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Due to overwhelming volume, OpeningBands.com regrets that is not accepting CD admissions at this time.
| by chris earnhart (Pocket) / phil prather (AnalogBoy) | |
1. Yer Lovely
2. Red Line
4. Yer Type
5. Lil Foxy
7. Go
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Band: The Violents
CD: Baby EP |
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Review #1 - Chris Earnhart
It's a shame that all-female, punk-rock band, The Violents recently broke up. Thankfully they left us with an album. I'll warn you right now that if you're not into punk, then I doubt this album has anything new to offer you. If you find yourself wishing the Ramones were still around, then The Violents are for you.
The album is pretty much straight punk-rock. It is enjoyable, and I would use it to break the monotony of my collection, because the vocals are different than what I usually hear in punk music. And since I can understand what she is saying, it is all the better!
The strong point of the album is that speed-wise, the songs are fairly low-energy, but the music still has the high-power force common in punk, which serves to distance Baby from similar albums. The force, in large part, comes from the vocals. The singers both have great voices that compliment the music, which is strong, and occasionally, seductive.
Being that I enjoy this kind of music, I really like the album, and if you like what I've said above, then make sure you get a copy before they disappear. Problems would only arise in this album if you don't like punk, because, as I said, they don't leave the bounds of that genre. If you're curious, then check them out at www.theviolents.com.
Review #2 - Phil Prather
The latest (and last) release from the female trio, the Violents, is a good EP, one that will keep fans happy and make them miss the Violents. I never got the chance to see the Violents, now after hearing this EP, I'm kicking myself for never seeing them play a show. The Violents have a sound that walks a line between garage rock and punk. The recording quality is very good for a local release, and that is because Adam Schmitt recorded and produced this release.
This EP has 7 tracks, but tracks 3 and 6 are only short outtakes from the recording studio. One is of the girls laughing about how they should have been a doo-wop band and the other is an outtake from a drum machine track or something. These tracks are not listed on the album art, and it's nice of the Violents to not try and play off a 5 song EP for 7 songs.
To actually talk about the music, the actual songs are diverse in sound, spunky, and somewhat catchy. The song subjects range from how guys can be a pain and "call at four in the morning" in "Yer Type", to how girls can feel a "Lil foxy" on certain nights in "Lil Foxy". A few complaints about the songs; one would be the continuous lyric "take it off" throughout the song "Red Line". Another complaint is about the vocals in "Yer Type", when the lyrics "Everywhere, everywhere, everywhere" are sung, the third "everywhere" is almost in a sung in a wail that is borderline annoying, but other than that, "Yer Type" is probably my favorite song on the EP.
The Violents choice to release their EP at their last show was a good way to end a band, but I'm sad to see them go. I would have liked to see where they could have gone musicially. Releasing an album and breaking up seems to be a popular move for Champaign area bands. I thank the Violents for going out with one last bang, you will be missed.
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| by gina provenzano (theredhead603) / phil prather (AnalogBoy) | |
1. Subconscious Wish
2. Plan B
3. Devour You
4. Formaldehyde
5. Speak Easy
6. Quicksand Years
7. Disappointer
8. By the Day
9. Alone in Limbo
10. Hey Love
11. Evergreen
12. Requiem
13. Days of Grace
14. Natural
15. Dishwater
16. Planet X
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Band: Saltwater Vampires
CD: We Are Masterpieces Created By God |
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Review #1 - Gina Provenzano
May will sit and argue the relevance of Punk Rock these days. With the advent of bands such as Good Charlotte and Simple Plan with clear pop leanings proclaiming themselves Punk it's obvious that the definition of what Punk is has changed. Saltwater Vampires on their album, We Are Masterpieces Created By God are what I feel Punk Rock is and should be: fast, loud, unapologetic two minute songs about alienation.
What separates the Saltwater Vampires from other more classic sounding Punk bands is the depth of their lyrics. This isn't just "Hey Ho Let's Go" it's "Days of grace came and went without a trace/ everything is swallowed and then erased." But the way in which the music is played makes it difficult to understand many of the lyrics and prevents any of the songs from being especially memorable, but that probably isn't the point. The point seems to be to let out aggression and remain energetic, and they do this well. It's clear that all three guys in the band know how to play and the energy level remains high for all sixteen songs, but for me around the halfway point everything started to sound the same.
