amazing, but very enjoyable. In fact, that pretty much sums up the album. The song writing is very good. The songs are never too long, engaging enough to keep the listeners attention, and even contain some pretty catchy hooks.
The pacing on the album is good, as well. Although most of the songs are moderately fast and upbeat, they also put out a mean slow song. "Warning in Love," my personal favorite off the album is fairly quiet and slow, but has an engaging and beautiful melody. It also ends with a harmonica solo, which is never a bad thing. On the flip side, "Thee End" is louder and faster, almost sounding punk at the beginning. By the end, it's combined acoustic and distorted electric guitars to form a dense and enjoyable song. A few songs can get a little old, especially those which combine mediocre melodies and a slow beat. However, those songs are few. In the end, the CD is fun to listen to from front to back, despite having a few lagging songs.
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| by will kurlinkus (Juggernaut2001) / phil prather (AnalogBoy) | |
1. American Idiot
2. Jesus of Suburbia
3. Holiday
4. Boulevard of Broken Dreams
5. Are We The Waiting
6. St. Jimmy
7. Give Me Novacaine
8. She’s a Rebel
9. Extraordinary Girl
10. Letterbomb
11. Wake Me Up When September Ends
12. Homecoming
13. Whatsername
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Band: Green Day
CD: American Idiot |
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Review #1 - Will Kurlinkus
After four long years of waiting (supplemented by re-release and B-side albums such as International Superhits! and Shenanigans) Green Day fans have finally been rewarded with the triumphant return of a much more matured band and the album American Idiot.
American Idiot truly shows how age and experience can affect a band for the better. Using tracks including "American Idiot", "Holiday" and "Jesus of Suburbia" as a weapon Green Day is quick to attack the political state of the nation placing the Bush administration in the cross hairs.
Although Green Day has matured in content the way it is presented is the same old choppy power chords, which I was pleased to hear again un-affected by age and maturity. The album also contains two nine minute long "rock operas" ("Jesus of Suburbia..." and "Homecoming...") which could be perceived as cutting-edge or just a slapping together of a couple songs that were too short to stand alone.
Brilliant flow; a great balance of ballads ("Wake me Up when September Ends"), catchy pop punk hard hitters ("American Idiot") and slower arena rock ("Are We the Waiting"); the same great Green Day sound—these are the reasons that Green Day fans will not be disappointed with American Idiot. The album is definitely cutting-edge for Green Day but sound and style are still what will win over fans in the end.
Review #2 - Phil Prather
Since the day American Idiot entered my CD player, I don't think there has been a day where I haven't listened to it (and I got the album the day it came out on Sept. 21st). I'm a fan of just about everything Green Day has put out (Including their cover of "I Fought the Law" for that Pepsi commerical), and I personally think this is Green Day's best release. They've gone from singing about masturbation in front of the television to singing about political and social issues. Which is perfectly fine with me, I didn't want Green Day to keep singing about the same things for their whole career, but now on to the songs themselves.
Green Day doesn't waste any time, they start off the album with a fast-paced punk-rock social anthem. "Don't wanna be an American Idiot / One nation controlled by the media / Information age of hysteria / Is going out to Idiot America" The song is fast, it's loud, it's catchy, it's Green Day. "Jesus of Suburbia" is a 9 minute "punk rock opera" (as I hear it being called over and over). The song is 5 short songs that are steamed together. The songs flow smoothly together and it took me a few listens to figure out where one song ends and the other begins. The more I listened to the whole album, the more I liked it. The album as a whole flows from the opening power chords of "American Idiot" to mid tempo beat of "Whatsername". To get the full feel of how well written this album is, you should listen to it from beginning to end.
Billie Joe Armstrong brought some of his best song writing to this album while Mike Dirnt punches out strong catchy bass lines and Tre Cool keeps a strong beat on the drums. "Holiday" is probably my favorite song, and probably the most politically charged. During the bridge, Billie Joe belts out some strong words which (I'm pretty sure) are talking about issues about the war; "Zieg Heil to the President Gasman / Bombs away is your punishment / Pulverize the Eiffel Towers / That criticize your government" .
