|
Due to overwhelming volume, OpeningBands.com regrets that is not accepting CD admissions at this time.
| by chris earnhart (Pocket) / steve sobel (steve) | |
1. Long Way to Texas
2. Family Reunion
3. Everyone But Me
4. T.C.S.
5. My New Reality
6. Lights in December
7. The Answer...
8. Through Your Eyes
9. Looking Down on Skyscrapers
|
 |
Band: After Sundown
CD: Run For Your Life |
|
Review #1 - Chris Earnhart
If you're looking for a good pop punk band, then you should check out this album. While After Sundown does little to distinguish themselves musically from other pop bands, they do still have a good spin on an old thing. Both "My New Reality" and "Lights in December" have very well-written lyrics and are excellent songs, and these two songs definitely make this album a good one.
The album's sound, however, was done poorly in places, making it hard to make out the lyrics, and making the music sound a little fuzzy at times(grant that I only have an advance copy that isn't the final thing!) Other than that, I would say that this is a good solid album for a pop punk fan, but that "My New Reality" and "Lights in December" are good songs for anyone to check out. You can get more info on the band and check out "Lights in December" (hooray!) among other songs at their website, www.aftersundown.net. While your there, look up the lyrics to some of their songs. While a few follow the common pop-punk genre, many others have a uniqueness all to their own(hah...that's a joke son, a joke....unique and all their own...get it...it's the same...o nevermind...is it that late already?)
I would suggest that any music fan that does not stubbornly confine themselves to any one type of music should go to a concert or two of After Sundown's for a good show(listen for Lights in December!!), but maybe the album should be passed on for now should the sound quality not be improved.
Review #2 - Steve Sobel
After Sundown's "Run For Your Life" is immediately catchy, but the one downfall of this
CD is immediately clear as well - the plain and unfortunate fact that local bands cannot
afford expensive mastering and production processes. There's just something of a muddy
quality that takes the sharp edge off of very well written and catchy guitars, and the
proper feeling out of some of the vocals.
Despite that fact, After Sundown put together some great tracks. "Long Way To Texas"
opens up the album in typical pop-punk fashion with guitars that would certainly induce
crowds to bounce, and upbeat sounding vocals.
With the opening guitar riffs and the clean, quick drumming in "Family Reunion", it
becomes obvious that After Sundown are proficient with their instruments (please
suppress your chuckles, that wasn't sexual innuendo). These guys mean business, and
they clearly made an effort to come out with a strong debut record.
As seems to be typical of pop punk CDs as of late, "Run For Your Life" offers the 2000's
version of a power ballad - a rock ballad stuck onto a pop punk CD. While this concept
is not exactly uncommon - okay, it's frankly cliched - "Through Your Eyes" really is a
good song, and definitely worth a listen.
All in all, After Sundown have put together some great songs. Unfortunately, it's very
possible that the lack of production will hurt them in the longrun - this CD contains some
songs that could easily fit in with a lot of today's radio programming, but the songs
are not done sufficient justice for radio exposure of this recording. It's hard to tell
a hardworking local band something like this, but it is this reviewer's humble opinion that
After Sundown would benefit greatly from saving up some cash and taking this album back
to the studio sometime in the future.
|  |
| by brian tracy (TwilightBurning) / steve sobel (steve) | |
1. Long Way from Here
2. Knew it all Along
3. Traveler
|
| Picture Not Available |
Band: Knockhopper
CD: 3 Song Demo |
|
Review #1 - Brian Tracy
Knockhopper manage to evade many of today’s modern rock clichés.
They actually have distinguishable guitar solos.
They sing and don’t scream or rap.
All in all Knockhopper have a lot going for them already.
On their three track demo Knockhopper seem to define themselves as modern, yet different and still palatable. Their rock is more like the rock of Metallica in their comeback mode that the current rock of Linkin Park in their remix mode.
While Knockhopper have a steady ground to start with there are some things that don’t work as well as others. While the singer has a good voice he does little to make it more original or standout, it has a constant flow, while at times is great and at times doesn’t add enough to the song.
In “Long Way from Here” the guitar lacks much progression, the same simple, catchy, riff repeats most of the song. For a good portion of the track this technique works fine, halfway through the track however the riff begins to grate, repetitiveness can only last so long.
While there are some down points to the demo, it is only a demo. Given the state of rock, it is also a better start than many bands out there. More experience in playing and recording can only give Knockhopper the talent to better refine their music.
Review #2 - Steve Sobel
Rock 'n Roll. I haven't heard it in a long time. In a market saturated with "pop punk", "emo", and "nu-metal", Knockhopper are a breath of fresh air.
Their songs certainly have a degree of influence from a lot of mainstream rock, but they're an amalgamation of enough different sources that they do
create a distinct sound - and that sound is pretty damn good. At first listen, I admittedly thought of it as more generic, unbrandable rock - a'la
puddle of hoobestnickelback saliva. However, all it took was a second spin of the disc to find myself tapping my feet and paying closer attention
to some of the really fun guitar work they toss into their songs.
