Mental Pirate

Miss Derringer Unveil's "Drop Shot Dead"

2012-01-21T13:41:00.000-08:00

The world is an odd place. As of late I've been digging through music of the 1950's. Specifically, Patsy Cline and Roy Orbinson. The combined elements of original rock 'n' roll and forlorn lyrics really appeal to me. Then, along comes the latest from noir rock act, Miss Derringer.

If you're not familiar with Miss Derringer I'll give you a brief synopsis of their sound. If you take the simple musicality of the aforementioned 50's rock and combine it with themes of murder, betrayal and broken hearts the end result is the soundtrack to a pulp fiction story. And I like that.

Below is the latest music video from the group. I swear, if these cats went on tour with Dommin, my year would be complete.

Enjoy.

And yes, in case you're curious, I'm giving the finger to both SOPA and PIPA with this posting.

Viva La Internet!

2012-01-18T08:26:00.000-08:00

Hey kids, Captain Morgan here (no, not speaking from the picture. I don't have the amazing voice of V, though I wouldn't feel bad if you read this with his voice in your head) and I'd like your help. I need you to stand up and support the anti SOPA/PIPA movement that is currently underway.

Like you, I enjoy the accessibility to a myriad of things through the Internet. And, like you, I enjoy the interaction with others and the ability to express my own, personal opinions.

Unfortunately, our current administration believes that we need to be protected from ourselves. The SOPA/PIPA bills that are being passed around in congress would allow the U.S. government to follow in the footsteps of several other countries and seize control over our access to the Internet. If there are sites that big brother doesn't agree with, we won't be allowed to visit them. It also means that other sites can be shut down without notice or reasonable reason (meta much?).

Although the idea of both SOPA and PIPA are intended to stop piracy sites that allow individuals to download illegally gained content--typically music albums and movies (so you know who's providing most of the funding for these bills should they pass)--and make it tougher for you to get your mitts on things for free. I will admit I've done my fair share of pilfering in my day--which I justify by turning around and purchasing the material should I enjoy what I've found--and I'm sure everyone has at some point. No one is clean. However, this doesn't mean that I'm asking for a nanny state to step in and help me control my choices--nay, make them for me. One side-effect of these bills should they pass, would be the discontinuation of sites like craigslist as anyone that sells discounted products from major companies can be shut down, along with the hosting site of said content.

Anyway, if you'd like to continue to have your own, freely voiced opinion to be splattered all over the interwebs, now is your chance to help. There are several petitions being passed around at the moment, but I suggest at least these two. Join the movement that Google, Wikipedia and a host of other sites are rallying behind.

For the duration of today, this will be the only page that will be viewable. Fuck the man, today we're on strike.

Viva la freedom! Viva la Internet!

††† (Crosses) Offer up "Prurien†" for Free

2012-01-16T11:16:00.000-08:00

††† (Crosses), the chill-out, electronic duo of Chino Moreno (Deftones) and Shaun Lopez (Far), are set to release another EP, EP ††, on January 24 (which is turning out to be a big day in music releases with Lamb of God and Lana Del Rey also dropping). In advance of the release, you can get your ears around a preview of the album with the track, "Prurien†" for free right here.

I'm a sucker for anything Moreno does, and the EP released last year, EP †, is amazing. These cats have yet to disappoint.

Isole are Shadow Masters

2012-01-12T10:36:00.000-08:00

Isole – Born from Shadows = ** ½

Doom metalers, Isole,has served up seven slices of deliciously dour decadence in the form oftheir fifth album, Born of Shadows.

Singer/guitarist Daniel Bryntse, bassist/vocalist HenrikLindenmo, guitarist Crister Olsson and drummer Jonas Lindström havecollectively crafted a brand of doom that doesn’t grow stale. With the use of Bryntse’s higher-range vocalcontrasting with the heavy crunch in the instrumentation, the end result is moreBlack Sabbath than Swallow the Sun. The clean elegizing is a welcomedeparture from the marathon growl of bands like Ahab but not overly cheese-laden like My Dying Bride.

But, fret not slow-paced headbangers, Born from Shadows still sports plenty bleak, musical moments foryou to sorrowfully relish in. Plus, thechange in vocal style is likely to attract that gorgeous goth chick you’ve beenhanging around with. You know the one,the gal that only listens to Dead CanDance and would be willing to jump PeterMurphy’s bones any day of the week; but thinks your taste in music doesn’tquite mesh with her lifestyle. Justinvite her over for a bottle of wine or absinthe, throw on Born from Shadows and you’re set. Promise.

Wow, this review took a weird turn. ANYWAY, fans of Opeth, Draconian, and even ChristianDeath will do well to give Isole a spin. Let me know how it works out with Drusilla, mistress of your localcoffee shop.

Fools for Rowan Launch Kickstarter Campaign

2012-01-11T15:05:00.000-08:00

In this modern age of music where access to a beloved band is easily attainable through social media an interesting thing has been crafted. Bands are utilizing this instantaneous exchange of information and going to their fan bases to help fund various projects. It's a sophisticated form of playing on a street corner for spare change, and it's bloody brilliant. Through a company called Kickstarter, bands now have the ability to avoid the archaic and decaying world of the major record label and work directly with those that cherish their work as much as they do--their rabid fans. Be it a music video, tour, recording session or anything of that ilk, fans now have the ability to chip in to get their favorite group's dream off the ground.

Such is the case for Nashville rockers, Fools for Rowan. If you're familiar with Mental Pirate, then you're familiar with this band. Currently, the group is looking to get their latest batch of songs recorded and get a music video shot. The only thing is, they can't do it without your help. To pitch in, here's the link to their campaign site. They're not quite at a quarter of the way to where they need to be, and that's where you--their devoted fans--come in. They know you're pining away for new material, but they can't get it released without your help.

Peep the video below to hear straight from the group.

VCMG-The Abbreviation for "Synthpop Supergroup"

2012-01-10T13:21:00.000-08:00

Founding members of Depeche Mode, Vince Clarke and Martin Gore, have joined songwriting forces for the first time in 30 years and crafted a an album under the moniker VCMG (perhaps they were inspired by Trent Reznor and Atticus Ross' recent collaborative success?). Set to release in March, Ssss, is (seemingly) instrumentals of classic synthpop meets modern EBM. The lead track, "Spock" (I'm just waiting for some die-hard Trek fan to create a dancing montage of the character of the same name to the song) is--at least--interesting enough to warrant a second and third listen. Give it a whirl below.

The tracklisting for Ssss
"Lowly"
"Zaat"
"Spock"
"Windup Robot"
"Bendy Bass"
"Single Blip"
"Skip this Track"
"Aftermaths"
"Recycle"
"Flux"

VCMG - Spock by Mute UK

Howard Jones Exits Killswitch Engage

2012-01-10T08:06:00.000-08:00

Metalcore titans, Killswitch Engage, has been on the ropes as of late. Releasing little material that's even close to noteworthy and enduring two years of stand-by while frontman Howard Jones took some personal time. It seemed like the band may very well fade away.

Low and behold the group is waking up from a hibernation and it's first move is to release Jones from the band. The beleaguered singer posted this note to the 1.5 million Facebook fans:

"Message From Howard: Well, I guess I will shed a little light without going too deep. As some of you may know, I've had a pretty interesting couple of years to say the least battling with some personal issues. One of the low points being diagnosed with type 2 diabetes that went unchecked for years. The rest of the band stuck with me through it, and to be honest they are the ones that kept me going. The whole experience definitely put a scare in me.

Recently we've all been in writing mode but somehow I couldn't get excited about the new album and all the touring that would go with it. The guys saw it before I did. In hindsight I now realize that my heart wasn't in it. I have had an amazing decade with KsE. I love Justin, MikeD, Joel and Adam for hanging in there and standing by me no matter how bad it was. I have so many good memories, and those are the ones that I will keep. Will I be involved in music again? Sure, I have been in bands for a little over half my life, can't stop now. Until then, get the new KsE album, it's going to be good. Thanks everyone for letting me try to entertain you, and I wish myself well in my future endeavors. Gone fishin' Howard"

I will admit, I was never quite sold on Jones. He had a good voice, but his clean singing was a bit too emo for my tastes. His lyrics were solid and he had the right energy for the group initially, but I felt KsE really clicked with original frontman Jesse Leach was still a part of the band. Perhaps now Leach will come back? The band is holding auditions after all . . .

Good luck, Jones. I hope whatever lies in front of you is fruitful.

At The Drive-In Returning?

2012-01-09T14:30:00.000-08:00

Could it be true? Could one of the most intense, yet, catchy bands in recent history be--as the band puts it on their website, "ATTENTION! To Whom it May Concern: AT THE DRIVE-IN will be breaking their 11 year silence. THIS STATION IS. . . NOW. . . OPERATIONAL."

With the immanent announcement of the 2012 Coachella line up looming, At the Drive-In would likely draw out a multitude of non-hipster attendants to the desert music festival.

I, for one, would be more excited about the band reuniting, period, as I've never caught a live show and I'm a bit burnt out on The Mars Volta.

Here's hoping the rumors are true!

At The Drive-In Website Intro from MONDIAL on Vimeo.

Free Track from Brother Ali

2012-01-05T11:53:00.000-08:00

One of the most impassioned and prolific rhymers in recent years, Brother Ali, has been hard at work on new material. In advance of the upcoming release Ali has released a video for a new track, "Writer's Block" --seen below-- and made the song available as a download here.

Dig on this.

Randy Blythe for President!

2012-01-05T09:53:00.000-08:00

I'm not one to typically get involved with politics. I feel it's a waste of time and driven by greedy, narcissistic individuals who are solely out for their own gain.

But, this was far to entertaining not to share. Behold, Randy Blythe has announced his campaign for the presidency. I won't spoil it for you, so just read it here.

Concert-goer

2012-01-03T10:15:00.000-08:00

It's the new year (and, if you believe the Mayans, it's our last) and this time is typically spent reminiscing about times past. Drawing inspiration from fellow blogger Georgia Hitchcock, I've taken the time to mine my memory for all the shows I've had the fortune of attending. As a forewarning, there are some artists listed here that I didn't actively try to catch--they just happened to be sharing a bill with someone I cared about seeing. I've also noted how many times I've seen some acts with the number listed next to their name. The prerequisites to be included in the below list were the band having been signed to a label and has released at least one CD through said label.

This list will likely be updated in the future when I recall more acts. I know, for a fact, that there are bands I'm missing, because I remember the concert but not the band names.

30Seconds to Mars (3)

A Dozen Furies

A Perfect Circle

AFI

Agent 51

Airbourne

Akon

Alanis Morissette

Alkaline Trio (2)

Allister

America

Angels and Airwaves

Anthrax (3)

Apocalyptica

Army of Freshmen

As I Lay Dying

Asesino

Atmosphere

Atomship

Audiovent

Augry

Avenged Sevenfold

Bad Religion

Bauhaus

Black Francis

Black Label Society

Bleeding Through

Blink 182 (2)

Brujeria

Chevelle

Crash Kings

Crossfade

Dashboard Confessional

Death Cab for Cutie

Default

Deftones

Depeche Mode (2)

DEVOLVED

Disturbed (2)

Dommin

Donnie Brook

Dredg

Drive A

Evanescence (4)

Everest

Fall Out Boy

Fear Factory

Finch (2)

Flickerstick

Flobots

Flogging Molly (2)

From Autumn to Ashes

Gavin Rossdale

Godhead

Green Day (2)

Gwen Stefani

Halestorm

Handsome Devil

Hellyeah

HIM

Home Grown

Hoobastank (2)

Iron Maiden (2)

Jack Johnson

Jimmy Eat World

Julien-K

Killswitch Engage

Korn

Lacuna Coil

Lagwagon

Linkin Park
Live

Lynyrd Skynyrd

Mastodon

Megadeth

Metallica

Minus the Bear

Miss Deringer

Motograter

Mudvayne

Mutiny Within

New Found Glory

Nine Inch Nails (4)

No Doubt

Onesidezero (2)

Papa Roach (2)

Peaches

Pennywise

Peter Murphy

Pinback

Poe

Pulse Ultra

Queens of the Stone Age

Radiohead

Reel Big Fish

Reggie and the Full Effect (2)

Rev Theory

Rise Against (2)

Rob Zombie

Rogue Wave

Save Ferris

Scotch Greens

Senses Fail

Shadows Fall

Showbread

Sinai Beach (2)

Slayer

Slipknot

Soulfly

Sparta

Spineshank

Stone Sour

Suburban Legends

Swashbuckle

Sworn Enemy

System of a Down

Ten Foot Pole

Terror

The Ataris

The Art of Safecracking

The Dreaming (3)

The Early November

The Hives

The Night Marchers

The Offspring

The Riverboat Gamblers

The Used

The Vandals

theSTART (5)

Thrice (3)

Third Strike

Tomahawk

Tool

Tori Amos (2)

Trivium

Useless ID

Vaux

VNV Nation (3)

Voodoo Glow Skulls

We are the Fallen

Weezer(2)

What were some of your favorite shows to attend? What were some of the worst?