The songs on this album range from the standard fast Green Day punk songs ("St. Jimmy", "She's A Rebel" ) to more slow melodic songs ("Give Me Novacaine", "Boulevard of Broken Dreams"). I can't stress enough how much I enjoy this album, this is probably my favorite album of the year. If you are a fan of Green Day, old or new, I recommend picking up this album. It's still the same Green Day you know and love, just more grown up.
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| by travis wayne hurt (FIELDOR) / jessica cochran (lemmingcontrol) | |
1. Yellow
2. Blue
3. Red
4. Orange
5. Green
6. White
7. Pink
8. Purple
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Band: Crayola
CD: Sidewalk Chalk |
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Review #1 - Travis Hurt
I did a few "scientific" tests to determine which color of Crayola sidewalk chalk is the overall best. First I ate some of each color. If you are ever chalking the quad, and the ground opens up and swallows you, and all you have left to live on for the rest of your life is chalk, after reading this review you will know which piece of chalk to save for your last meal so that you can die happy. Next I needed to test the actual performance of the chalk, so I actually wrote with the chalk on two different surfaces. One was the actual sidewalk (which you may think is the only test that matters IF YOU ARE STUPID). The other surface was my clothes hamper. Finally I tried to light each piece of chalk on fire to see which colors were most resistant to flame. This involved holding each color in a flame for ten seconds.
Overall Yellow proved to be the best chalk to eat. It left a taste in my mouth that reminded me of walking in the woods, and it practically disintegrated as soon as I put it in my mouth. There were a few other odd surprises. Orange was the only piece that had a taste that I would consider "chalky." Pink made my eyes start to water, and I did not enjoy that at all. Green had no taste, and did not dry my mouth. It was practically like breathing in air. Purple was by far the worst, because I could not get all of the grit out of my mouth for a good fifteen minutes.
White chalk has dominated the chalk game for years. Teachers all over the world use it to write the names of bad children on the chalkboard so that anybody who comes into the classroom can see who was not behaving that day. After conducting my tests, I have no idea how white is still considered to be the favorite. When I wrote on my clothes hamper with all of the chalk, white was the color that was the LEAST visible. Now, this could be because my clothes hamper is white, but I still believe that it is because white chalk is inferior. As far as the rest of the colors, purple was the worst overall on both surfaces. For some reason it was impossible to obtain a smooth stroke when using the purple chalk, and it was by far the hardest color to see on the sidewalk. Also when I ran my hand over all of the stripes, purple was the one that smeared the most. Overall blue had the smoothest stroke on both surfaces, and was easiest to read on the clothes hamper. Red was the most noticeable color on the sidewalk when viewed from fifteen feet in the air. Yellow was the most hardy color, because it did not smear at all when I ran my hand over all the colors.
The flame test was ridiculous and proved nothing. After eating and writing with all of the chalk pieces, I was only left with small nubs of chalk. The thing that obtained the most damage from the flame was my thumb because each piece of chalk was about a half an inch long., which put the fire MUCH TOO CLOSE to my hand. Red and purple stood up to the flame the best. Yellow and green showed the most fire damage.
After conducting all of these HIGHLY necessary tests, I can conclude that yellow is the best overall color of sidewalk chalk, and purple is the worst. I think that I would rather try to write on the sidewalk with a dead salmon than ever have to use purple sidewalk chalk again.
Review #2 - Jessica Cochran
I got a burned copy of the Crayola Chalk from Travis. It looked pretty scratched up, like someone chewed on it or something, but I put it in my CD player anyway to see if it would play. The player was skipping like crazy, and then it started smoking and sparks were flying out. (If anyone has a portable CD player for sale let me know). I decided I would have to try to review it some other way.
I went out to the sidewalk to see what it sounded like when you used it for its true purpose: writing things on the sidewalk. The production on this chalk was mediocre at best, making a very scratchy noise. I think perhaps it was supposed to be some lo-fi grunge chalk or something, you know, fuzzy sound quality and stuff.
Once I got past the bad production though, I saw that you could make a decent album cover with it. Which I proceeded to do right there on the sidewalk. It was pretty kick-ass if I do say so myself. I would have taken a picture, but it started raining before I could get my camera, and so it all washed away.