Each track actually has its own distinct sound, which is often difficult for a band to pull off on a demo with just three songs. The particular
stand-out would probably have to be "Knew it All Along", a smoothly transitioned mixture of various degrees of rock from "regular" to "hard".
The only thing really lacking is a bit more adventurous drumming. The drums on this demo would be fine elsewhere, but there's some pretty good
songwriting here, and some guitar work that just isn't done justice by the rather predictable drumming. Still, good drumming instead of great
drumming isn't exactly a poor thing, just a bit disappointing.
Knockhopper certainly has potential, and if they're not drawing crowds in their home of Chicago already, they probably will be in the not
too distant future so long as they work hard and play a lot of shows.
| |
| by katie haley (comfortablybummed) / ben erickson (pyrotroll) | |
1. All My Life
2. Low
3. Have It All
4. Times Like These
5. Disenchanted Lullaby
6. Tired of You
7. Halo
8. Lonely As You
9. Overdrive
10. Burn Away
11. Come Back
|
 |
Band: Foo Fighters
CD: One By One |
|
Review #1 - Katie Haley
One By One is the most “rock” album of the Foo Fighters’ already-impressive arsenal. It’s the most polished. The most long-awaited. The most cohesive. The darkest. The most guitar-driven. The most intense.
As of now, it’s probably also one of my least favorites.
When I heard that this album would be more rock than the others, I was ecstatic. I anticipated raucous guitars in the vein of “Stacked Actors”, from the band’s 1999 release There Is Nothing Left To Lose, or classic Dave Grohl screaming reminiscent of “Wattershed” from their self-titled debut. I even envisioned some of the boisterous rawness of the Grohl-produced Verbena album, Into the Pink. Instead, One By One features very precise, intensely guitar-powered, and oddly less engaging songs.
The extremely finished sound of even the fastest, most potentially uncontrolled tracks makes them difficult to connect with in the way that the more exuberant, hookier songs of previous albums allow. While listening to the album’s opener and first single, “All My Life”, I positively itch for some sort of deviation from the machine-like precision of the staccato guitars and would love nothing more for Grohl’s screaming to truly let loose or even ever-so-slightly wander over the edge. At the same time, funnily enough, I love the song. Perhaps it’s that frustration that makes me enjoy it. To me, that’s a sign that this album will really grow on me the more I listen to it, and I suspect that many fans will feel the same.
While One By One is harder to connect with than previous albums and has a decidedly different sound, it is an extremely well-written and well-executed piece of work. The band’s shift toward heavier music is not so drastic that it will alienate old fans, but it will make sure to keep them on their toes.
It shows growth and very rightly deserves praise, although it would be even better were it not quite so polished. That high-finish sound is much more suited to the poppier songs of older Foo Fighters albums whose accessibility is actually enhanced by slick production. Hopefully in their next venture, the Foos will continue changing and roughen up the edges a bit.
Review #2 - Ben Erickson
One By One is by far the closest thing the Foo Fighters have done to rock. It’s more guitar driven. It’s less poppy. It’s more expansive and intense. It’s also over-done and pretentious.
I have never been too fond of the Foo Fighters’ work. I have always found it to be a bit too light for my taste. This may just be that a step in any direction is a step down from Nirvana, so I have unrealistic expectations of Grohl. But when I heard that the new album was going to be a lot harder, I was excited. I thought maybe the stint with Queens Of The Stone Age had convinced Grohl to go back to the more rock stuff. The first single “All My Life” made me think I may have been right, and I was still optimistic. The Staccato guitars and screaming vocals persuaded me to give the album a listen. Once I did I regretted it. The album seemed as if they were holding back in an attempt not to alienate anyone. The harder sound I was promised in interviews, reviews, the band's site, and everywhere that persuaded me to buy the album was absent aside from two or three tracks. It was, over all, a good album, but I wasn't delivered quite what I wanted. This is really just a step towards the harder stuff.
The album is actually quite soft. It is well produced and well written, but I was really expecting something different. On first listen I hated the album, but the more I heard it, the more attached I got. I have finally decided that the album is extremely moderate. It’s not a great album, but it is an interesting example of a band on their journey from genre to genre.
| |
| by lance birch (lance) / ben erickson (pyrotroll) | |
1. New Jersey Basements
2. The Waste Disorder
3. Louder Than God
4. The End
5. A Dedication
6. Sleep In Safety
|
 |
Band: Solo Mono
CD: The Dead Shall Rise |
|
Review #1 - Lance Birch
This ain't no punk. This ain't no hardcore, either. This is great music, and it speaks for itself.
Screams, roars, caring words, and a melodic, pounding force. Solo Mono is rising to the calls for a significant heavy band with enough popular appeal to make people want to get off of their butts and do it themselves. After witnessing some of the most worthwhile local shows in central Illinois, many have awaited the release of Solo Mono's 6 song EP, "The Dead Shall Rise". I am here to tell you that it does not disappoint.