Mental Pirate 2012 Releases to be Excited About

2011-12-27T16:03:00.000-08:00

Lamb of God – Resolution
Although I wasn’t overwhelmed by their last release, Wrath, I’m always down for some new Lambof God.

Rise to Remain – City of Vultures
When you’re the son of one of metal’s most legendary singersthere’s a significant level of pressure on you and anything you put your name on. Such is the case for Bruce Dickinson’s (of Iron Maiden, duh) son, Austin and hismetalcore group, Rise to Remain. WhatI’ve heard thus far is noteworthy enough for me to pick up their debut.

Lana Del Rey – Born to Die
Thanks to a Facebook friend’s status update, I wasintroduced to this So Cal songstress and her noir tunes. Upon browsing through her YouTube channel, myfirst impression was she’s in the off-kilter vein of Florence + the Machine but with the dour turned up. Interesting stuff.

Sybreed – God is an Automaton
Thus far, Sybreed has yet to deviate from theirtech-metalcore formula—and that’s fine—so I imagine God is an Automaton will be standard fare—which is also fine.

Voodoo Glow Skulls – Break the Spell
It’s a known fact, no one sounds like the Voodoo GlowSkulls. Combining ska horns withbreakneck skate punk, this group consistently puts out solid records. Here’s to another one, I’m sure.

City of Fire – Trial through Fire
City of Fire is the hard rock-ish side project of Fear Factory frontman, Burton C. Belland bassist, Byron Stroud. I dug their self-titled debut, and I’mlooking forward to more.

Mumford & Sons
Thanks to these cats (along with Fleet Foxes, Grand Archives et al) sales of John Denver, Peter Paul andMary and any other 60s folk artist’s back catalogue likely saw their bestsales numbers in years. HopefullyMumford & Sons can continue their win streak with their upcoming sophomorerelease.

Garbage
This group has been on a break since 2007 so there’s boundto be some interesting material that’s been brewing. Fingers crossed it’ll be worth the wait.

Metallica
Metallica just celebrated their 30^th year as aband with a three day set of shows at the Fillmore in San Francisco, Californiaand by releasing an EP, Beyond Magnetic,containing tracks that didn’t make their last album, Death Magnetic. So long asLars Ulrich doesn’t dick around with stupid drum sounds and the band avoids aging artrockers like the plague, there’s little than can go wrong with a new Metallica record.

How to Destroy Angels
As part of the interviews for the just released soundtrack to The Girl with the Dragon Tattoo, Trent Reznor dropped twosignificant chunks of meaty news regarding his other musical projects. One of them was the near completion of a fulllength release for How to Destroy Angels—the band featuring Reznor, his wifeMariqueen Reznor and Atticus Ross. Ihave little doubt that I’ll love this album.

Tool
No new release listing would be complete without a mentionof a new Tool record. So far, we’ve been waiting five years . It wouldn’t surprise me if2012 comes and goes without new material, but it never hurts to hope.

Fear Factory
2010 saw these industrial-metal pioneers return with avicious album in Mechanize. The current story is the band is in the midstof finishing up the demos of a new album to be released in 2012. Here’s hoping they’ll continue their currenttrend of sustained badassery.

Outkast
The rumor mill had these Southern-swagger artists set torelease a new album in 2010 and again in 2011. Now that the band is on a new label and Big Boi has his solo release itch scratched, perhaps an Outkastrecord can finally see the light of day.

Nine Inch Nails
The other bit of news that Reznor had dropped was his returnto writing Nine Inch Nails material. After retiring the live version of the bandin 2009 and generating three albums worth of material in other projects (How to Destroy Angels, The Social Network and The Girl with the Dragon Tattoosoundtracks) as a lifelong NIN fan,this is fantastic news. Knowing Reznor’swriting pace this material may not land in 2012, but one canalways hope.

Austrian DeathMachine
Although this is based on Twitter mentions and tags betweenAustrian Death Machine creator, Tim Lambesis, and DevilDriver frontman, DezFafara, I don’t doubt that a follow up to Double Brutal could surface next year. I imagine Lambesis is running out ofSchwarzenegger lines to work with, but I’m fairly certain there are some movieshe hasn’t mined yet (True Lies at thevery least).

Did I miss anything? What are you excited about, musically, for 2012?

The Good, The Meh, The Bad and The Unheard: Part Four - The Unheard

2011-12-22T15:27:00.001-08:00

It would seem like 2011 was a pretty big year formusic. Even though I managed to listento as much new material as I could, I didn’t listen to enough. Either due to lack of funds or general hesitancetoward certain bands; I managed to miss out on some significant records. It doesn’t mean that I can’t go back and get them;it just means that there wasn’t a chance for me to champion them the year theydebuted.

This list is based on my general interest in thesebands/genres and the critical praise for these albums. Here’s the final installment of my year endlist—“The Unheard.”

Machine Head – Unto the Locust
It’s only been in the more recent years that I’ve started to appreciateMachine Head. They blew the metal worldaway with their release in 2007, TheBlackening (which is another album I’ve yet to get), and set themselves a difficult benchmark to beat. Four years later, they’ve apparently managedto do just that with Unto the Locust. I’m flat out bummed I haven’t wrapped my earsaround this record yet.

Thrice – Major/Minor
Despite the fact that Thrice were unveiling one song at a time leadingup to the release of Major/Minor, andthe fact that I featured their only free download from the album—“Yellowbelly”—Ididn’t buy it. Shame on me. Now, the band is on a hiatus indefinitelywhich is all the more reason for me to get out and get this record.

Florence and theMachine – Ceremonials
My wife downloaded this album from iTunes, and I have heard it, but asignificant chunk of the tracks are incomplete. I still haven’t heard the entire thing, despite my reminders to her toemail iTunes and fix it, but what I’ve been able to glean so far is it’s moreelectronically based than its 2008 predecessor, Lungs. And I like that.

Staind – Staind
I’d kind of given up hope on these cats after the less than stellar Chapter V back in 2005. I mean Aaron Lewis is a multi-millionaire bynow, what can he possibly have to be pissed off about? From what I’ve gathered, however, Staind is a return to form a la their numetal gem Dysfunction. Looking forward to spinning it, one day.

The Horrible Crowes –Elsie
I’m a sucker for The GaslightAnthem. I adore everything abouttheir lead singer, Brian Fallon: his pained, Springsteen-esque vocal; his philosophic-yet-blue-collarlyricism and the unfiltered emotion the guy oozes. The Horrible Crowes is another project of hisfeaturing his guitar tech, Ian Perkins. I’ve heard the preview tracks the band put out, but not the entirealbum. I’m disappointed in myself fornot snagging this record when it came out.

Imelda May – Mayhem
Mayhem is thisIrish-songstress’ second major-label release and I’ve heard nothing but greatthings about it. I dug its predecessor, Love Tattoo, and I’m excited about newmaterial of hers.

The Empire Shall Fall– Volume 1: Solar Plexus
Again, I postedthe teaser to this EP’s release, but have yet to score it. I’m looking forward to moreprogressive-tech-metal core from this eclectic set of headbangers.

Death Cab for Cutie –Codes and Keys
I’ve heard the lead single, “You are a Tourist,” a million times bynow, but still haven’t picked this disc up. Although some folks didn’t much care for the record, I dig the singleand am willing to give it a try. Hopefully I won’t be as disappointed as they were.

Imperative Reaction –Imperative Reaction
I’ve heard (and spun, live) a couple of tracks from this album—“Siphon”and “Surface”—but have yet to hear the rest of it. Nothing but praise has been spoken about thisrecord so I have high hopes.

Adventures in the Used-Bin: 12.11.11

2011-12-21T09:36:00.000-08:00

Joy Division – Substance 1977-1980 = ** ½

This is actually the second time I’ve purchased thiscollection used. The first time itskipped terribly on my favorite song of theirs, “Love Will Tear Us Apart.” I know most music snobs scoff at best ofcollections, but I don’t. In fact, Ithink they’re solid ways to immerse a first time listener into the band’scatalogue, provided of course there’s a sonic evolution through thecollection. Such is the case for thisfated band. You can hear the group grow froma depressed version of The Ramonesto the blueprint for future post-punk/Goth bands to follow.

D12 – D12 World = ** ½

The sophomore album by the Detroit hip hop group is asmanic as the group’s sole, famous rhymer, Eminem. It bounces between party tracks, goof-offtracks and 21^st century gangsta rap. It’s difficult to take the group seriously, but perhaps that was theirintent.

The Crystal Method – Vegas = * ½

I was always slightly interested with the late 90’s early 00’selectronic movement, but I’d only ever heard the singles included in variousmovie soundtracks or music videos. When Isaw this disc hanging out, I thought I’d give it a shot. Alas, unless I’m using it as background musicfor an otherwise engaging activity, this album is supremely boring for activelistening. It’s great for runningerrands or housecleaning, but that’s about where it stops for me.

Mazzy Star – So Tonight That I Might See = **

Part psychedelia-stoner jams in the vein of The Doors, part bluesy depression andall melancholy; So Tonight that I MightSee is another great background album. It’s helpful for chilling out in traffic, but it’s too sleepy for a road-tripdisc. I still find it odd that thesingle that broke the band, “Fade into You,” sounds nothing like the restof the record. It’s such a perfect song,it’s peculiar that they only tried that formula once on the entire album.

Innerpartysystem – Never Be Content = * ½

As I statedpreviously, I’m underwhelmed with this band’s final EP. I fell in love with their Nine Inch Nails meets Pennywise sound and tried my best tochampion the band and further their careers. Unfortunately for them, the band was about three years ahead of itstime. Would they have been picked up nowin the midst of this dubstep madness and Skrillexobsession they may have had a fighting chance, but when you’re A&R repmade a name for himself by signing TheKillers, the music industry’s perception of you isn’t great. Perhaps they’ll resurface, either collectivelyor individually, in another form in the future.

Nirvana – Unplugged: New York = ***

Not much to say about this stellar performance that I haven’trecentlystated. This disc had gone missingand I managed to replace it. Success!

Reservoir DogsSoundtrack = * ½

I’m a big fan of this movie, so when I saw the soundtrackavailable I was stoked as there’re some solid tunes in the film. I was hoping for some quotes from thecharacters interspersed between the tracks, but unfortunately the “quotes” areSteven Wright monotone whining and serving as the DJ from the film. I’ll never understand how anyone thinks he’sfunny. Anyway, most of the songs areawesome: “Little Green Bag,” “Fool for Love,” “Magic Carpet Ride” and “Stuck inthe Middle with You,” but the rest arejust dismissible.

The Good, The Meh, The Bad and The Unheard: Part Three - The Bad

2011-12-20T08:41:00.000-08:00

There were only a couple of albums that I absolutely despisedthis year, which says one of two things: either I didn’t listen to nearlyenough music; or I’m paying less and less attention to music that’s comingout. I’m afraid it might be the latter,as my list of “The Unheard” is quite long.

The Misfits – Devil’s Rain
Let’s make one thing perfectly clear, there are only two recognizableversions of The Misfits: the versionwith Danzig and the version sansDanzig. This third incarnation is just ashameless attempt to keep selling products emblazoned with the crimsonghost—the band’s iconic mascot. Sole,original member, Jerry Only, has taken on the vocal duties for this album and,the fact that the guy can carry a tune notwithstanding, his voice isn’t meantfor The Misfits. Only would have beenbetter off creating a completely different band and starting from scratch. Instead, he’s ruining one of the mostheralded horror punk bands in music history and ruining the value of the bandat the same time.