There are a few stand out tracks such as the album opener, "Subconscious Wish" and the album closer "Planet X" which is the least Punk sounding song on the record and easiest song to understand lyrics. While I didn't dislike this album I wish that they would have had less filler tracks and wish that they would have placed more emphasis on the lyrics of their songs. All in all I'm sure classic Punk fans will thoroughly enjoy this record and that the Saltwater Vampires put on a great live show.
Review #2 - Phil Prather
The Saltwater Vampires bring their style of old school punk rock to the table with their full length album, We are Masterpieces Created By God. This central Illinois three-piece punk rock band make me think of what punk rock started out as, simple, fast, and loud. They remind of a mix between the Ramones, Descendents and the Misfits, which makes for a good mix I might add.
The sound recording of the album isn't exactly perfect, but if the Saltwater Vampires are going for a rough sound that has more energy in it, then they pull that off nicely. Some of the stand out tracks are "Quicksand Years", which has a really poppy opening rhythm and with the "Woah Oh Oh" from the backing vocals, it reminds me of when the Queers or Ramones would cover a surf rock song. Another stand out is "Alone in Limbo", something about lead vocals in the song almost sound like Glenn Danzig were singing, but whoever the vocals sound like, they work well with the song.
The Saltwater Vampires didn't blow me away with this album, but I liked it. I recommend picking this album up if you are a fun of any of the artists I mentioned. Try to catch them live if you can, because I have a feeling that this recording doesn't do them enough justice. Also be sure to check them out at www.saltwatervampires.com.
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| by yvonne guzman (QueenOfEarth1023) / chris earnhart (Pocket) | |
1. Glasscutter
2. Lost
3. Mr. Fisher
4. Sideways
5. Waves
6. Flipcut [pt. 1]
7. Malaise
8. Dark as the Night
9. 7:24am
10. Snow
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Band: Zirafa
CD: Turnstyles |
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Review #1 - Chris Earnhart
This album could best be described as a mix of piano tunes and light vocals, occasionally accompanied by beats (drums and synth). Turnstyles has a unique sound, but the sound has no solid foundation, meaning that this CD is only "not bad."
The songs that incorporate the beats, like "Flipcut [pt. 1]," seem to lock down the sound and get it right. This instrumental track just kind of grooves to make a good, solid beat that I would like to drive to. Driving music is always important, and actually, when this album does it right, that is how it strikes me. More often than not, however, the sound is lost or pieced together.
And I think that this is my main problem with the album. The sound might be unique, but it feels like the whole album is experimental for the artist, and that he should have waited a little longer to get the sound and album together as a whole. At times odd sounds are thrown in where they do not feel right, or the song fades out for a moment to be brought back again.
So while "Flipcut [pt. 1]" and the overall innovation of the album make me interested in where the artist is going, I am left unsatisfied with where he is. There are some great ideas in this album, but they come from a bit of this song and a bit of the next, without forming anything really complete. So definitely stick around for future releases, but I wouldn't recommend this one.
Review #2 - Yvonne Guzman
In an age of music where everything more or less begins to sound the same over time, it's nice to come across something that sounds genuinely and uniquely different. The album begins with ‘glasscutter,' an instrumental groovy track made up of keyboards and beats produced from a machine. It's a gentle lead into the tracks that follow which vary dramatically in style and sound. Although, each track goes off in a different direction they seamlessly intertwine through the carefully thought out compositions. According to the liner notes, all of the music was written and performed by Farsheed Hamidi-toosi who is from our very own Champaign-Urbana. I know nothing more about the artist but I'm certainly interested in learning more.
Some of the songs have a light rock sound but then some others have more of a hip-hop / R & B sound to mix things up a bit. Still other songs like ‘waves' are simple piano pieces varying the sound even more. Most of the tracks are instrumentals but there are a few tracks like ‘sideways' that have lyrics. As a person who enjoys Mozart as much as Minor Threat and Missy Elliott, I really enjoyed this album. Although the work in Turnstyles sounds nothing like the aforementioned artists, Hamidi-toosi does share some of the genius and creativity that make them stand out from the crowd.