Tracks 2-5 best embody the Solo Mono sound. The more radio-friendly "New Jersey Basements" and the relatively relaxed "Sleep In Safety" work respectively to open and close the EP, and are great songs in themselves, but we will focus on the core.
"Louder Than God" is the charging 55 second anthem that tells it like it is. You will replay it over and over, convincing yourself that it could be its own album. Verse 1 of "The End" begins: "here passes one more day you've derailed the train that brought (you here) yet continue to push onward at the expense of the sincere". This song changes unexpectedly throughout, and you won't know when it will cease to morph.
"A Dedication" is chicken soup for the ambitiously faithful soul, speaking of "the wisdom not to give up on a flawed world" and "a number on your arm - a back covered with scars"... It may just bring tears to your eyes as you try to scream along.
And I suggest that you do.
Review #2 - Ben Erickson
Solo Mono comes at you from all sides on their debut album, The Dead Shall Rise. Melodic guitars and pounding double bass draped with roars of insightful lyrics. This album hasn’t left my cd player since I bought it two weeks ago, and it won’t for a while. Solo Mono is in all respects the best band I have heard out of C-U and their album definitely shows that.
Every song on this EP is spectacular. Although the album opens and closes with songs slightly different from the rest, they are still wonderful. New Jersey Basements and Sleep in Safety seem to be more friendly and inviteing, but once you come in you’ll never want to leave.
Each of the remaining four songs could be an entire album on their own. The End never seems to hold its form for long. It is constantly changing, but each change just seems to bring the song closer to perfection. The Waste Disorder is probobly one of the best representations of Solo Mono. It is both heavy and melodic with vocals rangeing from a yell to speach to a harmony. Louder Than God rampages from start to finish and lasts under a minute, but in your head it’ll seem like it was an hour long symphony.
A Dedication is a slur of angstful and faithful emotions. The song is remorsefull and unsettleing. You would think such a song might bring down the energy of the EP, but somehow Solo Mono manage to make it fit with everything else without taking away from the meaning of the song itself.
It would be a crime to deny yourself a debut EP this good.
| |
| by steve sobel (steve) / will zeiger (Waz711) | |
1.
2.
3.
4.
5.
6.
7.
8.
|
 |
Band: Sigur Ros
CD: ( ) |
|
Review #1 - Steve Sobel
Where does one begin with this album? It has no title, the tracks have no titles, there are no words in the liner notes, and the lyrics are sung in a made up language that doesn't even exist.
At first glance, this concept may seem downright asinine, but Sigur Ros have accomplished something that very few artists have - keeping the focus on the music itself. The language used in all of Sigur Ros's music, "Hopelandic", is a made up vernacular that exists mostly to provide the singer a means of using his voice as an instrument, rather than a storytelling device.
Lyrics and song titles are left up to the interpretation of the listener. However, for those with a dire need to either read lyrics, or share their interpretations - the Sigur Ros website allows people to submit their own lyrical interpretations. A computer then pieces various submissions together and creates dynamically generated lyrics based upon those contributions.
That's all fine and good, but how's the music? One word: Inspiring.
Each track on this masterpiece carries a distinct mood, a distinct setting, and a distinct sound. While the album serves as wonderful background music, it's really meant to be listened to with intent. The songs take you places, you can imagine what landscapes Sigur Ros have in mind as they play these songs live. Of course, your imagination may be vastly different from another listener's - but that's the entire point. It's as if this album is a mind altering drug in and of itself.
The songs are all very low key and unabrasive, evoking emotions ranging across the board from sorrow to bliss. While most of them do contain a significant repeating pattern with one or two instruments throughout their duration - the vocals and other instrumentation grows, shrinks, and changes over time. It's as if the repetition is there to make you feel safe while the experimentation going on in the background takes your mind to various places and different emotional states.
I imagine this CD will cause many people, like it did me, to want to create music of their own. It reminds me of what's beautiful about music, and what can be taken from it. I would, with no apprehension whatsoever, go out on a limb and say that this album will stand among many as one of the best CDs of the year, if not the best.
Welcome back, music. Welcome back, art. It has been a while. We've missed you.
Review #2 - Will Zeiger
Best Freakin’ CD ever! That’s my review. Thanks!
Well, I was really tempted to just leave it at that, but then I figured I should probably at least try to elaborate a bit on that sentiment. Sigur Ros’ new album, entitled simply “( )” is the best album I have heard all year, and perhaps one of the best releases I have ever heard in my life. Using guitar (which is often played with a cello bow), bass, drums, keyboards, and more unique effects than I can count, the four member Icelandic band masterfully crafts a journey through the range of all possible emotions on “( )” leaving just about any listener hopelessly lost. From the moment one hears Jon Bor Birgisson’s falsetto harmonies singing a combination of English, Icelandic, and a language the band invented known as ‘Hopelandic’, one cannot help but get caught up in the journey that awaits.