Sure, the production is great; the lyrical content isstandard and all that elemental, basic stuff. But there isn’t a single second of true, noteworthy material on Devil’s Rain (shy for the album cover)that would make a long-standing Fiend want to stand up and say, “Hell, I don’teven miss Glenn Danzig or Michael Graves.” Jerry Only, you should be ashamed of yourself. At least your brother’s work in his group Gorgeous Frankenstein is just mediocreon its own merit; you’re tarnishing your own history books pal, and that’sdespicable.

Abyssal Creatures – Social Awkwardness
Reasonably speaking this is the only album that I’ve heard all yearthat was simply god-awful. The onlyalbum that was a musical abortion of gargantuan proportions. The only album that caused me to cringe everyfive seconds. The only album I've ever reviewed that received a "0" star rating. Devil’s Rain would have fallen in the “meh” category if it didn’thave 30-plus years of history attached to the band. But this. This was just torture. DickCheney could have gotten more out of the prisoners he “interrogated” with thisalbum than any water-boarding session.

I do applaud the band’s creator, Ian Fellerman, for takingthe time to craft something he felt passionate about. I just wish he’d have taken the criticismdifferently. Instead of accepting the factthat his album was crap, he would fire back at various reviewers with thepositive pieces he received. And, inreading those pieces, I honestly don’t think those writers were listening tothe same album—or they were being positive out of pity. Either way, Fellerman wiped away what littlerespect I had for him as a fledgling artist with that move. It’s not my fault, sir, that your work ispathetic at best.

All that remains for my year-end list is the unheard. I’m sure I’ll get some crap for not spinningthese records but, hey, no one is perfect. I’m sure I’ll get around to hearing them as I do most of my hallowedalbums—in my own time.

In the meantime, if there’re albums I missed or ratedincorrectly, I welcome your feedback.

The Good, The Meh, The Bad and The Unheard: Part Two - The Meh

2011-12-16T13:54:00.001-08:00

Before I continue to mine through my list for the year, doknow that there are other albums out there that don’t fall into any of these categories. It’s not a good or bad thing, it justis. They weren’t great enough to makethe “Good” list; they weren’t bad enough to be—well—“Bad;” I’d obviously heardthem; and they’re just a little bit better than a level of indifference to belisted in “Meh.”

Namely: Peter Murphy – Ninth, Born of Osiris – TheDiscovery, Filthy Cheaters – Wake theDead, Repeater – We Walk from Safetyand a host of others found in the Album Reviews tab.

ANYWAY, let’s cover off on the “Meh” of the year. Again, in no particular order:

Mastodon – The Hunter
I just felt that TheHunter was more of a compromise than anything else. It struck me as an obvious pandering to thehipster audience that embraced Crack theSkye; though it was more stripped-down in the compositions like their olderwork. I really wanted more out of thisalbum, and it’s just not there. It hastwo highlights, “Curl of the Burl” and the title track, but if the opportunitycame along to trade it away, I would.

Innerpartysystem – Never be Content
I’m not sure if the album title was indicative of how disjointed thisEP feels or not, but I do know that it makes me yearn to listen to theirself-titled release more each time I spin it. These cats embraced the dubstep movement, which is one thing, but onlyhalf the EP is dubstep-ish. The otherthree tracks, “Out of Touch,” “Not Getting Any Better” and “Squid” speak moreto their original sound—which is what I fell in love with. It’s not bad, but I’m not head over heels forit either. I’ll elaborate more in afuture post.

Five Finger DeathPunch – American Capitalist
“The award for one of the goofiest band names goes to . . . “ It’s nowonder this group is a hit with meatheads. I will say that I am a fan of Ivan Moody’s voice—like CoreyTaylor-lite—and the group has a knack for metal hooks, but I find it tough tolatch onto their manufactured anger and when you compound that withone-trick-pony songwriting and the end result is just . . .”meh.” The remixes on the bonus edition are betterthan their originals as the electronics punch (no pun intended) up the songssignificantly.

The Good, The Meh, The Bad and The Unheard: Part One - The Good

2011-12-13T15:43:00.000-08:00

There’s an unwritten rule in the music journalist world thatyou must cap off your calendar year with some sort of list. While I don’t normally enjoy subscribing torules—especially when I vehemently disagree with them—in this instance I’mgoing to partake. This time, though, I’mputting my own, unique spin on the idea.

Instead of a “Top ____ Albums of 2011” or anything of thatparticular ilk, I’m doing a “Good, Bad, Meh and Unheard” list. The first three are obvious: albums I’velistened to and adore, am indifferent to or detest. The “Unheard” portion is different. I’m listing albums I haven’t heard; had everyintention of doing so; but never did for whatever reason. That’s a twist, no?

So, first, the good (in no particular order):

The Dreaming – Puppet
I’d been waiting, along with the rest of this group’s rabid fan base,for this album to drop for what seemed like an eternity. When it finally came to fruition I wasexcited. When I first spun it, it wasclear that the time was well spent. Notone, single moment of filler from the opening riffs to the closing synthlines. Puppet is a flat out solid record (clearly evidenced by the factthat all the physical releases sold out within a few hours of going onsale. See, people still buy CDs!).

Nick 13 – Self-Titled
Another album that’s been in the works for years, this labor of love isten tracks of classic Americana penned and performed by Tiger Army frontman, Nick 13. This album shows the breadth of 13’s songwriting ability and alsorevived a desire for me to dig into those classic country albums by Waylon Jennings, Willie Nelson and Patsy Cline. This album would make a solid addition toanyone’s library, especially if they’re trying to expand their musical pallet.

Amon Amarth – Surtur Rising
Amon Amarth has been described by the folks at Metal Blade Records as fineliquor—they only get better with age. I couldn’tagree more. Surtur Rising sees the band getting personal lyrically for thefirst time instead of solely relying on Norse myth and Viking imagery to telltheir savage death metal-meets-power metal tale. Not to mention the guitar harmonies on thisalbum are phenomenal. The band hasalways had an ear for hooks—even of the metallic type—and that is showcasedhere.

Adele – 21
I don’t really care if I’m lumping this brief bit on top of a huge pileof glowing critiques or not, I can unabashedly say that I’m a fan of Adele and her heartfelt poetry, vintagevoice and straightforward songwriting style. In my opinion, Adele is the first artist to use her personal diary andturn it into a hit record since GwenStefani did with No Doubt’s Tragic Kingdom (sure, you can argue thatKelly Clarkson’s Breakaway was the same thing, but I don’tconsider her an artist—just a pop star). Everything about 21 is perfect—from the amazing compositions backing her killervoice to the sincerity that oozes out of the speakers when she croons—this albumwill easily be celebrated in the annals of music history.

VNV Nation – Automatic
I’ve gushed about this album previously so I’ll keep this highlight brief. VNVNation continue to evolve and always seem to evolve successfully. There hasn’t been an album yet that I simplycan’t listen to. Automatic is spectacular for the simple reason that the band accuratelycreated a feeling of warmth with “cold” instruments. If you’ve never heard the band before, this wouldbe a solid jumping off point into their previous material.

Anthrax – Worship Music
Worship Music is anotheralbum that took years to craft, but the end result was (nearly) worth the timespent. Anthrax managed to become truly relevant again with a metal albumthat combines their classic thrash with modern production. The end result sees the band hungry to kicksome ass and sports a sense of urgency that’s been noticeably absent from theirmaterial for years. Welcome back, gents.

The Boxer Rebellion –The ColdStill
Although my first introduction to the band was in the Drew Barrymore,Justin Long rom-com Going the Distance,I can say that I was instantly intrigued by their sound. Combining equal parts mellow introspectionwith urgent undercurrents in their sonics, TheBoxer Rebellion hit on most of my points for a staple to my library. TheCold Still fills the hole left by TheSmashing Pumpkins in the wake of Billy Corgan’s ego eruption in the late 90’s.

The Rope – S/T EP
I’m not one to typically celebrate a band that takes direct inspiration fora century’s past sound and tries to call it their own. TheRope, on the other hand, make use of the post-punk playbook of the 80s anddo so in a flattering way instead of a bastardizing it. The greatest part? This is the band’s debut. They’re currentlytracking a full-length and I’m trying my best to be patient for its futurerelease.

Blutengle – Tränenherz
It was by some random occurrence that I watched a music video for thisgroup. After watching the video for thetrack “Reich Mir De Hand” twice in a row (and reposting on Facebook) I haven’tlooked back. Although the vampire shtickboarders on the campy with their English lyrics, this darkwave/EBM outfit keepsme interested the same way The Smithsand Depeche Mode do—the music makesme feel nice and chilled out in the most delightfully dour way.

DEVOLVED – Oblivion
Tech-death metal act DEVOLVED putout a wallop of an album with Oblivion. The band had stepped up their game with theuse of clean vocals to enhance the brutality of their musicianship and the focusedsong structures on this album. Unfortunately for me not long after this album dropped the band alsofractured in two as well. With theoriginal drummer sticking with the name and forging ahead with new member(their latest demo can be heard here) and the rest reforming with theiroriginal singer and new drummer under the moniker ROME, heard here (why are you guys always shouting in text?), Oblivion was a once in a lifetimerelease for these cats. Cest lavie.

Times of Grace – Hymn of a Broken Man
It’s interesting to think how much personal pain can create some trulyamazing pieces of art. Hymn of a Broken Man is quite the catharsisfor both singer Jesse Leach and guitarist Adam Dutkiewicz. The end result is passionate and intricatemetal core, the likes of which hadn’t been heard from these two cats since theywere both in Killswitch Engage in2002. Layered compositions, vocalacrobatics and impassioned lyrics make for a killer album. On the one hand, I hope they never have tosuffer the way they did to gain the inspiration for this album, but should ithappen I’ll be excited to hear the end result.

Stay tuned for the meh, the bad and the unheard!

Immigrate This!

2011-12-12T11:31:00.000-08:00

We've been teased for most of this year with various viral videos and promotional posters for David Fincher's upcoming interpretation of The Girl with the Dragon Tattoo. Among them, was a fan recorded, red band trailer that included snippets of Trent Reznor, Atticus Ross and Karen O's cover of Led Zepplin's "Immigrant Song." Well, now you can listen to the song in it's entirety as it's been paired with some creepy visuals created by Fincher for the film's upcoming title sequence.

I have to say, I've never been a big Karen O/Yeah Yeah Yeahs fan, but her voice is perfect for this vicious cover. I doubt Page & Plant had this sonic landscape in mind when they created the original so many years ago.

Additionally, if you haven't already, you can purchase the entire, three-hour long soundtrack to the film or--if you're not willing to invest that much time for something you've yet to hear--you can download a free, six-track sampler with music from the soundtrack. I've done so, and it's some of the most demented work Reznor has released in years. He's always kept unnerving sounds in his work, but they're usually only part of the composition. Now they're front and center.

Say what you will about the remake, I'm looking forward to seeing it. I love Fincher and I'm starting to dig on Daniel Craig so this has some potential for me.

R.I.P. Dime

2011-12-08T08:38:00.001-08:00

Seven years ago today, one of the most unique shredders in metal history was taken away from the headbanging faithful by a mentally unstable dipshit at a Damageplan show. "Dimebag" Darrell Abott, founding guitarist of Pantera, was tragically killed.

I remember I was commuting down to work, listening to Howard Stern when he broke the news. I was floored. I'd never really been into the band before. I'd appreciated some of their songs, but my metal pallet hadn't grown much by this point. Perhaps his passing was the catalyst for me to re-listen to his work, but I'm not sure. I can say that I'm not a devoted Pantera fan (and I really didn't much care for Damageplan), but I like them more than I used to. You can call it a bandwagon jumping if you want, but that's-like-your opinion, man.
In his memory, here's my top three favorite pieces of his work.

Black tooth in your honor today, Dime. R.I.P.

The Dreaming Rear Their Heads Once More

2011-12-05T10:15:00.001-08:00

The Dreaming – Puppet= ****

LA rockers, TheDreaming, have released a wallop of a sophomore album in Puppet. Building off of the hard hitting introduction in their previousalbum, Etched in Blood, and adding asignificant (and welcome) level of electronic flair; The Dreaming has managedto release one of the greatest albums of 2011.