This product obviously has no staying power out in the real world, but it's pretty cheap, so if you like playing hopscotch or promoting things by writing on the sidewalk, then Crayola is the way to go. www.crayola.com
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| by scott woods (Monophonic81) / gabe perez (gaperez2) | |
1. Headlecs
2. Anew
3. You Don't No
4. Graduation Day
5. Eye to Eye
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Band: The Fue
CD: The First EP |
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Review #1 - Scott Woods
So The Fue sent a sweet ass photo with their EP, The First EP, in which they look like pretty good buddies, pretty good buddies that like the colors black and white. However, that may be a little unfair since the photo is in black and white. In any case, the actual photo was not the interesting part, on the back was written a short bio which included a "sounds like" section. I always hate that because it puts an expectation into your head that in many cases will be wrong. For instance, their photo says they sound like, including others, Bruce Springsteen. To compare The Fue to Bruce, The Boss, E Street, etc, would be like me handing you a sandwich and telling you it is PB&J when it is really grilled cheese. Hey, it's still a sammich, buddy. Hey, The Fue has guitars and drums just like Bruce.
Ok, now that I am done with that, let's discuss what The Fue really is. They are kind of in that genre of classic rock meets new rock, with what I feel is more a leaning towards classic rock. Don't be fooled, it is still a very much produced sound, but the intentions and skills are there. No better example of this is track 3, "You Don't No". It starts with a very unnecessary voiceover that makes me want to immediately skip the track. However, about 20 seconds in, the song turns into a pretty decent rock song that ends with a good guitar solo. Their latest single, "Headless", Track 1, is another example of this. It starts off with a very short accoustic solo that seems like guitar skills masturbation or something because they never really come back to it. Again, after that the song is pretty rockin'.
That kind of sums up my feelings on all of the songs. I find there are uncessary parts in each of them that make me want to skip them, but if you listen through, it's not too shabby. I feel The Fue would be a great live show where their songs would be devoid of all of the production this EP brings. In a live show I can really sense that they would let their classic rock tendancies take hold and drive home a powerful show. This would be lead by their strong bass lines and the gritty sound of lead singer Jeff Hayashi's vocals. If they are coming through your area you should definitely check them out, but you may want to sample the EP atwww.thefue.com before purchasing it.
Review #2 - Gabe Perez
The Fue come off as a misunderstood rock band, but prove to be soft on the inside. I think the band is having trouble finding their exact style, and what it is they want to sound like. The Fue are quality musicians but lack consistency in their style. Once they find their style, I am sure their music will come together with a little more synchrony.
In Track Number One, The Fue let us see their quality guitar playing along with their classic rock style. Initially, I compared the band to Pearl Jam. I believe this is what the band is going for. The problem, however, are the lyrics. In Track Number Two, Anew, The Fue takes a completely different direction in style. Some of the lyrics in Track Two consist of: "It's all up to you. You can do anything...Be as quick as the wind...Shine on." The hard-rock image is definitely defeated by these pop lyrics. It sounds like an inspirational song one would expect from BBMAK.
Another problem that lies within the lyrics are the repetitions. The Fue return to their Pearl Jam-like style, but continue to repeat the phrase, "You don't know." The repetition becomes rather annoying. The Fue are right, we don't know, so I wish they'd explain using other lyrics. In Track Four, Graduation Day, The Fue return to a very sweet John Mayer-like beginning. The song loses its consistency and continues to change its course by returning to a classic rock-like tune. The lyric repetition becomes a problem again in Track Four. The Fue keeps repeating, "Ever since my graduation day..." I worry that the viewer may focus on the repetitions the first time around and miss the track's underlying theme. By Track Five, Eye to Eye, I became annoyed with the first person point of view. All five songs seem to be about the lead singer's disappointments in life. I would be interested in hearing a song by The Fue that is not a personal story, but rather one told by a different speaker.
I was not too impressed with The Fue. However, I do think they have great potential. I believe this will be made apparent once they find what it is they're looking for. For now, The Fue need to make up their minds about whether they want to be pop inspirational or a misunderstood rock band.