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| by mike heiber (TheUglyOrganist) | |
1. All the Wars
2. You've Escaped
3. Summer Away
4. Boys in the Bathtub
5. Be Near
6. Water Your Hands
7. I Don't Know What Else To Do
8. Setting Up Shop
9. Thermostat
10. Perry Como Gold
11. Altoona
12. Goodbye to the Factory
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Band: Aloha
CD: Here Comes Everyone |
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Review #1 - Mike Heiber
Following a slight lineup change Aloha comes back with a new refreshing sound and great album to reflect these changes. With the departure of Aloha's vibraphone player, Aloha looked to find something new and exciting on their newest album Here Comes Everyone. What this album lacks in improvised jam sessions, as characteristic of their older albums, is largely blown away by delicate melodies and intricate songwriting. Where as past albums are very heavily jazz influenced, Here Comes Everyone seems to be more influenced by contemporary classical styles reminiscent of Phillip Glass as Aloha continues their post-rock adventures.
Experimenting with different tempos, rhythms, and sounds, Aloha flexes their musical capacity to bring rich textures and variation from the spirited rock of "All The Wars" and "Boys In The Bathtub" to powerful ballads like "Thermostat" and "Perry Como Gold" and everything inbetween. This, combined with the powerful and emotive songwriting and vocals, makes Here Comes Everyone a fantastically crafted album, flowing from one song to the next. This album, in all honesty, is one of my favorite albums of the year, and for those interested, Aloha comes to C-U early this February. I recommed checking them out live and picking up a copy of this album. I know I won't miss it for anything.
Review #2 - Kevin Toomey
The first time I heard this album I was pretty disappointed. It made me fall asleep - at one pm. The more I listened though, the more I found my self truly enjoying this disc. Yes the sound is really relaxing, however, it is also moving along at a pretty fast pace and keeps changing. I liked that alot because it almost seems like there is more than 12 songs on the disc.
The sound on Here Comes Everyone (Aloha's fifth album) is so incredibly unique. I honestly have no idea what I could describe it as, or compare it to. At first listen it is easy to hear the basic guitar/drums/bass setup, then it hits you theres a vibraphone! It sounds like there are so many instruments all playing that aren't even there. The way these guys play their instruments is beyond me.
When listening to Here Comes Everyone, I kept finding myself watching a movie that was playing out in my head. The way the songs fit and run seamlessly into each other is amazing. This album would be well suited for the soundtrack of so many diffferent films. I wish that I could have had access to the lyrics somehow as this would greatly help the listener to understand the songs so much more. I kept finding my self forgetting what the story of the song was about. I liked "You've Escaped the Best", it starts out with an acoustic guitar then really picks up and you can't help but get absorbed into the song. Summer Away is another good one, it starts out awesome with that vibraphone and the sound is incredible. Quite a few of the other tracks were too long and slow.
Overall, Here Comes Everyone is a decent cd and it definitely has a unique sound that Aloha can call all their own.
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| by erik wotring (woahtrain) / todd hunter (todd) | |
1. Theme from "Llama Patrol"
2. Plastic World
3. I Think Out Loud
4. Mackerel Sky
5. Millennium
6. Sick and Tired of People
7. Out of Things to Tell
8. 30 Million Years of Hate
9. The Lightning Bug
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Band: Del Psychos
CD: The Fajita Monologues |
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Review #1 - Todd Hunter
Interesting title. Interesting lyrics. Cover art reminiscent of Picasso. Clearly, ample thought went into this album.
Problem is, for all the thought that went into everything else, the music is indistinct—strange because the instrumental intro and outro are highlights. "Theme from 'Llama Patrol'" gets off to a good start, like some whimsical Gin Blossoms studio outtake, and "The Lightning Bug" advances as if an adept hypnotist.
But between the vocal delivery and the mix, the lyrics are lost to the background. What starts as jangly rock loses its identity. The Fajita Monologues tries to be another King James Version by Harvey Danger—an album too clever for its own good, at least commercially. Cleverness without complementary music cannot carry an album, though. The Fajita Monologues gets an A for effort, but a C for execution.