Puppet has seenits fair share of hands touching this album. The line up for the band has been in a state of constant flux for thebetter part of three years and several roadblocks were thrown in the way of thealbum’s release. As such, there’s asense of urgency to the entire pace of the record. Even the more somber themed tracks(“Breathing,” “There will be Blood,” and “Hole”) have a pedal to the metal paceto them. Puppet is devoid of filler as each track has its own, unique hookand each track packs universal, emotional turmoil into neat three-and-a-halfminute packages.

It’s tough to pick some album highlights with a completelysolid record, but the band’s cover of DepecheMode’s “It’s no Good” is fantastic, giving the track some gravitas whilemaintaining the original electronic swagger. Lead single, “Every Trace” is catchy as all hell, and also the world’sgreatest break-up track.

Get your ears wrapped around Puppet and support this supremely hardworking group. Even if you’re not a fan of electronicallydriven tunes, there’s enough rock hooks to entice anyone.

Armored

2011-12-01T16:23:00.000-08:00

Somehow, I doubt these kids are ready to break up a gang fight a la dance moves

The music world has it's share of subcultures and subgenres and each are rife with their own specific "look." It is interesting to note that each of these movements have the same thought process of individuality, provided you wear what the rest of us do. It is silly, which is why I've never subscribed to just one movement. More on that in a moment.

Although the articles of clothing these different folks wear varies from movement to movement there is one, typical piece they all have in common: their outer "armor." That one, specific piece to their garment repertoire that is both outwardly identifying to those within or without the movement and is equally protective to the individual underneath. This ranges from kuttes to over sized hoodies--dependent upon the lifestyle they're trying to portray. A brief image rundown for you to enjoy.

Punk:

This could also be a fatigues based jacket or thread-bare sweatshirt. Bonus points for hand painted art on the piece

Metal:

I'm not sure if you get more credit for the amount of patches, or the stench of your kutte

Rock:

I abhor this band to the nth degree, but they're certainly spot on with their fashion sense!

Hip Hop:

Every thug needs . . . fur. Or an obnoxiously colored hoodie

Goth:

Potential Goth readers, feel free to digitally smack me if this seems trite

Grunge:

Substitute the flannel for a thrift store cardigan or a stained thermal undershirt

Indie (read as "hipster"):

The more poverty-stricken and emaciated you look, the more your expensive "looking" garments will be ironic

For my sake, these are all the first images that spring to mind when thinking of the "look." Granted, there are variations, but the thought process is always in the same ballpark.

My jacket, on the other hand, has no set pattern. It does lend to the punk/metal thought process of my declaration (walking billboard anyone?) for the band's patches/buttons affixed to it, but the style of the jacket (a former school bus driver jacket, picked up at a thrift store) speaks to nothing in particular and everything at the same time. Only thing it's missing is some faux chinchilla lining and I'll have rounded out my entire above listing.

What do you think?

I had one other jacket previously that took more inspiration from Rob Zombie's White Zombie days. Amazingly, the dude still sports the jacket every now and then and I still covet the piss out of it.

Also, the obligatory song inclusion.

Feistodon?

2011-11-30T10:06:00.001-08:00

Look, I'm all for team ups and reworkings of material between artists. But only when it makes sense. Loutallica? Does not compute. Korn and Skrillex? Noise begets noise.

Now, of all things, Feist and Mastodon are getting together to record and release a 7" single for next year's Record Store Day.

I've already said that Mastodon have stopped being a metal band, and this just flat out confirms it.

Excuse me while I lament the band's passing while playing Leviathan and cling to those memories.

One of the Greatest Bands You've Never Heard of: Volume 11 - VNV Nation

2011-11-28T10:24:00.001-08:00

For those that are unaware, I’m often a highly cynicalperson. I have the ability to plan andcoordinate some great things for me or other people, then continually expectthem to fall through. Case in point: myfirst attempt at scoring an interview with VNVNation back in 2009. Suffice to sayall of my best laid plans were for naught—whether on my part of that of others,I’d rather not say—so when the opportunity came waltzing around the corneragain this year I was hesitant to try and set up another interview prior to the group's first show of the North American Automatic Tour in San Diego.

Thankfully, the music gods smiled upon me and I had secureda chance to not only pose some questions to one of the music world’s greatest “underground”bands, but an opportunity to meet and speak with one of my music idols. The resulting conversation was both movingand insightful.

In speaking with Ronan Harris— the band’s vocalist and main ~~studio-rat~~songsmith—I discovered that the lyrics penned in the group’s work are asheartfelt and honest as the group’s fan base makes them out to be. That Harris is a fantastic storyteller (amajority of his answers were, unfortunately, truncated for two reasons: a) thetape recorder I brought with me had dead batteries so trying to recall the in-depthdetail from memory proved nearly insurmountable, so please don’t take any ofhis answers as direct quotes and b) I was so enthralled with sitting with theguy that any note taking would have been moot) and genuinely nice guy—despite hisjetlag and preshow jitters, he maintained an epic level of hospitality. And, ultimately, that I love the band morenow than I had before.

Mental Pirate: You went through all kinds of obstacles toget this record released. Was there evera moment when you said, “That’s it. Thisrecord is never coming out?”

Ronan Harris: No. Never. You’re right, anythingthat could have gone wrong, did.

Have you ever seen a computer blow up? Ok, how about two? One of the recording engineers we worked witheven commented, “There’s no way this could happen twice.” We had microphone tubes burst. And, the strangest part, there was nothingout of the ordinary with anything we were doing. All the power was clean. No one else was using any of this equipmentbut us. So, at that point, you say,“It’s got to be us.”

But I kept pushing. Idid two, 30-hour sessions to get this album finished. I had to rerecord several vocal parts and—inmany instances—I rebuilt entire songs altogether. One day I set myself a challenge at 5 a.m.; Irerecorded the vocals for “Space and Time” and, when I’d finished, I calledsome folks who hadn’t heard anything at this point and they were just blownaway when I played it for them. And thatwas the best part, when those moments of inspiration hit at five in the morningand everything you were working on was just clicking—that’s when it became “automatic.”

MP: Has the response to Automatic been what you’d hoped it would be?

RH: It’s been amazing. I’ve read so many, great reviews and it meansso much. One interviewer I spoke withhad just finished listening to the album for the first time before he called meand he had such a difficult time conducting the interview because it hadaffected him so much.

The best part is how many people get the direction that Iwas going with the album as a whole. Theentire ‘30s theme—American ‘30s theme, I have to provide that point of clarificationfor the German fans because the ‘30s, to them, still have a very distinctstigma attached to it—but in the ‘30s there was this huge explosion ofcreativity in America and I’m just obsessed with Americana. I’m obsessed with the products from that timethat say, “Made in America” because that was a time when those things were sosought after. You knew it was going tolast forever. It was a time when youcould achieve anything if you were willing to work for it, before the BigBusiness America came along with its faceless corporations. “Goodbye 20^th-Century” was mytribute to that era.

When we did the photo shoots for this album people weresaying, “Oh, that looks just like MadMen!” because—it seems—people have a tough time differentiating between the‘30s and ‘60’s. But when were coming upwith the concept I was so excited because I was getting to wear clothes that Inormally wear when I go out! I had thesuit, the shirt, these great wingtip shoes. I was set. We did have to wearsome ‘60s ties, though, because the ‘30s ties didn’t quite look right.

MP: Your sound has evolved do much since yourfirst release. Is there any other sortof experimentation you’d like to embrace that you haven’t yet?

RH: Let’s see. Acoustics. I’ve written a batchof songs that I think would be beautiful with a piano and cello—I’ve alwaysloved the cello. Ever since I was threewhen I hear a cello I just melt. Thepiano, though, I don’t like the cheesy piano stuff like Billie Joel. Yuck.

I’ve done some ridiculous stuff for many of these albumsthat I wouldn’t expect anyone to know that I did, but I just wanted to dothem. I recorded a vocal line on Judgement, passing back and forth infront of the mic on a skateboard just to do it. I’ve used random pieces of equipment just to do it. I love the process. I love working. If I could, I’d never stop.

I have a bunch of unreleased material and an entire batch ofsongs for a follow up to Automaticthat are more of the darker, dancy stuff called Electromatic that I’m looking forward to. If I could go for a month straight in thestudio, I would.

MP: Your songs have a tendency to ring on apersonal level to so many people. Areany written based on a personal experience?

RH: Oh, all of them are. This is my diary. This is my expression, my communication. I’ve been able to say things through musicthat I’d never been able to say by talking before. Nothing is contrived.

And that’s what this music is for. For those people who connect on a deeperlevel. Who can latch onto an aspect ofthe song and keep it for themselves. “Beloved” is a metaphor, but many people have tried to find the truemeaning or origin to that story.

And if there are people that don’t get it on that level,there’s plenty of other band’s for them to follow.

MP: After this tour, what’s on the horizon?

RH: Work. We have some time off around Christmas, then a bunch of shows inEurope. Then some more time off, thensome more Europe shows. We’re playing ashow in Cannes, France. When theopportunity came we said, “Sure, why not.” Then we’re coming back to North America for more showsthen—hopefully—some studio time. Sowe’ll be quite busy, but that’s what we do. My loved ones know that if they want to see me, they’ll really have toschedule that time.

Get your mitts on the band’s material here.

An extra specialthanks to Rey at Reybee Productions and Dink, the band’s tour manager. You’re both champions and truly made thislittle blog of mine feel completely worth the effort I put into it.

Who Said Cheaters Never Prosper?

2011-11-22T09:42:00.001-08:00

Filthy Cheaters – Wake the Dead = *

The cantankerous rock outfit, Filthy Creatures’ album, Wakethe Dead, is hyped on equal parts trucker-speed, punk rock and denimvests.

From moment one of the title track, Jamey Coffin, Johnny T,Chris Chunk and Sean O’Really? never let up on the gas pedal. With tracks rife with violence, crass humorand trite lyrics (49/51 draws its inspiration from a classic bumper sticker,“49% Mother Fucker, 51% Son of a Bitch.” No, really) don’t expect Filthy Cheaters to provide your listeningexperience with anything substantial to nosh on. On the contrary, Filthy Cheaters are moreakin to that obnoxious uncle everyone has who shows up late to familyfunctions, clad in stained clothing and the first to get hammered whilespouting off incendiary comments to all in attendance; but you accept itbecause it’s just who he is. It’s toughto tell if Filthy Cheaters really are that guy or are putting on their bestimitation of that guy.

Fans of Clutch, Motorhead, Faster Pussycat, Kill! Kill! andpotty humor will glob onto Wake the Dead quickly; with its throaty vocals,churning tempos and vile language.

Flashback Friday - Nirvana: Unplugged

2011-11-18T08:11:00.001-08:00

Nirvana – Unplugged in New York = ****

Like most suburban, lower class white kids my age I wasenraptured by grunge. It was angry, butinteresting. It could be violent, butintrospective. It spoke to my angst andhelped give it a voice. Of all the bandsin that initial grunge movement, Nirvanascreamed the loudest.

I did my best to stay current with their releases, but asany lower class individual can attest to, I couldn’t buy the albums as often asI’d like. That money had to go to otherthings like-you know-food, so I wasn’t able to get my mitts on Unplugged in New York until well after KurtCobain had ceased to be. For me, it’sprobably my favorite record by the band of their entire catalogue. Here’s why:

- Cobain had a knack for crafting some visceral,sonic work with his manic voice and sloppy guitar playing. But when those cacophonic anthems weretranslated into acoustic gems, a completely different sonic landscape waspainted. Suddenly, “Come as You Are” and“Polly” transformed from bleak, punches to the temple to warm, embraceablecoffee shop fodder. It was an amazingwork of genius

- The breadth of the covers performed during thisset are both entertaining and interesting at the same time. They showcase Cobain’s off-kilter sense ofhumor with tracks like “Jesus don’t Want Me for a Sunbeam” and “Where did YouSleep Last Night.” These songs are proofthat Cobain had the capability to smile once in a while

- The additional instrumentation throughout theset is delectable on their own it lead me to an interesting question: ShouldCobain not have died, would there have been more composed and layered materialin the band’s future? If they indulgedon the additional guitar, concertina and string section for this set, it’sentirely feasible

Although the following point has nothing to do with thereview at hand, I need to put something on record here. I truly, honestly believe that if Dave Grohlhadn’t joined the band, Nirvana never would have had the success thatthey did. Sure, Cobain wrote some interestingstuff and Kirst Novoselic helped to maintain some order to Cobain’s work, butGrohl’s style of playing is so vivid and huge sounding that it appeals toeveryone. Even metalheads could take alisten to “Smells Like Teen Spirit” and not hate it. If Grohl hadn’t been a part of Nirvana, theband would have remained at the same level of notoriety as their idols-The Melvins-and Cobain would likelyhave lived a lot longer (maybe still be alive? Not sure).