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| by scott woods (Monophonic81) / phil prather (AnalogBoy) | |
1. Take it to the Man
2. Bye Bye Bye Bye Baby
3. Do you want me?
4. Glass Hell
5. Sick Times
6. Dead Beat
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Band: The Dials
CD: Sick Times |
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Review #1 - Scott Woods
I'm gonna toss this out there, say what you will, but I am a sucker for chick rock. My only complaint about exclusively, or mostly, female bands is that there seems to be a boys vs. girls mentality that permiates throughtout their music. I don't understand why every song has to be a battle cry for women. That is why I was somewhat hesitant on listening to The Dials new EP Sick Times. With titles such as "Take it to the Man" and "Dead Beat" I felt I was holding a musical call to arms for the fairer sex.
About 14 seconds into the first track, "Take it to the Man", I didn't care what the lyrics were because that's when you first hear the organ. Unlike many groups using keys nowadays, The Dials don't use it just as a harmony in the background. It sounds like it is straight out of the late '60's. When it's not rockin' the melody, it is providing an important counterline to the vocals, at many times more important than the guitars. It really gives The Dials a sound that is very rare, a properly blended mix of old rock (not classic rock like on the radio, but old like the 50s and 60s stuff that you can only really hear on your dad's old vinyl collection) and new punk rock. It is really hard to put it into words, but I know one thing, I like it.
The vocals are also a strong point of this EP. They don't go over board on the characteristc female punk/pop/rock sounds. They actually put thought into how their vocal lines fit togehter on top of each other. Many times there are competing vocal lines going at the same time and it works perfectly, mainly because it doesn't feel like they are "competing". This is also a strong credit to the production of the CD. I really did not find any weak points in balance of sounds or levels. It is really well done.
In all, there is not a loser on the album. Each track sounds different enough that you can listen to all 6 twice in a row and not get bored and then as a bonus you have tricked yourself into thinking it is a full length album! This one is definitely a keeper and I look forward to seeing them live sometime. Get more info on them and sample some of the tracks from Sick Times at their very pink website www.thedials.us.
Review #2 - Phil Prather
It's almost as if the Dials came here from the past and took an element or two from each decade of rock n' and roll and crammed it all into their own style. They took the beach party rock vocal harmonies from the 60's and also picked up an organ player from a British garage rock band. In the 70's the Dials picked up the attitude and 2 minute tongue-in-check songwriting ability from the Ramones. And in the 80's they took the guitars, catchy pop appeal and sweet sounding female vocals from the B-52's. The Dials bring all these elements together, and they make it work!
The Dials crank out 6 catchy songs in this EP, all of which clock in less than 3 minutes. They know how to write a catchy hook and they do it well enough that every song sounds unique (and that you don't think you're hearing the same 2 or 3 songs over and over). I think my favorite song would be the titled track, "Sick Times". The first verse kept getting stuck in my head, but with lyrics this catchy it's hard not to; "Television makes me eyes (eyes) hurt / You got what I want under that shirt / My headache aches / I got the cold shake shakes". All six songs are good, I can't complain about anything I hear. You've got sweet sounding female vocals, crunchy guitars, groovy bass lines, hard hitting drum beats, keyboards, and even some cowbell (Okay, maybe we could use some more cowbell).
I like the Dials, they are a breathe of fresh air compared to what I normally listen to and I will definitely have this CD in my player for a while. I look forward to seeing the Dials live if I ever get the chance. Check out there website to hear some of their songs off this EP. www.thedials.us
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| by chris earnhart (Pocket) / jennifer willis (KimDeal) | |
1 - Jesse James
2 - After Dark
3 - Big Sid
4 - Sleep All Day
5 - Murder of Crows
6 - Punched Out Eye
7 - Love You So Much
8 - Shadow on the Moon
9 - Marquee
10 - Peace of Mind
11 - Dead Hollow Tree
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Band: Flatfoot
CD: The Legend of Big Sid |
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Review #1 - Chris Earnhart
Flatfoot is an alt-country band from Michigan who have a really solid sound, and know exactly what they want out of their music. Do they get what they want? I would say so. Alt-country, in my opinion, can head one of two ways. It can go the low road of twanginess and cliches (cough...CMT...cough), or it can take the high road of great western feel an innovative, down-to-earth lyrics.