Review #2 - Erik Wotring
The debut release of Del Psychos was described to me as psychedelic when I received it. I understand that the album features stoner hooks. I don't really understand what either of those terms means, but that really doesn't mean much to me. No less, my ignorance regarding the definition of this band's genre does not stop me from enjoying the album.
Del Psychos' music is not as heavy as the music to which I normally listen. By that, I mean that they do not play very dark music. The Fajita Monologues is a musically upbeat album containing songs built from nice harmonic resolution and a grooving beat. The vocals wander through the keys of the music with lots of harmonized backing voices, which reminds me of a lot of the Beach Boys songs I used to hear on the oldies stations.
Listening to the album, I don't hear anything overtly revolutionary about the music. This is a new idea based on an old concept. No less, Del Psychos have put out an album that is easy to enjoy. I don't know what psychedelic music sounds like and I don't know what stoner hooks are, but I like The Fajita Monologues.
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| by erik wotring (woahtrain) / yvonne guzman (QueenOfEarth1023) | |
1. Prologue
2. Wake Up Call
3. Sometimes
4. Out of the Blue Theme
5. Opiumatic Nobodies
6. Black Cats and Broken Mirrors
7. Everything to Lose (Outtake)
8. Epilogue
9. So, So Sad
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Band: The Dirty Blue
CD: Out of the Blue Sessions |
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Review #1 - Yvonne Guzman
This album takes me back to the era of the late 70's (not that I was actually there, but, well... you get the idea); that time when the greats of rock and roll were starting to be overshadowed by the singer songwriters. Everything about this band is very 70's Fleetwood Mac; from the blend of piano and guitar work to the male and female vocals (provided by Ukrainian singer/songwriter, Dima) with some harmonica to mix it up a bit. I'm an American inside and out so I know nothing of the Slavic mysticism or the British mod and prog-inspired traditional rock that is said to influence their music, so maybe it sounds like that too. I'll take their word for it.
The sessions consist of a mix of songs and short interludes that flow quite naturally from one track to the next. This sounds like the perfect album for long drives across the countryside which I'm sure people do plenty of around here. Actually, make that a short trip- the nine track sessions clock in at just over 23 minutes.
My personal favorites are "out of the blue theme" and the final track "so, so sad." "out of the blue theme" is a beautiful 1:19 interlude with light guitar strumming underneath an echoing piano tune. "so, so sad" stands out from the other songs. The tempo is a little faster than the other slow to mid tempo songs. In my book that makes it just a little more rockin'.
Overall, I like it. I wish it were longer because it ends just when I'm getting in the groove. If you miss the days of old before hair metal made a splash on MTV and put a nail in the coffin of old school rock, you should check out the Chicago based band, The Dirty Blue.
Review #2 - Erik Wotring
The Dirty Blue's latest release, Out Of The Blue Sessions, recalls a classic rock sound while putting forth a contemporary sensibility. I have been listening to this album for some time now and can honestly say that initially, I didn't like it. Learning to break an old habit is never easy. I thought that this was just another classic rock album that recycled the same old music.
Then I listened to it a few more times. I started to see or, rather, hear, this band's dark ethos. The Dirty Blue is just that: blue. The acoustic and electric guitars mix well. The harmonies form a thick foundation when the piano and the two guitars come together on a chord. It is easy to loose one's self in this part of the music alone. Then the band adds the electric guitar melodies with the tone pushed just a little past clean, creating an emotive, dynamic tone. At times, the piano, not a cheesy synthesiser, mind you, takes over the spotlight, creating the feel of a smoky bar late at night with only a few dark souls remaining before closing. The lyrics seem focused on hopelessness.
This music is not happy. I view it as a sort of acceptance and commentary on the way of life. Personally, I love heavy music. I define heavy as emotionally heavy, not necessarily screaming, thrashing metal songs. "Out Of The Blue" is a heavy album, and I have listened to it enough that I think it is a good album. If you like your music dark, check out The Dirty Blue.