It is almost impossible to describe this journey though. Trying to describe the album using conventional methods is a total waste of time, especially since all the tracks flow seamlessly and are untitled, leaving nothing to base one’s interpretations off of. That does not matter though. What does matter is that this is an album you just need to experience for yourself, one that will be different journey for every person, every time it is listened to. Sigur Ros left this album totally open to personal interpretation as the sparse album art and perfectly conceived title indicate, and for good reason.
However, there is a definite flow of emotion on the album that will be common to everyone. The album starts off with an intricate piano melody and swelling sounds coming from stringed instruments that build to a crescendo and effectively introduce the feeling of an album as a whole. With the next clear division, the pace slows considerably, meandering around beautiful sounds and giving one the impression that he or she is indeed at the start of a journey. The melodies then begin to build upon one another creating a hopeful, optimistic feeling that reaches a climax in track four. From there the pace slows again but becomes much darker and heavier, conveying a sense of pained longing, sadness, and loneliness. This feeling builds and builds until it bursts in track seven at what, at least to me, is the apex of the album, the pinnacle of emotion that has been layered into every second of the journey so far. The final track seems to almost stand alone at the end of the album, the perfect resolution, encompassing all of the feelings explored.
If you have never heard Sigur Ros before, this is an album you must experience for yourself. Do not merely listen to it, but allow yourself to be taken away by the music and led wherever it wants to take you. Like I said before, you will find yourself on a journey, a journey you will not soon regret. If you have heard Sigur Ros before, then you have no excuse for not going out and getting this album right now. I myself am just lacing up my shoes, ready to see where “( )” will take me this time. Enjoy.
| |
| by brian min (fakeyellowlight) / iris lee (Isis763) | |
1. Tip Your Bartender
2. Mu Empire
3. Cosmopolitan Blood Loss
4. Ape Dos Mil
5. Pink Roses
6. Must Have Run All Day
7. Stuck Pig
8. Radio Cambodia
9. Cavalcade
10. Trailer Park Jesus
11. Two Tabs of Mescaline
12. Convectuoso
|
 |
Band: Glassjaw
CD: Worship and Tribute |
|
Review #1 - Brian Min
Glassjaw jumped into the music scene in 2000 with their major record label debut, Everything You Wanted to Know About Silence. Produced by nu-metal mogul Ross Robinson of Roadrunner Records, Glassjaw paved way for a new brand of heavy, pissed-off, emotional music. Combining the heavy sounds of the Deftones with the vocal ambience of Incubus, Glassjaw became an instant hit with the hardcore underground. After touring with such bands as New Found Glory, Poison the Well, Thursday, Hatebreed and the Juliana Theory, Glassjaw’s popularity sky-rocketed.
And now with the release of their sophomore effort, Worship and Tribute, Glassjaw will gain more mainstream attention with their unabashed style of play. To suitably describe this CD, one requires only one word: intense.
Worship and Tribute is one of the best rock albums of the year. Opening with Tip Your Bartender, Glassjaw wastes no time showing they haven’t lost their edge. A brash blend of Justin Beck’s down-tuned guitars and Daryl Palumbo’s anthemic vocals make this the perfect head-banger’s song and is a stirring introduction.
Diving right into Mu Empire, Glassjaw makes good show of their trademark off-set time signatures and heavy shredding. Their hit single, Cosmopolitan Bloodloss, is an excellent example of Glassjaw’s improved production compared to their last album, and has been receiving decent airplay on MTV.
Ape Dos Mil provides an interesting break of slower-paced jamming before running through the bass-infested Pink Roses, the surrealistic Must’ve Run All Day, and straight-up rock tracks Stuck Pig and Radio Cambodia that beg to be played to a raging mosh pit.
My only qualm with this CD is that from The Gilette Cavalcade of Sports, Glassjaw seems to change gears and settle into a slower state. Without a doubt, the last three tracks are still excellent, but the change in tempo questions if more attention could’ve been given to the order of the songs.
What makes Worship and Tribute better than other post-hardcore bands is how much heart Daryl Palumbo puts into his vocals. Not one to hold back his true feelings (as with the controversial lyrics of Everything You Want…), Palumbo’s lyrics are both poetic and powerful. And in Dave Grohl-esque manner, Palumbo can easily switch from a furious growl to a twisted sob. Daryl Palumbo has to be considered one of the more talented vocalists out there right now.
But as a whole, Glassjaw simply rocks harder than any other rock band, and by maintaining their own unique musical image, Glassjaw makes no sign of selling out or slowing down with their style.
Review #2 - Iris Lee
To be perfectly honest, you either love or hate Glassjaw... and I love Glassjaw. Daryl Palumbo has to have one of the most heartfelt, passionate, and intense voices that I have ever heard. While listening to the sophomore album, Worship and Tribute, I could feel the emotion pouring out from Palumbo's voice. Glassjaw has a very unique sound. It makes an odd, yet good, combination between emo and hard-core. Palumbo is able to fluctuate his voice from heart wrenching screams, howls, and a harmonious sound all in one song.