Flatfoot has the very western feel with just a hint of the twang in the vocals. And this album starts off with my favorite track and a great example of such music, "Jesse James." Starting with a harmonica, then adding the guitars and vocals, this song is exactly the kind of thing I can see myself rocking out to. It's something that could bring all the farmers back home and the rocker in me together.
For those who are afraid of country, you won't find anything about lost trucks or love here, with the exception of "Love You So Much," which is a little closer to normal country. But you still won't hear any remnants of Garth Brooks. Indeed, the whole album has an epic-tale feel to it, with all the songs unfolding the sad story of Big Sid. This means that it flows really well and is a good album to listen to from end to end.
As someone who REALLY doesn't like regular, twangy country, I highly recommend this album to any fan of country, alt-country, and even fans of rock who are looking to broaden their musical horizons. If you have your doubts, then you can always check them out at www.flatfootmusic.com. Enjoy!
Review #2 - Jennifer Willis
When I first heard that Flatfoot was an alt-country band, I immediately imagined a mix of Wilco, The Flaming Lips, or the Old 97s, but to no avail. Flatfoot is the original alt-country, Johnny Cash meets Guns and Roses. They hail from East Lansing, Michigan and get their name from a campfire tale frequently heard by the two brothers who founded the band in the fall of 2000. They are currently touring throughout the Midwest and with the addition of the percussion stylings of Erik Miller, have recently released their second album.
During my first listen to The Legend of Big Sid, I was a little disappointed by their lack of folk-y, upbeat ballads, but soon I became entranced by these talented musicians. Their balance of electric guitar, banjo, drums, and twangy vocals makes up an exceptional sound that makes this CD definitely worth listening to. The album begins with a kick-ass harmonica solo, which disappointingly does not appear again throughout the rest of the tracks. The title track, like the band, is based on a local legend. "Big Sid" is "a man who is burned in a sawdust blaze and driven mad... and breaks free to haunt a nearby summer camp forever." These folk-lore lyrics add to the music's reminiscence of childhood, summer camp, and County Fairs with my parents. As I continued to listen I was struck by the evocative lyrics in "Sleep All Day," that state, "One day you're gonna wake up and realize that life got away."
The two Bale brothers and Tom McCartan all provide vocals for Flatfoot, which makes the general music style a little inconsistent. I think I would like the vocals better if there was more harmony between all three musicians. Whoever sings on the first track has a very distinct gruff voice that gives a unique style to the band, although I like the vocal-style on "Big Sid" the most. I am not especially fond of the vocals on the sixth track, as they are extra-twangy. As I heard the lyrics, "Dhars nutin' wrong with bein' sorry," I couldn't help but think, sure there is, sounding like every other country song out there. "Love You So Much" was a little more up-beat and much more enjoyable. I caught myself tapping along. I especially liked the catchy guitar line at the beginning of "Peace of Mind."
Overall, there were many great songs, but a good chunk of the tracks crossed that line into traditional twangy country. For those of you alt-country fans like myself who enjoy a good dose of Wilco every now and then, this CD is not for you, but for those of you who are diehard rock and country fans, I say definitely check these guys out. They would be a fine addition to your CD collection.
For more information, visit the band's website at www.flatfootmusic.com.
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| by jessica cochran (lemmingcontrol) / chris earnhart (Pocket) | |
1. Red Tide Surfing
2. The Magician
3. Pieces of Dead
4. Next Life
5. IPJ
6. Colored Red
7. Jack Bass
8. Big Move
9. Heat Gets Hotter
10. I Give Up
11. Lazy Trophies
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Band: Clean Ray
CD: Red Tide Surfing |
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Review #1 - Chris Earnhart
Clean Ray is a cool, jazzy, alt-rock band from Carbondale. Their alt-rock music is given a jazz feel with keyboards and the occasional saxophone combined with very lounge-music vocals. Clean Ray definitely has a unique sound among the many up and coming bands out there, and it comes out in this album.
To the credit of Ride Tide Surfing, the only thing that I can find wrong with the album at all is that the songs are sometimes too short. With many songs that have very good choruses and great opportunities for more verses, many leave me wanting more.
That being said, one my favorite songs, "The Magician," is actually the shortest. And, while I do wish it were longer, it is still a great song. With a carnival like feel on the keys, and an old-timey echoey feel to the vocals, the song has a creepy feel as it tells of a man who is controlling us all with his magic. Even with its short playtime, the song still manages to fit in a slow, quiet beginning that leads into some rocking out and then follows it with a final chorus and a great ending.