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| by erik wotring (woahtrain) / scott woods (Monophonic81) | |
1. Crusaders
2. Go Going Gone
3. Permission
4. Radiation Babies
5. Glare
6. Bliss
7. Linoleum
8. Superbuick
9. Terrorform
10. Curious
11. Gone Chemical
12. Kleen
13. King of Rock and Roll
14. Come as You Are
15. As We Are so We Are
16. Shine
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Band: Die Warzau
CD: Convenience |
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Review #1 - Scott Woods
Die Warzau (which is German for "The Warzau") is a Chicago based industrial duo that has recently released their first studio album since 1995 titled "Convenience". Actually, I did not find the album too convenient as there was no track listing included, but that aside, this is a 16 song disc that is pretty much what you can expect from any industrial album. The first 15 tracks, while all good, did not really seperate themselves from each other too much. There were kind of groupings like tracks 5 and 6 sound similar to each other, but not at all to tracks 10 and 11. This makes the album ideal for background or mood music.
The only track that stood out to me was the last one. It involved accoustic guitar lines and the tone of the song did not seem to match the rest of the album. Even though the rest of the album was fairly light for what I typically expect from industrial music, this last track just seemed a little over the top. It seemed like it could be on during the credits of some WB show. Thumbs down for this song.
In all, this album is put together very well. All tracks are properly mixed and deliver a great sound. I recommend this album to anyone who likes industrial music, but is sometimes turned off by how ridiculously heavy it can get at times. I'd also recommend it to people who just want an album they can put on in the background of a party or over the speakers of their somewhat trendy urban clothing store.
Review #2 - Erik Wotring
Die Warzau is an established industrial/dance/techno band from Chicago. Though I have never been to an industrial dance club, I suspect that this album, "Convenience," would fit right in at such a venue.
The album definitely grooves. I can't listen to it without at least bobbing my head to the rhythm. The music operates mostly in the bass and treble areas. It consists of vocals and synthesisers. The vocals come through most often as breathy. This affects a sort of whispering sound, making the lyrics feel like those one might hear in a dream. In a few songs, the listener really gets to hear the vocalist really belt out the lyrics, proving his dynamic range. The rhythm section is composed of a drum machine and a keyboard, or so it sounds. In no two songs does the bass tone sound exactly the same. Die Warzau includes a saxophone sound and a guitar sound in some of their songs. However, most of the harmonic base seems to come from backing vocals or synths thereof.
Most of the songs on this album sound to me like fairly standard industrial dance songs. There are some exceptions, though. "Linoleum" sticks in my memory as showing the most entertaining dynamic change. This one, like several other songs, features politically liberal lyrics. I also really enjoyed the main riff from "Superbuick."
This album its high points and is better than mediocre, but I would not call it an excellent album. If goth industrial dance music is your thing, Die Warzau are certainly worth a listen. Even fans of sludge metal or doom metal might get a kick out of this album. Depending upon the situation, this could be a very entertaining album. It can definitely get you moving.
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| by gina provenzano (theredhead603) / casey best (happyhobo) | |
1.Midwifery
2.Don’t Even
3.The Evolution of the Lungfishe
4.Barefoot and Cursing
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Band: Grinner
CD: bangMatch EP |
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Review #1 - Gina Provenzano
I've never had a high tolerance for bands that took more pride in being funny than in their music, for me the joke always stopped being funny after one song. Looking at the clever packaging and website for the Chicago-based Grinner (www.grinnertheband.net) before listening to their bangMatch EP, one might mistake them for one of these bands. But after a quick listen I realized that Grinner take their music very seriously and that's a very good thing.
The first track, "Midwifery" starts the EP off with a bang (pun intended?) and contrasts between clear melancholy vocals and crashing guitars. The song lasts for about six minutes, but with the lack of repetitiveness you would hardly realize it. My favorite track would have to be "The Evolution of the Lungfishe" with its catchy chorus and haunting background vocals that probably is the most punk-sounding song on the EP. The record then ends as forcefully and as energy-filled as it began with their single "Barefoot and Cursing." All of the four tracks are loud and fast paced. The lyrics are simple and vague, but are sung with such emotion that it doesn't matter. Musically the record is very erratic, matching the emotional melodic vocals very well.