The album explodes with "Tip Your Bartender," which shows that Glassjaw is still as hard-core as ever. It's intense personal lyrics such as "All my X's live with hexes / This is why I hang / Myself with jealousy upon a fence post half mast," leave a lasting impression on any listener. Next it dives into "Mu Empire," which combines Palumbo's emotional voice, which ranges from aggressive verses to softer choruses, with fast guitar licks and a constant drum beat.
As much as I love Glassjaw, I have to admit that the record progressively gets worse. I usually find myself listening to the first 6 tracks over and over or changing CD's. Perhaps it is because Glassjaw is trying to reach out to a wider audience, but for the older fans, it seems to be losing it's unique, intense, and fast-paced edge as the CD advances.
In any case, I highly recommend this record... I also highly recommend checking them out live. Not only do they have the same, if not more, amount of energy, but they put on a great show. However, if you're new to Glassjaw, I would suggest picking up Everything You Ever Wanted to Know About Silence first.
| |
| by iris lee (Isis763) / katie haley (comfortablybummed) | |
1. Fearless
2. One Last Thing
3. Good Advice
4. Waiting Here
5. Insanity is Overrated
6. Rock On
7. Hangover
8. The Unheard Truth
9. Shift
10. Lifeline
|
 |
Band: Empyrean
CD: Long Story Short |
|
Review #1 - Iris Lee
Empyrean is made up of four guys from the Northwest suburbs of Chicago and was formed in 1997. On my first quick listen to Empyrean, I was immediately drawn to the music. The music is well played and fun. The voice seemed to have a hint of a whiny tone at first listen. However, after further listening, Empyrean really started to grow on me. They describe themselves as "rock," however, they seem a little more pop-rock to me. They have extremely catchy sounds and the music is well blended. If you like popular radio, you'll probably dig these guys.
The album has a strong start with Fearless, which is a fairly upbeat song. It has lively drums and melodic guitar riffs. This gives their music the sound of most mainstream rock bands such as Incubus, Foo Fighters, etc. Although they don't have an original and unique sound that make them stand out from the rest of the music industry, they definitely have potential to make it big. One of my favorite things about the album is that there are no absurdly long unneeded music breaks... Their music is well written and they don't feel the need to indulge in filler-music.
The only major complaint I have about the album is a remake of David Essex's "Rock On." The remake is not bad, in fact, it still has the same catchiness of the entire CD. However, it seems like Mike Chorvat is trying a little too hard to sound emotionally involved in the song. Perhaps taking on a classic was too big of a project that probably should've waited.
Anyways, I'd suggest checking these guys out if you like popular radio... their music induces involuntary head-bobbing and a fun lingering tune after it has ended.
Review #2 - Katie Haley
I probably would have loved this album when I was 16 or 17. That’s not to say that Long Story Short is not a good album or that it only appeals to younger people; in fact, I think that a lot of OpeningBands readers would enjoy it. My personal tastes have changed since then, so I don’t appreciate it as much as I may have in my mid-teens. Back then, I was into a lot more pop-punk. I listened to the radio with some frequency. I went to see bands like the Plain White T’s play in neighboring towns once, sometimes twice a week. Empyrean reminds me of these times, and for that it was definitely enjoyable to listen to their CD. Many people whose tastes currently lie in this area will like this band, and Empyrean has the potential to become quite popular.
Sounding like a pop-punk Incubus, it is no wonder that Empyrean is one of the finalists in the “Next Big Thing” contest sponsored by 94.7 The Zone, one of Chicago’s biggest alternative radio stations. Their fast power chords, medium pitched & melodic-yet-anguished vocals, and bouncy drums give their sound something of a mainstream appeal. Any of the catchy and upbeat songs that begin the album could just as well be one of the singles on today’s popular radio, which is an impressive achievement for a local band only on its second full-length. However, these first few tracks lack the variety and different touches of the end of the album. Whereas the beginning tracks will make people take notice of Empyrean, these later, more interesting tracks will keep people listening.
“Insanity Is Overrated” and “The Unheard Truth” offer a welcome break in tempo, and “Hangover” begins with a heavier and ballsier riff than the rest of the album that makes it my personal favorite track. The cover of David Essex’s “Rock On” seems like it was made for a crowd singalong as soon as the opening Hendrix-esque riff finishes. Not surprisingly, later on in the song, a crowd actually does start belting out “Hey kids/rock and roll/rock on“ with vocalist Mike Chorvat. While slightly over-the-top on record, it gives off the impression that this must be a very fun live song.