ANYWAY, if you haven’t spun this album in a while, doso. You’ll enjoy the trek down memorylane to a time when MTV actually cared about music and the hits on the radioweren’t so ambiguous.

Carolina Liar Get Electric with Wild Blessed Freedom

2011-11-15T07:59:00.001-08:00

Below is an interview I did for Cliq Magazine. The original was broken into two parts and can be found here and here. Enjoy.

Ah, the life of a rockstar: traversing the globe; playingmusic for a living; partying with hundreds (sometimes thousands) of your fansevery night you set foot on stage; building lifelong friendships with fellowmusicians—and getting paid to do it again and again. Such is the case for alt-rockers turnedsynth-poppers Carolina Liar.

The band’s signature sound is one of good times everyone canidentify with, especially when the lyrical content stems from a universalsource—personal experience. The real lifestories that are found throughout the band’s newest release, Wild Blessed Freedom, have a perfectstoryteller to convey them in the band’s frontman Chad Wolf.

Chad spoke with us in the midst of a promotional radiotour—in between celebratory drinks, “Johan (Carlsson, keyboard player) and Ijust realized that today is our four year anniversary of playing together. We first gigged in 2007 in Stockholmtoday”—to discuss his band’s future and what it’s like to be a touringmusician.

Cliq Magazine: Howhas 2011 treated you so far?

Carolina Liar (ChadWolf): Oh man, it’s really good sofar. We parted ways with our label andthings are working really well. We’vegot the single out and it’s starting to chart really well on Hot AC, so itlooks like the record’s kind of working. You never know if it’s going to work. It’s one of those things where you’re in the studio and kind of caughtup for a year or two. Then you come outof that protective shell and you’re like, “Ok, let’s put everything on the lineand see if this is still connects.” Andit’s slowly starting to work and it feels pretty good. Everything is done now, the artwork for therecord and everything is finished so when September 27 comes and we’recompletely done with everything and we get this package delivered it’ll be likehaving a little baby. Now we just get towait and see if it lives or not.

CM: Speaking toparting ways, you’ve had some band member changes. Is that for better or worse? Can you speak to that?

CL: Yeah. Everything ended ok with everybody. Our drummer (Max Grahn), his mom got a reallyrare form of cancer and he just wanted to be home. We were travelling so much at the time and hewas really worried because we were always about 48 hour away from his mom andthey’re really, really close and he just wanted to be home with her.

Jim (Almgren Gandara) and Eric (Hääger) ended up gettingtheir own record deal. The band kind ofhelped them catapult to their own career and now they’re doing their ownthing. Everybody’s been really cool; Istill talk to all of them.

CM: Band member changesare never easy.

CL: Yeah, youusually get some kind of death threat over it (laughs).

CM: When you’rethat close to other people and you go through touring and everything that comesalong with being a musician and music in general it can be a very emotionalthing that creates a connection that goes a lot deeper than just a casualacquaintance.

CL: I was talkingto someone yesterday and something came up and it was an emotional subject andI felt like I was holding something back. They were like, “No, no it’s your music it’s your art. How can you notget emotional about that because it’s really coming from your soul?” And it get’s shared, especially those firstcouple of tours with everybody. We wereall seeing the country and sharing that experience for the first time together,that’s something that can never be replaced. And a lot of that energy went into this record.

CM: Tell me alittle bit about the writing and recording process of this album. Was it different than your first one?

CL: Similar anddifferent. We worked with the sameproducers, but all that time that we spent together touring had an affect onthis. Everybody has really contributedand written songs for this album. Thelast one was pretty much me overriding most of the tracks, but this one has gotJohan and Peter (Carlsson) and Rickard (Göransson) written all over it fromstart to finish. It’s really allowed usto grow-as a band-into another phase of our development and that was a bigplus. The other thing is the guys thatproduced this, Max Martin and Shellback, they produced a lot of Pink and BritneySpears and they were more influential in writing some pop formulas that weweren’t used to. It was a brand new worldfor us there.

CM: Any storiesbehind any of the songs that you care to share?

CL: Every song onthe record is somewhat a true story. “Me& You” is a track that was written about this amazing woman that’s in mylife right now and it’s a story about how we met and how it slowly became whatwe are now. “Salvation” is about us,too. What it’s like to be on a crazyroad journey that none of us have ever experienced. All the stories and lyrics in this record are100% real and about what’s been going on in our life for the last four, fiveyears now.

CM: There’s a bigsonic change between Coming to Termsand Wild Blessed Freedom. Your new record has a very electronic,dancy kind of thing. Was that aconscious effort or did it just happen as you were writing?

CL: It was a realconscious effort because there were gaps in our live show and we wanted tocreate something more for our fans. There were these voids in our show that kind of lacked in energy and wewanted to keep the same songs we were writing and stories we were telling, butfind a way to funnel more energy into what we were doing. In these larger venues we wanted to givesomebody a show and get people on their feet a little faster and supply alittle bit more of a good time. It wastotally a conscious effort.

Now that we’re trying the songs out, it’s starting to workand we’re seeing that it was a good idea to do that and just go for broke andsee what happens. And that became thetheme for everything we were doing. Justtry something new, experiment a little bit and put it all on the line and seeif it works.

CM: Are youconcerned at all that this may alienate some of the original fans you gainedthat were more into your rock sound?

CL: Actually Iam. We’ve been really working-livewise-on bridging that gap between that more guitar driven stuff and what we’verecently written. Right now we don’thave a bassist, so we have Johan playing the bass lines on a Moog with his lefthand. Kind of a Doors set up rightnow. Rickard and I have worked on thesegreat, big guitar tones to really give it that rock vibe and we’ve got thatbalance now live wise, but it’s always tricky to get something to communicateon an album with someone so that’s something we’re going to have to wait andsee. Hopefully the fans will see thatthe songwriting is still kind of the same [and that] we just changed up ourproduction techniques.

CM: When I firstlistened to this album I did notice that it’s still the same band, but there’sthis whole other shine . . .

CL: A differentworld right? (Laughs). I agree 100%. We took a chance and it was a little scaryfor everyone involved. But when yourheart is telling you to do something and artistically that’s what you’refeeling, you gotta try it. Even if youfail, at least you tried.

CM: What’s leftfor your 2011?

CL: We’re lookingat a couple of tours to get on through October then some radio tours inNovember. We’re just going to get outand work. Every single gig we can get,we’re gonna play. We’re kind of like barmusicians, we just like to play as much as possible. As long as we’re playing we feel likeeverything is working.

One year we did about 200 gigs and now we’re trying to beatthat mark. We’re shooting for the 300mark.

CM: I thinkyou’re fast approaching the Metallica status.

CL: Yeah, even ifwe have to play on sidewalks, we want to hit that mark. (Laughs)

CM: Any words ofwisdom you’d like to impart upon our readers?

CL: If you wantto do this music thing, just do it every day; no matter what. Know that you gotta write and work—it’s a lotof work. But it’s the best life that youcan possibly ever live. You get totravel the world and meet all kinds of people. Honestly, just do it. I’mterrible with the Nike thing, but whatever you think you can do just go forit. What do you have to lose, really?

Have Mastodon Forgotten How to be Metal?

2011-11-14T08:25:00.001-08:00

Mastodon – The Hunter= **

Hey, remember when Mastodonused to be a metal band? Me either!

Well, that’s not really true. Personally I feel they stopped being a metalband after their opus, 2004’s Leviathan. Frankly that album was so perfect it would betough for any band to overcome. Thoughthey tried with Blood Mountain, buttheir webs of supreme, sonic intricacy started to set in, causing it to soundconfused and pulled in multiple directions. Then, in 2009, hipsters the world over embraced this once mighty metalact when they released the cerebral Crackthe Skye, and as such, much like the wheelchair bound main character of thealbum, I feel this band has completely lost its way.

Don’t get me wrong; I’m all for experimentation andgrowth. It’s great for musicians to pushthemselves over time. But there aremoments when that experimentation completely mutates the DNA of the band—andnot for the positive. The beauty of Mastodonis their ability to rage with all the fires of hell and still remain amazinglycomplex throughout; like every IronMaiden epic shoved into a three-minute box. But that beauty has been sacrificed upon the altar of irony worship.

The Hunter isn’tall bad: the band’s trademark, spider-web riffs are ever-present; thepercussion is still gnarly (though its bite has softened since Leviathan) and it’s certainly morelistenable on headphones than Crack theSkye. I do feel, however, that it’sa bit long and several of the songs blend together. Ultimately, this album may need to grow on mebefore I can let it into the library. Time will tell.

Rammstein Video Premier, "Mein Land"

2011-11-11T09:03:00.001-08:00

Rammstein--the fire-breathing, German, industrial metallers--have always been goofy. It seems, as they've gotten on in years, their wacky behavior is reaching new heights.

The premier video of their latest song, "Mein Land," is an ode to the 50's and 60's surfer, beach party films. Thankfully, Gidget is nowhere to be found. The song is released in advance of their upcoming retrospective, Made in Germany 1995-2011.

Due use caution, however. The last 30 seconds or so are completely NSFW and, in traditional Rammstein fashion--there is no warning given prior to the video start. Oh, those silly Deutchlanders . . .

Rammstein - Mein Land from Rammstein on Vimeo.

Help a Dude Out!

2011-11-11T08:24:00.001-08:00

Hey peeps! It's never easy to ask for a helping hand, but sometimes it's totally necessary. In this case, one of the music promoters I've worked with recently has been victim to a gnarly house fire. His friends in the music world are stepping up and trying to raise some much needed funds for him. They've put out this kick ass and quite varied compilation for purchase of name your own price.

On this Veteran's/International Metal day, let's do the human thing and help the guy out. I've already got my copy. Go here to get your mitts on it. Tracklist is below.

1.	The Photo Atlas - Jealous Teeth
2.	City Rain - Montage
3.	Arts and Crafts Movement - Los Angeles
4.	Chuck Ragan - Wash My Feet In The Waves
5.	The Gamits - Delusional
6.	Edelweiss - Icarus
7.	Have Nots - Louisville Slugger
8.	The Front Bottoms - More Than It Hurts You
9.	MC Lars - Bill and Sarah Wedding Dance
10.	The Stereo - Home (Acoustic)
11.	Strung Out - Firecracker
12.	The Waltz - The Capitol Of Everything
13.	Mike Felumlee - We'll Find A Way
14.	Brian McGee - Hold Sway
15.	Hypernova - Extacy
16.	King Raam - The Hunter (Shekarchi) (Feat. Esfund & Shara)
17.	Red City Radio - Captioned For The Hearing Impaired
18.	Veil Veil Vanish - Change In The Neon Light (Black Cloud Remix)
19.	Reverse The Curse - The Space In-Between
20.	Samiam - Dead
21.	Landmines - Black Tide
22.	VNV Nation - Nova
23.	IAMX - Fire And Whispers
24.	Killola - Stop It. I Like It
25.	Polar Bear Club - Kneel On Nails
26.	Picture Me Broken - Dearest (I'm So Sorry)
27.	The New Rochelles - This Is My LJ
28.	Candy Hearts - Good Enough
29.	Direct Hit! - Monster In The Closet
30.	Plow United - Header
31.	Great Cynics - Twenty Five
32.	Hank & Cupcakes - Hit
33.	Yellowcard - With You Around
34.	He Is We - Pardon Me
35.	Weerd Science - Heaven Burns (Demo)
36.	The Sounds - Something To Die For (MFMB Mix)
37.	Miss Derringer - Bulletproof Heart (Live)
38.	Meat Beat Manifesto - Easier Listening
39.	Morning District - Bullet And A Brightside
40.	Less Than Jake - Goodbye, Mr.Personality

Thomas Neptune is a Small Fish in a Massive Sea

2011-11-10T08:26:00.001-08:00

Thomas Neptune – Down to Earth = * ½

Solo artist, ThomasNeptune’s latest EP, Down to Earth,is four slices of standard, American pie rock. Unfortunately for Neptune, we’re growing full from massive servings of Jack Johnson, Jason Mraz, and Bruno Mars et al.