In the end I enjoyed all aspects of this record from its fast-paced indie rock, to its instructions on how to use chopsticks on the back cover. I look forward to listening to full-length albums from Grinner and would recommend this EP for anyone who appreciates solid rock songs and/or anyone that needs to let some aggression out.
Review #2 - Casey Best
If there's one thing immediately recognizable about Chicago-based band Grinner, it's that they're clever. The album and album art for bangMatch EP is that of a matchbook, complete with strike-pad and a CD decorated like matches. It's website also threatens that the music may "kick your ass and make you look silly if you're not careful."
The songs are fairly standard heavy-rock fare, with heavily distorted guitars and energetic drumming. The vocals are a little flat and lacking in energy at times, but largely mesh well with the four tracks. When I first listened to the CD, I had a negative impression of it, thinking it was actually somewhat boring. Once I switched the CD from my laptop to my CD player though, I changed my tune. To fully appreciate it, the listener should play these loudly and clearly.
My personal track is the fourth, "Barefoot and Cursing." It's got a faster tempo, and the vocals take on more of a punk sound. It's a significant improvement over the first track, which features more slow, drawn out singing. The more energetic punk style fits well with the distorted guitars of the previous tracks, allowing them to be more engaging and interesting for the listener. For more information, head over to www.grinnertheband.net.
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| by casey best (happyhobo) / chris earnhart (Pocket) | |
1. Your Type
2. My Right Arm
3. Freaks
4. Sneak Attack
5. Barefoot
6. Something to Lose
7. San Francisco
8. Gods I Need
9. Understudy Guy
10. Pi 4 Prez
11. Plastic Spoon
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Band: Pi
CD: Beat Mining in Dark Places |
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Review #1 - Casey Best
Before I put Beat Mining in Dark Places into my CD player, I listened to The Roots' "Phrenology," which I have had for a year but just realized is a fantastic album. Pi's press kit described their album as "folk-hop," which sounded very intriguing to me. Upon switching between the two CDs though, it's fair to say that BMiDP is basically just "pop." It's percussion is mostly limited to drum machine loops, and the other instrumentation is simple, keeping the vocals firmly in the forefront. The lead singer's voice is very clear and beautiful, if a little bit tame.
That all being said, BMiDP has more to its name than a brief listen might show. The songs are well produced and effectively provide a framework for the vocals. More importantly though, the lyrics break harshly from most radio-friendly pop. The lyrics in songs deal with unusual topics, such as the religious thoughts of "Gods I Need" or anti-stereotyping lines in "Your Type." The efforts into providing meaningful lyrics is something that is greatly appreciated, and allows the album to have a few surprises. Although not incredibly complex, the simpleness of the verses allow the songs to be simultaneously unoffensive and somewhat thought-provoking.
In addition, portions of the proceeds of Pi's CD go to the Platelet Disorder Support Association. For more album and ordering information, go to www.cdbaby.com/cd/pi2.
Review #2 - Chris Earnhart
I have to admit, when I volunteered to review this album, I made judgments based on the cover art and artist. I thought it would be more songs about lost boyfriends and desired loves sung with a great voice that's been done and mediocre acoustic guitar. It's not the subject that bothers me, but that not many have anything new to say. Well, my assumptions were proven wrong when I began to listen.
While her voice and guitar work were much as I had expected, there was something more, alluded to by the title: really cool percussion and beats. This alone makes the album worth a second listen. The percussion is my favorite part of the album. It gives it a fresh sound and keeps listeners from getting bored. So I'll recommend it right away to people who enjoy female singer-songwriters with a twist.
She also touches on politics, religion, and some uncommon problems. All of which are fairly uncommon topics for how pop-oriented this album is. So while it isn't a good listen for when you've just broken up, it might be applicable to many other situations. Or it might do for when you are just looking for a soothing voice with a full sound backing it up.
I would recommend that anyone who enjoys singer-songwriter stuff check her out at www.thatcrazychick.com. And if you are into the pop stuff, then look into picking up Beat Mining in Dark Places.
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