Empyrean has created a sound that has found them numerous fans, and promises to attract many more people along the way. While Long Story Short has the potential to become popular on a relatively wide scale, the band would do well to expand on the different tempos and types of riffs heard toward the end of the album. What they have now will appeal to fans of pop-punk, Incubus, and Fuel, but if they explore these different directions a bit more, they could reach an even wider audience.
| |
| by david dokko (dave) / brian tracy (TwilightBurning) | |
1. Prayer, Praise & Profit
2. Riot, Religion, & Righteousness
3. Salambo
4. Whore
5. Flesh Fest
6. Black Brothel
7. Disrupt, Degrade, & Devastate
8. F.O.M.
9. A Fete Worse Than Death
10. Cry Baby
11. Inside
12. Saved (Locust Remix.
|
 |
Band: Pig
CD: Genuine American Monster |
|
Review #1 - Dave Dokko
Let me give it to you straight, Pig’s most recent release “Genuine American Monster” is my first dabble into industrial music. Keep in mind this review is coming from a perspective of someone completely ignorant to industrial music. So for those of you that have not been exposed to much industrial but want to, this might be particularly helpful.
As track one opened with “Prayer Praise & Profit”, my initial surprise was how electronic orientated it sounded. Any semblance of what could be identified as a guitar did not occur until a minute fifteen into the song. Even for drums, I can not recollect a single cymbal crash, only drum fill patters accompanied by the tap of a hi-hat. To say the least, this album is very synth orientated. As negative as this might sound, the electronic aspect of the songs is what I enjoyed the most. It gives the songs texture and allows a greater variety of sound. This in turn helps greatly with how tight the album sounds. This is definitely not your sloppy garage punk band sound.
In comparison to more mainstream music, it can loosely be correlated with Static-X, NIN, and Rammstein, all of which incorporate an electronic flare to heavily distorted guitars with palm mutes galore. But with Genuine American Monster” it appears that the guitar is used more as a rhythm instrument with the electronic sounds being used as a melody. If you are looking for easy listening, this might not be the type of music for you.
The tracks that seemed to grab my attention more than others include: “Flesh Fest”, Disrupt, Degrade & Devastate”, and “A Fete Worse Than Death.” For me, what fuels these tracks is the absolute dynamics of them. The songs seem to have a particular variation from almost peaceful to empowering. Two other tracks that I enjoyed were “Black Brothel” and “Inside.” These songs are the only pure electronic driven synth/piano/drum tracks. To me they were almost aphex twin/orbital reminiscent. But I must admit, the track that captivated me the most was “Salambo.” Every wonder what Latino industrial would sound like? Wonder no more. “Salambo” is creativity at its best. With a mixture of mambo/latino rhythms and horns aplenty, a more interesting song would be hard to find.
Over all I enjoyed the CD. My only complaint would be the vocals. They seem to be more of an electronic growl than singing. At times I found myself enjoying the electronic intros much more than the parts with vocals on top. But don’t let this scare you away from listening to it. If you’re interested in or are a veteran of industrial, I would say this is a good a place as any.
Review #2 - Brian Tracy
Genuine American Monster is a small triumph for Raymond Watts; also know as the driving force behind Pig. GAM (for brevity’s sake) was released in Japan to success in 1999. While Watts is a decent seller in Japan in America he remains below moderate sales; it has taken three years for Watts to find a new label, finally finding his home at Metropolis Records, also the new home to another Watts involved project, KMFDM. GAM is the first American issue of his work in five years since 1997’s Wrecked.
GAM starts out with thunderous force in the form of Prayer, Praise and Profit followed by Riot, Religion and Righteousness. The combination of the two tracks leaves one expecting to be bowled over by the rest of the album. Here, Pig, throws a kink into the works in the vein of Salambo. Salambo is an interesting track, sampling salsa-like beats, layering them with guitars to provide an interesting twist on the normal industrial fare.
The majority of the tracks build up musically in different ways to give an interesting span of sound throughout the album. From an interestingly soft instrumental piece (Black Brothel) to tracks like Salambo and Whore GAM develops and progresses away from being boring, repetitive fare that is common in industrial music. The last official album track Inside (the Saved mix is a bonus track for the American import) is the main discontinuity of the album. The fourteen minute ambient track does not flow well with the rest of the album, not to say that the track is not good in its own right, but simply that its place is somewhere else.
| |
| by chris earnhart (Pocket) / robert taliana (RAmst23) | |
1. Consent of a King
2. Terminal
3. Divine Right
4. Summer Romance
|
| Picture Not Available |
Band: Ill Logic
CD: 4 Track Demo |
|
Review #1 - Chris Earnhart
Like funk-rock? Then you will probably love ill Logic. I'm a minor funk fan and I find them to be quite intriguing.
With a great slow-funk sound that sometimes transitions for a harder rock riff, ill Logic's music is a relaxing way to calm the emotions. If you want a mind-blowing, heart-pumping sound then you are looking in the wrong place with ill Logic, but if you want a body-swaying, foot-thumping sound then you have definitely hit home with this band. While the music is quite different between the four tracks, it undeniably has it's own sound. "Consent of a King" and "Terminal" have unmistakeable funk sounds that differ in that "Consent of a King" is a slower sound, whereas "Terminal" sounds like it came straight from Pure Funk sometimes and like progressive rock in others. The last two tracks sound more like lounge singer meets funk meets rock. All of them maintain that natural funk need to sway to the beat in some manner or form.