However, Neptune does sport a voice that sounds genuine andrelaxed—without trying to force a laid back vibe and even sporting a greaterrange than many of his industry peers. Musically, the backing tunes are moreintriguing than his highly successful counterparts with multiple layers andinstrumentation giving them an almost cinematic quality.

Although, lyrically Neptune feels a bit trite, his messageof self-empowerment and understanding is a welcome one in these tumultuoustimes we’re experiencing. Suffice tosay, Down to Earth is a decent roughdraft of what Neptune can potentially deliver in the future. Here’s hoping he can find something that’llhelp him stand out in that overly-crowded room of male singer/songwriters.

AWOLNATION is for the Hyper-active Child in You

2011-11-09T08:54:00.000-08:00

AWOLNATION – Megalithic Symphony = * 1/2

We can thank the hipster influence for the overwhelmingnumber of bands/artists that are taking the Thompson Twins, Soft Cell, and AdamAnt music formula—strange appearance, heavy synth programming, quirkyvocals—and reanimating it with the help of massive music festivals andadvertising. The unfortunate part, likeany music movement, is that only a fraction of the bands included in themovement are worth their salt. AWOLNATION is one of those acts.

The band’s lively installment for the current deluge ofrehashed new wave, Megalithic Symphony, bouncesaround your ears like a child with ADHD hopped up on too much sugar. What separates AWOLNATION from theirirony-laden peers is the embracing of different sonic atmospheres for differentsettings. Megalithic Symphony swings from sorority sing along sessions (“Jumpon My Shoulders,” “Wake Up”); hipster binge-drinking, freak-out sessions (“SoulWars,” “Burn it Down”); and pseudo-dubstep, downtown club scenes (“People,” “Sail”).

I’m not quite sold on this current trend in music as itseems too easy for “artists” to jump on to (thanks ProTools, Macbooks et al)but if cats like Aaron Bruno can at least have some brilliant vocal moments inbetween the blips and bloops in their compositions, there is a tiny glimmer ofhope. Just don’t get sponsored byAmerican Apparel or Tom’s shoes and we should be fine.

Viva la CD!

2011-11-08T12:01:00.000-08:00

The doomsayers just won’t shut their cursed mouths. Every year, more and more media mouthpiecesare attempting to put in the final nail into the coffin of the CD format. But every year the decline is onlyminiscule. Most recently, Side-LineMagazine posted a piece stating that all the remaining ~~archaic dinosaur~~major record labels will all but abandon the disc format in favor ofdigital-only releases. They’re citingthe lack of value in the disc—each disc typically only holds one album—and theease of releasing digital formats as their main reasons.

But, as many major corporations often do, THEY’RE MISSINGTHE POINT, and value of the CD.

There are so many elements to the physical version that thedigital releases will never capture:

- Sound quality. Sure, there’ve been advancements in this field—iTunes just recentlyincreased the bit rate of their files and there’s been talk of HD MP3s thatsound immaculate (though I’ve never heard one)—but the only way the music willbe heard the way it was meant to be heard is when it’s stored on a CD (or vinylfor the record-philes out there). Theresimply isn’t enough bandwidth in the world (yet) to allow for these massivefiles to be streamed/downloaded in their original format effectively. Sure, it can be done, if you want to revertback to dial-up download times and infuriated customers

- The artistry. Just as much effort and creativity goes into the making of the albumcovers, some album cases and the like. Yes, this does include the massive amount of Photoshopping done on theSusan Boyle release last year (sorry honey, they’d need to do it to me, too, ifI was in your position). Music is an artform, first and foremost, and as such it takes additional art to tell thevisual side of the auditory tale. Digital booklets on iTunes do nothing more than take up valuable harddrive space and will never have the same affect on the listener/fan as the physicalversion does

Jus' sayin'

- The art of building a library. This doesn’t just mean something in the musicworld, but the literary world as well. When everything goes to a digital format, one’s collection will becontained inside a plastic box that requires power. Where’s the effort in that? Building a library is the physical act ofdisplaying memories/feelings/emotions. Some like to show these things off which is just plain egotistical. I just love to sit and look at my collectionand remember where I was when I first heard an album, purchased it etc. My musical memory lane is alphabeticallyordered right in front of me. Thatappreciation for your sonic foundation is completely lost when it’s listed bymemory size or play length

THIS.

- Ownership. The ability to use the money that you worked so hard for; head to yourlocal shop of choice; find the album you’ve been looking forward to for solong; purchase it and hold it in your hand is a thing of beauty. One of the greatest feelings for me isripping off that completely un-green cellophane and cracking open that disccase for the first time. That’s myequivalent of holding your newborn. Seriously. It’s a wonderful thing. I’m not saying I haven’t purchased albums oniTunes (through the lovely presents of gift cards from fellow music fans) andenjoyed the fact that I now had access to that music, but to quote MichaelScott, “I didn’t feel anything.” Theconnection is nearly non-existent with these .m4a files

- Paying the artist for their work. Rolling Stone did a great piece recently onhow much an artist gets paid based on the different release formats of theirwork. To spare you the details, the CDstill pays the artist the most. Granted,the new model for making money as a musician now comes from touring and merchsales, but their cut from the physical release of an album sale is still thelargest. So, even if you are only a fanof the world’s most obscure band that plays pots, pans and jars containing thepickled remains of physical oddities (pig fetus anyone?); and you want them tocontinue to release music that you can purchase; and for the band (let’s callthem Skinned Pigeon) to make money of off those releases so they can furtherexperiment with their most recent percussion instrument constructed from thevertebrae of vagrants; the best way they can do that is with the purchase of aCD

Sure,I’m a slave to the convenience of my iPod as well. The ability for me to have ready access to afraction of my library is great (btw, a quick aside: if anyone wants to contributeto the “Get-Morgan-a-New-iPod-with-more-Memory-Fund” I’d be greatlyappreciative. I’ve listened to the same4k+ songs for the past two and a half years now and it’s starting to get old)and quite helpful in a pinch. But theiPod will never be the ultimate answer for me—and it shouldn’t be foranyone. The iPod will never appreciate mylove of spending time in front of my aforementioned collection trying to decideon a handful of albums to take with me in my truck. It’ll never replace me throwing on an album I’vehad since I was 12 and cranking the hell out of it while I’m at home. It just won’t. Why? Because it’s a lovely piece of technology (that I’ve had for four years)that is still reliant upon battery power and tiny ear buds for me to enjoy thecontents. No matter how hard it worksto translate my cherished tunes from zero’s and one’s, it will never be able tocompete with the translation process of a CD player: meaning it will never sound the same. It will always be one step shy of thedisc. Much like the T-800, it will learnwhy you cry but will never be able to shed tears. It will only understand, but neverappreciate.

Don't get me started on smiling.

So,let this serve as a rallying cry to music fans everywhere. Support the artists that make the music you love. Support the record shops that sell themusicians’ wares. Support the existenceof the compact disc. Abandon yourreliance on the convenience of your trusty iPod. Go out, pick up a handful of albums thisweekend and see what I’m talking about. If you don’t agree with me—rip them to your library and donate them tome. I’ll give them a good home, or willfoster them and swap them out for one I’ve been trying to get for years.

Also,challenge me. If you’re a proponent ofthe purely digital format: fight for it. If your iPod has become another appendage,vouch for it. Prove to me that this .mp3 movement isn’t justa fad.

Abyssal Creatures, Best Kept in the Dark

2011-11-07T09:41:00.000-08:00

Abyssal Creatures – Social Awkwardness = 0

I’m not going to lie; I wasn’t looking forward to listeningto this album again to write this review. But, for the sake of you—the faithful readers—I muscled through it.

Abyssal Creatures, the “music” project of Ian Fellerman, hascrafted 16 tracks of clumsy, self-deprecating, noise in the form of SocialAwkwardness—the band’s latest LP. Uponmy initial listen I found it impossible to escape the inane, nasal vocal;clumsy arrangements; repetitive guitar fuzz and over-arching irritation. The press kit for Social Awkwardness detailedhow hard Fellerman worked on this album and how deep he looked into himself forthe lyrical content. Though I respecthis effort, I fail to see the value in it as the final product resembles moreof a mess than an album.

Perhaps the artistic, avant-garde music fans out there willsalivate all over this album—and good for them. I, on the other hand, felt as if I was being musically punished whilespinning this disc. Maybe it’s my karmicretribution for hating on hipsters, but I doubt it.

Also,I apologise for my whining at the start of this piece—Fellerman’s insistence inwallowing in self-pity got to me.

Youth Sounds is Anything but Youthful

2011-11-04T10:44:00.000-07:00

Youth Sounds – Tomorrow and Tomorrow and Tomorrow = * ½

Alt-rockers, YouthSounds, combine the chilled outvibes of The Shins with the synthlines of Shiny Toy Guns and manageto produce something altogether . . . sleepy. In repeat listening sessions to Tomorrowand Tomorrow and Tomorrow I kept waiting for the energy level to pop. Sadly, it goes from casual stroll to mildtrot.

The whispered vocal, though pleasant, reminds me of the Supreme Beings of Leisure while some ofthe electronic pulses beg for a bigger room to bounce around in. Lyrically, the band is great. Erika Mejia pours her heart out on each trackand has a simplicity that anyone could connect with. It’s such a shame that there’s little to drawthe listener in, sonically.

It’s not to say Tomorrow. . . is completely unlistenable,rather each song has the same pace and complete lack of excitement which causesthe EP to blur together and making it almost instantly forgettable.

Let The Rope Pull You In

2011-11-02T08:09:00.001-07:00

The Rope – S/T EP =****

Dark rock act, TheRope, has released a modern take on post-punk with their self-titledEP.

Comprised of singer/synth player Jesse Hagon; guitarist MikeBrowning; bassist Sam Richardson and drummer Matt Evans, The Rope delivershadow-cloaked tunes that lie somewhere between Sisters of Mercy, Killing Joke and The Psychedelic Furs. Evansand Richardson keep the beat consistent and up tempo while Browning’s riffsbalance between atmospheric and driving and Hagon’s vocals invoke the spirit ofIan Curtis and Richard Butler at the same time. The end result is six tracks that would do well to be spun in any gothclub.

Since this EP arrived in my hands, it has yet to leave myregular rotation in my truck stereo. Myonly gripe with it is the length—I want more! I look forward to more from The Rope, eagerly.

www.facebook.com/TheRope1

No Glove, No Love

2011-11-01T10:58:00.000-07:00

I received some flak for not participating in last month's theme, lace, but I just couldn't come up with anything appropriate.

"The album cover is sexist." "What's wrong with being sexy?"

This time, however, when I found out the theme was going to be gloves I immediately thought of two things: Spinal Tap and Reggie and the Full Effect. The former's album cover is above and the latter has a solid song to coincide with the theme.

Enjoy.

Reggie and the Full Effect - Gloves

Post Halloween Encore

2011-11-01T08:13:00.000-07:00

The day after Halloween--All Saints Day in the Catholic religion--is celebrated by the Mexican culture in such an amazing way.

Dia de Los Muertos is a celebration of the lives of loved one's who've passed on and a reminder to not fear your own death, but embrace the reunion with your family and friends after the fact.

To celebrate:
Resurex - Dia de Los Muertos

And, to recap the past 15 days:
Day 1
Day 2
Day 3
Day 4
Day 5
Day 6
Day 7
Day 8
Day 9
Day 10
Day 11
Day 12
Day 13
Day 14
Day 15

Tunes Leading Up to Halloween: Day 15 - HALLOWEEN

2011-10-31T08:05:00.000-07:00

Granted, this is a cover, but as I stated previously, I was saving this song. Also, you can't get a better cover of this song that's more appropriate.

Alkaline Trio - Halloween

HAPPY HAUNTING!

Tunes Leading Up to Halloween: Day 14

2011-10-30T14:42:00.000-07:00

It's difficult to escape Halloween without the stigma of the devil. So, as such, here's a track where he spends an evening with a freaked out Ozzy.