In contrast to this song, and showing the band's great grasp on diversity, is "Jack Bass," which starts with some bongos and very tropical feel to it and heads into the fast jazz/alt-rock that is the band's signature. It is a very catchy tune about a young man born with a fishhead who is back for revenge. After you hear it, I can almost guarantee you'll be singing for a good portion of the rest of the day. But this is one of those songs that one would love to have stuck in his/her head.
As a whole, the album's flow is slightly messed up by the short length of the songs, and I sometimes find myself going back to songs I've already heard in order to extend their stay in my mind. But with a range of great songs from the slow, sliding bass and light vocals with the great lyrics of "IPJ" to the hot rocking of "Heat Gets Hotter," there is little to find fault with in the album.
I would highly recommend this to anyone interested in hearing something, anything new. It is a refreshing breeze from the past of lounge-jazz in the world of rock, and, in my humble opinion, it brings the two together perfectly, leaning on the rock side a litte more. Check it out or get in contact with them via e-mail at cleanray@rock.com.
Review #2 - Jessica Cochran
Red Tide Surfing is the first album to be put out by the Carbondale based band Clean Ray. This is an amazing and original album, and is like a fresh breeze to my ears after the recent flood of emo bands.
Most of the songs on Red Tide Surfing are fast-paced rock with influences of jazz and swing. There are interesting and engaging guitar riffs in most of the songs, and the two guitars do an excellent job of playing off each other, especially in "Jack Bass". The bass lines are also jazzy and fun in most of the songs, adding a strong backing for the guitars. The drums are solid, sometimes adding in extra percussion like the bongos. When the keyboard and occasionally a saxophone join the fray, you get a wall of sound that draws you in and makes you want to dance. The keyboard generally has a normal piano sound, but changes to an organ for the slower "The Magician" and adds a more synthesizer sound for "I Give Up".
Not only is the musicianship of this band great, but the vocals are also spectacular. The lead singer's voice is hard to describe, all I can think of when I hear it is a classic sound from the 40's. It is full and strong and smooth and fits perfectly with the sound of the music. There are also some great harmonies in many of the songs. The lyrics are also very interesting and are another thing that makes this band so original.
All these parts come together to make for a pleasant half hour of listening. And therein lies the only fault I see in this album. All the songs seem like they are over too soon, most clocking in at a little over two minutes. My highlights of the album are "The Magician", "Jack Bass", and "I Give Up", although all the songs are great. I definitely think you should pick up Red Tide Surfing as soon as you can, but if you need a sample before buying, check out some mp3's at their new (under construction) website: www.cleanray.org, or try to catch one of their rare shows in the area.
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| by casey best (happyhobo) / jessica cochran (lemmingcontrol) | |
1. Shrug (with E-Ditty intro)
2. Aftermath
3. Waiting on Charlie
4. Serenity
5. Things I've Seen
6. Often the Distance
7. Windy and Warm (J. Loudermilk)
8. Suits Me Fine
9. C-Ya On Down the Road
10. Thougts (LeMar/Berchtold)
11. A Major Jam
12. Amazing Grace (Newton)
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Band: David Berchtold
CD: Things I've Seen |
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Review #1 - Casey Best
There's a lot of folk acoustic singer/songwriters out there. Some stake a claim with complex guitar patterns, some write profound lyrics, and many find some mixture of both. On this spectrum, Illinois native David Berchtold sits on the "guitar skills" end of the spectrum, although with a strong base in emotional lyrics as well. His licks on the guitar sound lazily smooth, although the flow hides the playing ability of a seasoned veteran.
Though other tracks on the album have lyrics, Berchtold's folk skills are apparent on tracks like "C-Ya On Down the Road," a finger-picked instrumental that can only be described as "toe tapping." In the song, he is able to keep the rhythm without drum or bass, all while keeping a melody that pulls the listener in. The last track on the album, an instrumental cover of "Amazing Grace," ends the album on a much more serene note. Fully acoustic, the song is a wonderful example of how Berchtold's music is able to convey emotion on a much more simplistic scale, without the use of lyrics.