The female vocalist, Paige Bailey, has a slightly haunting voice, chanting in the song "Consent of a King," "So consume me. Let my prescence sink within your cracks and sooth thee. And presume that I never felt this way. Break down your wall of shame and let me see what's underlying." This enchanting, melodious voice seems to float along with the music during the funk parts and contrasts during the slightly harder rock parts.
Again, for a funk-rock fan, I really see nothing done wrong here. Excellent sounds, vocals, and lyrics combine to make this something that any funker can enjoy. It's just obviously not for anyone, but I wouldn't hesitate to buy it if I were to see it around.
In all, I personally find this band to be quite pleasing. I would recommend it mainly to those who have at least some interest in funk or jazz, because it most certainly would not fall under the domain of many music lovers. But to those who like funk-rock (cuz I know about all those funk-elitists out there): pick it up. It's too smooth to pass on. For further info, one can contact them at templex44x@cs.com.
Review #2 - Robert Taliana
With solid bass riffs from Ethan Koron and low key vocals provided by Paige Bailey, Ill Logic is a good album to sit down and toast some exotic coffee to. Ill Logic is best explained as easy background jazz mixed with strong funk periods that tempt the listener to jump up and tap their foot. While nothing in this album will cause a mosh pit to erupt, anyone who enjoys strong jazz will be greatly pleased with Ill Logic's upcoming album. The demo starts with a bit of a funk sway to it, teasing between head bobbing and soul searching.
"Consent of a King" and "Terminal" both have great beats while the songs lyrics and talented vocalist carry it through. "Divine Right" is a great counter to the other three songs, providing a slower beat and soothing melody. "Summer Romance" follows the first two songs with a definite funk sound to it, but the ending seems too abrupt and sudden.
Despite the slight mishap in the last song, Ill Logic's music is a great background maker that suits most listeners. Paige Bailey is a very talented singer who is not overused and still manages to help carry Ill Logic's sound home. Not too heavy and not too soft is the motto of these songs, and I recommend it to anyone who likes a slightly heavier jazz.
| |
| by lance birch (lance) / steve sobel (steve) | |
1. To The People
2. Without A Doubt
3. I'm Here Now
4. Everyone Goes To Heaven
5. Just Let Me
6. All For The Offered
7. (Puppets Need. Everything But Strings
8. Existential Art
9. Can't I Tell You
10. The Weight Of All The Means
|
 |
Band: RoyG.Biv
CD: Perspectives In Perspective |
|
Review #1 - Lance Birch
Take a ride in the SUV on the cover, down the streets of identical white houses and plain automobiles in the driveways. You're feeling good, a little higher up than most of the other traffic. Pop in the RoyG.Biv album into your built-in CD player and enjoy the clean surround-sound.
The name RoyG.Biv, an acronym for the 7 colors of the spectrum, is fitting. While the music is mostly a soft, clean bright white, the changes in chords hint at the many colors that make up white light. The guitars are not very defined, and remind me of pillow stuffing. If not for the happy pop-rock drums, I could just about fall asleep. I would describe this band as having a clean, glossed over indie-rock sound on double-doses of prozac, which may leave you standing still with a dizzy smile. There's a metaphor in there, I think. Maybe. I forgot.
"Without A Doubt" has its best parts when the guitars are quiet or absent, notably just after the verse and before the chorus. The bass part that opens "I'm Here Now" is probably enough to keep you listening. Honorable Mention. "Just Let Me" has a great chorus, and this song stands out because the guitars are not as overwhelming as they are on the other tracks. The lemon-fresh scent wears off long enough for us to hear what is a pretty good song.
Track 6, "All For The Offered", reminds me of enjoying a cold milkshake in a warm SUV as I drive through wintery weather. I know, it's that darned cover art again, but it just seems to make sense with the music. "Existential Art" could have been written by Green Day in some parallel universe. However, RoyG.Biv's aforementioned traits hide any potential influence.
While some people may be into this album, the bright white intensity may hurt your eyes and your ears. I think that may actually be what they're going for, but I don't recommend that they continue on this road for long. It will be interesting to see if RoyG.Biv breaks out of this suburban cycle of spic 'n' span sleepy songwriting.
Review #2 - Steve Sobel
RoyG.Biv - the colors of the rainbow. Rainbows are pleasant. That's probably right about how I'd describe RoyG.Biv's album - pleasant.
The album consists of 10 tracks filled with perky cuts that evoke the words "happy rock". Of course, as is often the case with happy sounding music, the lyrics do not always follow suit.
"Without a Doubt" might have been a better choice for a first track, as it's infectuously catchy. The chorus is catchy, and the breakdown is fun to the point it seems like it would evoke audience participation at a live show.