Black Sabbath - Black Sabbath

Tunes Leading Up to Halloween: Day 13

2011-10-29T10:47:00.000-07:00

I used to say I was anti-country music. In recent years, I've slowly started to appreciate it. Here's a shining example of how it can be parodied, but be a solid country tune at the same time.

Captain Clegg and the Night Creatures - Honky Tonk Halloween

Tunes Leading Up to Halloween: Day 12

2011-10-28T07:34:00.000-07:00

One godfather deserves another.

The godfather of shock rockers the world over (and original inventor of the mascara mess that the Black Veil Brides have adopted), Alice Cooper is here to rock your Halloween right.

Alice Cooper - Feed my Frankenstein

Tunes Leading Up to Halloween: Day 11

2011-10-27T08:05:00.000-07:00

It's not Halloween without The Misfits. It's just not. Although they penned a track named after the holiday (two different versions in fact) I'm saving that for later.

The Misfits - Ghouls Night Out

Tunes Leading Up to Halloween: Day 10

2011-10-26T08:06:00.000-07:00

So many horror movies get set in the gnarled woods and swamps of the Southern states. So, let's compliment their settings with some southern rock.

Creedence Clearwater Revival - I Put a Spell on You

Tunes Leading Up to Halloween: Day 9

2011-10-25T08:04:00.000-07:00

One of the world's most prevelant champions of the creepiest day of the year.

Rob Zombie - American Witch

Tunes Leading Up to Halloween: Day 8

2011-10-24T09:17:00.000-07:00

Who doesn't love a good zombie flick? They're even better this time of the year. I dig the concept of this video. Instead of literally eating the life source of his victims (their blood, guts and "meat"), he just "eats" their life away while they're in his presence.

Pain - Zombie Slam

Tunes Leading Up to Halloween: Day 7

2011-10-24T08:04:00.000-07:00

Halloween and Type O Negative go together like pirates and rum. They were just kind of meant for each other.

RIP, Pete Steele.
Type O Negative - All Hallows Eve

Tunes Leading Up to Halloween: Day 6

2011-10-22T16:26:00.000-07:00

Although the subject matter of this song has zilch to do with Halloween, the concept of the video itself is awesome. Using literature's classic monsters as everyday folks is great.

Reggie and the Full Effect (RIP) - J Train

Tunes Leading Up to Halloween: Day 5

2011-10-21T07:58:00.000-07:00

Again, whilst digging through the music annals for a Halloween DJ gig, I'd no idea this song existed. Who better to pen and perform a song about the creepiest day of the year (aside from Easter of course; pastels are positively hair-raising!) than a sonically creepy band.

Siouxsie and the Banshees - Halloween

Tunes Leading Up to Halloween: Day 4

2011-10-20T08:10:00.000-07:00

Granted, the actual lyrical content of this song only mildly pertains to Halloween, but the video is quite entertaining and features our good friend, the vampire, as the protagonist.

Bloodhound Gang - Altogether Ooky

Tunes Leading Up to Halloween: Day 3

2011-10-19T08:36:00.000-07:00

Ghosts, goblins, monsters, werewolves and--especially--vampires are a staple to the Halloween atmosphere. So let's look at one of the proven historical figures that participated in vampiric acts, courtesy of one of the most evil metal bands in music history.

Venom - Countess Bathory

Tunes Leading Up to Halloween: Day 2

2011-10-18T08:24:00.000-07:00

In perperation for an upcoming DJ gig the Saturday before Halloween, I'd been mining the depths of the internet looking for some solid, spooky gems. I'd no idea this song existed. Oh, Will Smith . . . such a goober.

Will Smith and DJ Jazzy Jeff - Nightmare on My Street

Tunes Leading Up to Halloween: Day 1

2011-10-17T11:15:00.000-07:00

Few people I know love Halloween as much as I do, sans Rob Zombie, The Misfits, The Ghastly Ones, Alice Cooper et al. I've always been a fan of our ability to embrace the darker side of our imaginations for an entire month. It's a beautiful thing.

I'm starting this a bit late, mostly just because the inspiration only just came to me today, but I'll be posting a Halloween themed song each day until the big day.

Kicking it off is one of my favorite comedians of all time. It doesn't hurt that the dude is a killer singer.

Stephen Lynch - Halloween

ROME Need Your Help

2011-10-17T09:02:00.000-07:00

It's not often that a metal band extends the opportunity of naming a song to their fans. In this case, tech-death metallers, ROME, are doing just that.

Comprised of the original DEVOLVED line up, sans drummer Jon Sankey, ROME has so far picked up where Technologies left off--epically fast drums; crushing riffs and vicious vocals.

The song to be named is below. Oh, and did I mention you can download it and spin it until your ears bleed? Go ahead and cop that shiz, or whatever the term the kids are throwing around today.

01 ROME by RomeMetal

Debut Video for The Dreaming's "Every Trace"

2011-10-14T10:30:00.000-07:00

I know I'm not alone in my growing excitement for The Dreaming's sophomore release, Puppet. Hell, I've been waiting for it for what feels like forever. Band drama, label drama and a host of other things will delay an album time and again. Thankfully, the wait is nearly over as the album drops in just three short weeks on November 1 (although, you can pre-order your copy through Best Buy here).

The band has posted some introductory songs including the title track and their lead single, "Every Trace." "Every Trace" has been included in the soundtrack for an upcoming movie, The Hammer which follows deaf UFC fighter Matt Hamill as he rises from high school wrestler to mixed martial artist. The video for the song--which, quite simply is delicious ear candy--is below.

I'm looking forward to the rest of Puppet as I'm sure it's as kick ass as this song is.

What do you think?

Kneel and Worship the Mighty Anthrax!

2011-10-06T08:19:00.000-07:00

Anthrax – Worship Music = *** ½

Singer drama; scraping material; re-writing an entire recordall coupled with world tours; monumental metal festivals (Big 4 Fest anyone?) and the desire to get this record justright—these things would normally have seen other, lesser bands take a bow andgo their separate ways. But, much likethe vicious disease causing bacteria the band shares its namesake with--Scott,Frank, Charlie, Rob and Joey or Anthrax--refusedto quit. This steadfastness permeates Worship Music and it’s an album that’sworth the wait.

Over the years, Anthrax’s sound has seen some changes fromtheir bark-less thrash beginnings to a heavier—albeit less thrash—metal sound. WorshipMusic is the perfect blend of that growth. Scott and Rob have the meatiest guitar tones since the band’s inception;Charlie and Frank have finally found a favorable final mix on an album and longlost 80’s frontman, Joey Belladonna sounds the best he’s ever sounded. I’ve always been less than a Belladonna fan;simply for that fact that I always felt he was trying too hard. Maybe it was due to poor productiontechniques and lousy recording equipment in the past, but his vocals alwaysseemed forced. Now, however, Belladonnasounds confident with the pipes he has and we’re treated to a record thatsounds the way the band has (probably) always wanted.

Worship Music’s onlyshortcoming is its length. Most of thesongs break the five and six minute mark, which is fine, but at 13 total tracksand nearly an hour’s worth of material the songs start to blur together towardthe end.

The horn-throwing worthy tracks include, “The Devil YouKnow,” “Judas Priest,” “Fight ‘em ‘til You Can’t” and “Earth on Hell.” And, the lighter appropriate anthem to fallenheadbangers, “In the End” is a touching track that—thankfully—isn’t a cheesefilled ballad. Overall, Anthrax hasreestablished themselves in a crowded metal world; here’s hoping they can keeprelevant for years to come.

Megadeth: An Examination

2011-09-28T08:51:00.000-07:00

**A precursor to theprecursor, this piece is quite long. NormallyI’d do some edits for my attention deficit readers, but in this case you’lljust have to tough it out.**

I’m no expert. And,although my advice and insight is sometimes sought by others, I would neverwish that I was thought of that way. Instead, my only hope is that my opinions and knowledge are respectedenough to be considered useful. Withthat precursor out of the way, let me dig into this interesting piece.

My introduction to metal came from the following, somewhatrandom sources: Metallica’s blackalbum and the Mortal Kombatsoundtrack. No, really. Between the guttural growl of Napalm Death; the futuristic grind of Fear Factory; the alt-thrash of Mutha’s Day Out included on the latterto the crisp, hardened edge of James, Kirk, Jason and Lars on the former; asimple formula for what was “metal” was laid out in my mind. Along the way, other influences would comeriffing their way in (nu metal, most significantly). During this entire process, however, Megadeth almost never played arole. Shy of their inclusion on a weirdmetal compilation (“Wake up Dead,” still my all time favorite track of theirs)that my uncle owned I just couldn’t get behind the group--for a while anyway.

Many, many years have passed and my musical pallet has grownimmensely. As such I’ve started todevelop appreciative tastes for groups I had previously passed on. Most notably, for me, was Megadeth. I’m still not a fan, per se, and here’s why:

- Dave Mustaine is not a singer. He has some highlights (especially on Killing is My Business . . .) but everyline out of his mouth seems completely forced and a bad imitation of what hefeels he should sound like. He also hasa lot of trouble with phrasing his complicated and needlessly wordylyrics. For argument’s sake, I know henever intended to be the frontman, but he shouldn’t have agreed in the firstplace. Strike one

- 98% of the songs are nothing but guitar clinics. I’m not saying he’s a slouch with thesix-stringed axe, but I’m a voice guy first and a guitar guy second. Two strikes, Mustaine

- A rotating cast of musicians prevents a natural,organic sonic progression. Instead oflaying the groundwork for future albums, these cats jump all over the map in arather disappointing fashion

- I simply don’t like Mustaine as a person. Sure, he’s the only ginger I’m aware of tohave maintained a massive amount of headbang worthy hair, but the dude justseems like a complete prick. Even hisnew found Christian faith comes off trite and egotistical. To me, he’s on par with Fred Durst andMarilyn Manson—cats that can craft some good tunes, but are just douche-bagsthat I’ll never endorse for the mere fact that they’re douche-bags. I’m also not crazy about his constantattempts at being, well, crazy. Thatwould make three strikes there, bud (the third point in my diatribe would be a pitchon the inside corner that wasn’t called)

That head of hair is pretty epic.

The above four points have been gleaned after I waspresented with a challenge. I’d beentasked to listen to a massive batch of Megadeth. Specifically the group’s workfrom Killing is My Business . . . to Risk, a 14-year time span that produced eightalbums. In addition to my aforementionedbreakdown of the band as a whole, I’ll provide you with a synopsis of the workand my take on the albums listenability in chronological order.

Killing is My Business. . . and Business is Good! = **

Mustaine had just been released from Metallica and the dudewas pissed off (though, that seems to be the case all the time). The result is a fairly standard thrash albumthat is noteworthy enought to be included in the metal annals. Full of fire, froth and fury, Killing is My Business . . . isrelentless. It also provides a glimpseinto Mustaine’s future affliction with the needlessly dramatic (the inclusionof Bach’s “Toccata and Fugue in Dminor, BWV 565” during “Last Rites/Loved to Deth” is kind of silly and would beworse if it was longer) and love of ellipses. The straightforward, stripped down attack is too similar to the earlywork Mustaine did with Metallica which prevents them from being totally setapart from one another, but the end result is still solid. The album highlights: “Mechanix” and“Rattlehead.”

Peace Sells . . . Butwho’s Buying? = * ½

Gratefully, for me, PeaceSells . . . kicks off with my alltime favorite ‘Deth track in “Wake up Dead.” The guitars give way to a truly mean low end (something I crave in allmy metal) that takes the formula of Killing. . . and pushes it to the next level. It would seem that Dave Ellefson had more of a songwriting influence onthis record as his solo on “Peace Sells” is as much of a trademark as Mustaine’snasal whine. During this growth processin songwriting, an odd thing occurred. Mustaine seems to have opted to try his hand at being “evil.” With song titles like “The Conjuring,”“Devil’s Island” and “The Omen” you start to set yourself up to be one of“those bands”—the type that want nothing more than to be the next Mercyful Fate. It doesn’t help that Mustaine is a sub-parlyric writer. Much like a famous homerunhitter, for every base-clearing, grand slam (“Wake up Dead”) there are many,many strike outs (the other seven tracks on this album—yes, even “PeaceSells.” The first half is great, but Idon’t understand, lyrically, what the second half has to do with the song as awhole).