Review #2 - Jessica Cochran
Things I've Seen is a collection of original songs along with a couple covers arranged by folk artist David Berchtold.
Most of the songs are instrumental finger-picking with only four having vocals. The songs are seemingly simple, consisting of only two acoustic guitars. Berchtold proves his songwriting prowess by portraying emotions with simple guitar music. This range of emotions goes from upbeat and happy, as in "Shrug", to the peacefulness of "Serenity", to a more down tempo sound like that in "Often the Distance". I also highly enjoyed both arrangements he did on his covers of "Windy and Warm" and "Amazing Grace".
Not all of the songs are completely instrumental, as mentioned before, and Berchtold's skill in writing lyrics and singing pretty well matches his musicianship. His lyrics are meaningful and create interesting stories to listen to. His vocals are soft and mellow, meshing well with the soft acoustic sound he creates.
Things I've Seen is a wonderful collection of finger-picking folk music. I highly recommend it to anyone interested in folk or soft music that can blend into the background. www.davidberchtold.com.
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| by matt croisant (Croisant) / jordan schwartz (awhitesuit) | |
1. Don't Tell My Friends
2. Coffee & Amphetamines
3. Hudson River Parkway
4. Me, Myself & I (and Sometimes You)
5. UAL 7278
6. Before You Cut
7. More Than 5 Out of 10
8. The Most Crowded Rooms
9. Terminal 2
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Band: Kris Racer
CD: Time Spent On Airplanes |
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Review #1 - Matt Croisant
Going into my first listening of Kris Racer's first album, Time Spent On Airplanes, my only real expectation for the music was what I had been told -- "it's a guy that plays acoustic guitar and sings." As it turns out that was a pretty accurate assessment. The musical texture is male voice accompanied by acoustic guitar, with the occasional overdub of vocal harmonies or a second guitar part. This comparatively simply instrumentation combines with the equally simple, clean production to create an intimate, personal setting, very much like seeing a singer/songwriter in a smallish coffehouse.
Not being particularly familiar with the style myself I asked around a bit and it seems likely that this music would fall under the wide umbrella of "emo." On the guitar front we're presented with a driving combination of strumming and chunky palm-muted chords, and with the occasional single note picking thrown in it's enough to keep things interesting. The songs are generally uptempo and harmonically simple, although there are a few moments, such as the end of "Coffee & Amphetamines," that speak of a willingness to step at least a little outside the conventional box. The lyrics, which have been thoughtfully provided in the liner notes, are personal and sometimes pleasantly insightful, though not exceptional. Which is, I suppose, how I would characterize this album as a whole.
Really the only significant flaw, as I see it, in this otherwise decent album is the quality of the vocals. Kris is giving a passionate performance, but it seems to me as though sometimes his enthusiasm outpaces his ability to control his voice, and his pitch and tone control suffers for it. For me this was a pretty significant problem – and as a die-hard Smashing Pumpkins fan I'm no stranger to unorthodox voices – but I recognize that tolerances vary.
I didn't like this album enough to recommend it outright, but if you enjoy direct, relatively simple music with a pop/punk tinge I would recommend checking out Kris Racer's website at http://www.krisracer.com/music.shtml and listening to the mp3s that are available there. "Before You Cut," "The Most Crowded Rooms," and "Hudson River Parkway," which is probably my favorite track on the album, are a good sample of Time Spent on Airplanes as a whole, so if you enjoy those tracks it's probably a CD worth picking up.
Review #2 - Jordan Schwartz
Kris Racer sounds like your average college-aged guitar playing emo kid. He plays the acoustic guitar reasonably well and writes what are at some points decent lyrics. I can see him playing at many open mic nights and writing his songs until the early morning. On Time Spent on Airplanes this formula just doesn't work. The biggest problem I have is Kris's vocals. They sound off key and strained, but they are passionate.
The songs themselves sound very typical. Formulaic acoustic nu-emo, if you will allow the invention of such a term. But there is promise. Especially in the last song, an instrumental "Terminal 2". If Kris took singing lessons and wrote more interesting songs he could develop into a interesting artist a few years down the road. I guess my advice for Mr. Racer is to keep at it.
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