"(Puppets Need) Everything But Strings" had such an interesting title, I must confess I skipped to it right away for the sake of sheer curiosity. As luck would have it, this song sounds very little like the rest of the album. It's a slow, wistful song that sneaks just a tiny, tiny bit of the "neo-lo-fi" element of bands such as The Strokes into a kind of off beat indie rock ballad.
"Perspectives in Perspective" is an excellent album. It's well produced, well executed, and provides for a nice, upbeat-sounding (if not always upbeat lyrically) soundtrack that seems like it would translate to a very enjoyable live show.
| |
| by anne mastny (anne) / art mitchell (Art) | |
1. Cancel All Your Plans
2. Clearer
3. Sorry When I Say
4. Blue Fusion
5. Treehouse
|
| Picture Not Available |
Band: Sincerely Calvin
CD: 5 Song Demo |
|
Review #1 - Anne Mastny
What can I say? I dig this demo. I have to confess, when I first received it, it didn’t make it into my cd player. But then, one Sunday night I was tuning into Inner Limits (local music show on 107.1), and “Cancel All Your Plans” came on. I asked Drew (the host) who it was and he informed me that it was Sincerely Calvin. Recognizing the name, I put two and two together, and realized that was the name of the band whose demo I had obtained. I promptly put it in my player to hear what else these fine gentlemen had to offer me.
I liked what I heard. It’s got somewhat of a pop-punk feel to it, but better. An acoustic guitar is what adds that little something extra. There is even an interesting story behind the use of the acoustic guitar. The guys met in the fall of 2001 in the dorms at U of I. Since they were essentially confined to practicing in the dorms, they had to keep the volume low. Rather than going with big, loud, distorted guitars, they chose an acoustic; which I feel served them well. It gives them a bit of a distinction from the massive world of pop-punk out there. And apparently, others agree. Within the year that Sincerely Calvin met, formed, and started playing out, they developed a pretty respectable fan base. The decided to hit up Atlas Studios over the summer and record their first demo with Matt Alyson (Alkaline Trio, Red Hot Valentines, Retro Morning).
“Sorry When I Say,” the third track off this demo has a really catchy, kind of jazzy bass line throughout the song. There are also some intricate solo workings of the acoustic guitar that add a nice variety to the mix. “Blue Fusion” is another where the acoustic has a quite enjoyable solo. “Tree House,” which closes out the demo, was frustrating me for the longest time. It sounded so familiar, but I couldn’t seem to place my finger on who exactly it was reminding me off. After several listens, it finally came to me: Josh Caterer! You know, the guy who sang for Smoking Popes and Duvall. And that is quite the accomplishment. The vocal stylings of Jack (lead singer/acoustic guitar) are simply wonderful and match up flawlessly with backup vocalist and electric guitarist, Chris.
If any of this intrigues you, I suggest checking these guys out. All five songs are available for download on their new site (http://sincerelycalvin.zerosphere.org). And if you’re too lazy to actually download the songs, just tune in to WEFT Sessions (90.1 FM), Monday, November 18th at 10 pm. They will be performing live, in the studio. Good times for all.
Review #2 - Art Mitchell
This demo disc put together by “Sincerely Calvin”, is a fine collection of easy-going alternative with a softer male voice. The group combines acoustic and electric in all their songs and the rhythm of each of the songs are nicely paced coupled along with calm lyrics.
The first track, “Cancel All Your Plans “ starts out with the acoustic leading with the drums in a skip-step sort of beat, then slowing down until you hear the lead’s voice come in nice and smooth. The next track “Clearer” has a nice driving alternative beat and the key of the song allows the lead to show off his range as he hits higher notes and does a very good job of projecting his voice. The third song, “Sorry When I Say” is a very soft song, much slower than the first two. The acoustic guitar player displays their playing virtuosity in an extended solo to finish the song with a driving bass beat that was played throughout. The song started out much harder in rhythm then the way it continues.
The song “Blue Fusion” started like a song by “Dashboard Confessional” but continued on in the familiar style that was established on the other tracks. There were points in this song that included layered vocal tracks; that is the one of a couple of points on the CD in which there is more than one voice in any of the songs, and it is done very well. The voice of the lead carries very well with the songs, and if any of the rest of the members tried to add in, it could result in overkill and clutter the song with too much musical involvement.
The last song on the CD “Treehouse” is a very happy song, and the lyrics are very nice sounding with a semi-peppy beat. Out of all the tracks on the demo, this one would most likely be the weakest, but, even after that being said, it is a very good song.
This demo CD makes me think “Will Sincerely Calvin record a full-length album?’ and “Where can I see this group?” The musical dynamics are nothing new, the types of rhythms that they implement aren’t too excitingly innovative, but the group performs with great precision and the structure of the music makes it very nice to listen to. I enjoyed listening to this album and recommend it for those who like a softer alternative sound.
| |
|
|
Features