So Far, so Good . . .so what? (The ellipse trilogy is complete!) = **

This album picks up where Killing left off, only with better production and a more confidentdrummer. This album would also set thetone for Megadeth’s foreseeable future as far as overall sound and productionflourishes: continued inclusion of the low-end; faked “evil voices” (“MaryJane”) and a still nasal but less whiny Mustaine voice. The only strong standouts on this album arethe multi-layered “In My Darkest Hour” and the cover of “Anarchy in theU.K..” As a whole, however, So Far . . . is a great drivingalbum—but I don’t know too many bands that would be stoked to know that theirwork is better as a background soundtrack than something to give your fullattention to.

Rust in Peace = * ½

The first time I started playing Rust in Peace it was a bit difficult to focus on it. It kicks off with a solid, one-two punch with“Holy Wars . . . The Punishment Due” (those damn ellipses again) and “Hangar 18”with their slightly cinematic qualities, but my attention starts to waiverafter that. “Take No Prisoners” has somegreat guitar/drum interplay but seems like it should have been left as aninstrumental. “Five Magics” uses thesame guitar/drum intro formula, after which the wheels fall of the songcompletely as we’re left with a meandering attempt at “evil” again. Although “Poison Was the Cure” is welcominglybrief, the rest of the album just feels like Mustaine and newest guitarist MartyFriedman trying to out-riff each other. The production quality and mix sounds flat and kind of stale. It’s interesting to note that this album didquite well in the eyes of music critics, though this isn’t the first time I’vedisagreed with “professional” music writers.

Countdown toExtinction = ** ½

Countdown startsto move back toward a fuller sound, and sees the band move to a more“approachable” style. Traditionalsongwriting style of verse, chorus, verse and a hard, mid-tempo pace (incidentally,in the vein of Metallica’s black album . . . just sayin’) all lead to adouble-platinum status and several music videos. I will say that these efforts paid off forme, as I feel this album is their most balanced out thus far. Although the band lost a bit of their bite inthe process, their bark had become quite defined. It’s not to say that I’d run out and buy thealbum, but it does sit just a notch higher than the rest.

Youthanasia = ½

In the vein of Anthrax’salt-metal offering, Sounds of White Noise,Megadeth had virtually abandoned their thrash roots with this album, theirsixth. I don’t have much to say otherthan the album is just boring. Itsucceeded in showing Mustaine’s lackluster voice and suppressing the fretfireworks I’d become accustomed to.

Cryptic Writings = ½

Cryptic Writingscould very well be titled Dave’s Diary. “Trust,” “She-Wolf,” “Almost Honest,” and “I’llGet Even” all focus on a bad relationship. This album continues the trend of the hard rock, approachablesongwriting that was set forth on Countdownto Extinction but does embrace the band’s roots—however briefly—on “FFF.” But, much like Youthanasia, the album as a whole is just “meh.”

Risk = 0

Yes, I gave it zero stars.

It would seem that Mustaine has always been subject to peerpressure. Risk was inspired by Lars Ulrich’s suggestion that Mustaine shouldtake more risks with his work. The endresult is the scraps from a Bon Jovirecord circa ’89 paired with just flat out odd production tweaks. There are moments of industrial noise, “jockjams” slop and all around buffoonery that permeate this record. I respect his desire to continue to try newthings, but if you’re going flex those experimental muscles, at least try torecognize when your efforts are for naught. There’s a return of his goofy attempts at evil with “Prince ofDarkness,” which—frankly—is just a lousy song.

All in all, I’ll be content with my Megadeth greatest hitsalbum the next time I want to hear their work. This isn’t a slight against the diehard fans. I respect your passion, but I just don’tshare it.

Metallica and Lou Reed Provide a New "View"

2011-09-27T11:26:00.000-07:00

Over the past few months the world's most unlikely duo of Lou Reed and Metallica has been constructing an album. Yes, really. One of the most avant garde musicians on the planet paired up with the second biggest metal band ever (second, only to Iron Maiden). The end result is an album called LULU.

Reed has gone on record stating that this is the greatest thing he's ever done. Ok. But, for me, after hearing the lead track, "The View" that debuted today, I think--just maybe--Reed needs to get out more often.

After listening to the song, found below, I'm a bit stuck. The riffs are solid, Hetfield's voice is as nasty as ever and the rest of the band have continued the jam session vibe from Death Magnetic. The massive sink-hole in the album is Reed's awkward beat poetry "singing." I almost feel like the rest of LULU will be like that creepy female singing on Metallica's "The Memory Remains."

But, what's weird, I kind of like it. But I'm not sure yet.

Suffice to say LULU will divide listeners into a love it or hate it category. The adventurous types will dig on the experimentation, but the diehards will scoff at the goofy pairing--potentially citing another St. Anger moment.

I'll leave it up to you. Give it a listen and let me know what you think.

The View by Lou Reed & Metallica

VNV Nation Paint a Future Worth Being a Part of

2011-09-26T15:07:00.000-07:00

VNV Nation – Automatic - ****

There are times when a band/artist comes along andcompletely sweeps you off of your feet. You’re wed in musical matrimony and you stick with them through every upand down—though, admittedly, you’re so enamored you don’t really register thedowns when and if they come. In my case,I must admit, I have a polygamous relationship with several groups. My current audio spouse is the badassery of VNV Nation and their newest offering, Automatic.

VNV Nation is adept at many things: inspiring the listenerto believe in themselves; creating warm, sonic textures with “cold” soundmachines; pushing their own boundaries and (nearly) always succeeding in thatgrowth; and even in their periods of change, never forgetting to include theformulas that made them successful in the first place. Automaticis all of things in one, 10-track package. The best part? It’s also some ofthe group’s best work to date.

From the opening moments of “Space and Time” to thefading synths of album closer “Radio,” Automatic rarely loses steam and this istough for a group that indulges in several instrumentals. Although the group could have used a touch ofself-editing—the random modulator solo on lead single “Control” feelscompletely out of place—the two years spent crafting this album were wellspent.

It's Time to Run with the Wolves

2011-09-26T10:36:00.000-07:00

Wolves like Us – Late Love = ***

Oslo hard rockers,Wolves like Us’, debut, Late Lovefires on all cylinders with the same, smart intensity of Therapy?, Deftones and Drive like Jehu.

Fuzzed out guitars, raspy-yet-melodic vocals, rumbling basslines and precision percussion are the sonic bricks of Wolves like Us’ soundand the end result is nothing shy of welcome in a music environment ofcopy-cats and sound-alikes. Larsh,Espen, Jonas and Toy bring a sense of urgency with their heavy-hitting materialand it grabs you by the collar and forces you on your feet. For the duration of the 39 minute runtime of Late Love you’re held captive by theband’s sonic assault, but it’s the most enjoyable captivity on the planet.

Fans of CKY, Thrice, Soundgarden, and The Swordwill nosh on the group’s alt-metal infused with stoner-metal vibe. Get your grubby paws on Late Love and help launch the career of these fledglingheadbangers. The music world will thankyou for it.

The Open Feel Are the Cure for what Ails Ya

2011-09-15T13:50:00.000-07:00

The Open Feel – S/T EP = *** 1/2

Katie Harris and Tom Brayton, the duo that make up thedreamy, pop-rock group The Open Feel,have crafted a chunk of nostalgic 90s alternative on their debut EP.

Harris’ airy vocal and matching guitar tones give the tracksa supremely positive vibe that smacks of spring time sunshine, but whencombined with Brayton’s meandering, yet groovy bass lines and steady drums theend result is more of a night on the town atmosphere.

It’s hard to not be instantly entranced with the hypnotizingaffect the band creates. The swirling,spinning interaction between the guitar and bass riffs in the chorus or“Transition” draw the listener in, until they’re gently laid to rest in theverses. “Detach” is destined to be thetrack played during the climax of a future romantic comedy. In fact, the entire EP has a very cinematicquality to it, similar to The BoxerRebellion’s work in Going theDistance.

For fans of mid-tempo, chilled out pop-rock be sure to lookup The Open Feel. Your conscious mindcould use a respite from the daily barrage of cell phones, car traffic andlousy pop music.

www.theopenfeel.com
www.twitter.com/theopenfeel
www.facebook.com/theopenfeel
www.reverbnation.com/theopenfeel

Behold! The Planet Smashers have Returned!

2011-09-13T15:23:00.000-07:00

The Planet Smashers – Descent into the Valley of the PlanetSmashers = **1/2

Canadian five-piece, The Planet Smashers, has come out of afive year slumber with their latest release, Descent into the Valley of thePlanet Smashers.

The group delivers A+ ska in the same vein as Reel Big Fish,The Suburban Legends and Catch 22. The15 tracks that make up Descent . . . are textbook third wave of ska joints, butin a current music environment going the way of the supremely digitalconstructs these classic compositions are refreshing to the ear. Who needs LMFAO to tell us about party rock,when The Planet Smashers can do the same thing with actual instruments?

It’s a shame that adolescents have to turn to thekiddie-pool depth of hacks like Justin Bieber for their tunes about infatuationand relationships when songs like “My Obsession” or “Berzerk” state the sametheme, but with legitimate musicianship. Maybe one day the world will ask for songs played by live human beingsin the stead of overly produced schlock. One can hope.

The third wave of ska is what I fell in love with first, andI will always champion these types of jams (though I do dig ska in general now,thanks to that introduction). It’s goodto have The Planet Smashers continuing to fly the ska flag proudly and I, forone, will stand with them.

Drewvis Just Want to Chill

2011-09-12T10:02:00.000-07:00

Drewvis – Disposable Pleasures and Meaningful Pursuits = *

UK duo, Drewvishas put together 14 tracks of chilled out acoustic ska that inspires more headbobbing than skanking on the group’s latest Disposable Pleasures andMeaningful Pursuits.

Consisting of Drew “Drewvis” Bristow and Paul “Pablo” Mason,Drewvis has a style that speaks to sunny, So Cal days and beach parties so it’sinteresting that it stems from the cloud-covered UK. But beneath that sunshine, sonic exterior aremelancholy lyrics that ponder and pull at the eternal quest for another’saffection and dealing with the difficult failures of not always attaining it.

Although Disposable Pleasures . . . is the same kind ofupbeat tunes you’d expect from most skabands, the acoustic drive speaks more to solo artists like Jack Johnson andJason Mraz than The Specials or The Slackers. I guess I’m a little more old school as this acousti-ska seems to be therising trend, but I’m not quite sold on it. If you’re down for toe-tapping in the place of circle pitting, Drewvisis happy to oblige.

Wayne Static Excorsies Demons with "Assasins of Youth"

2011-09-08T08:11:00.000-07:00

Wayne Static, creator of electro-metal outfit Static-X is venturing out on his own. His first release, Pighammer, is exactly what you'd expect from this evil disco maniac: same automated guitar crunch, same vocal work and same driving intensity. Static is sticking with his successful formula, and there's nothing wrong with that.

The lead song to Pighammer is the (surprisingly) introspectively driven, "Assassins of Youth." Says Static about the song, "I wrote this song while living in a hotel room, listening to Pink Floyd, drinking Crown Royal and doing whippits," but Static has since kicked the drugs to the curb.

"I started the song in that condition but never finished it until years later after dumping off the drugs. Now the song has a whole new meaning from when I started it," Static explains.

The video for the track is below. I'm looking forward to the rest of Pighammer. What about you?

The Empire Shall Fall are Teases

2011-09-07T08:50:00.000-07:00

Shapeshifting headbangers, The Empire Shall Fall has been hard at work on their follow up of the amazing debut album Awaken. Just yesterday the boys dropped a little teaser on us and, so far, all signs point to badass.

The new album, Solar Plexus: Volume 1, is due in the coming months and the 30 second clip below has all the earmarks of what made Awaken so killer: math-metal percussion, angular guitar lines, vicious vocals and unique arrangements.

I'm waiting, breath baited.

The Empire Shall Fall - Solar Plexus OFFICIAL PROMO from Anglesideside.com on Vimeo.

And here's a note from the band:

"Hello all!

We are very pleased to announce that we will begin accepting preorders for the up and coming EP “Volume 1: The Solar Plexus.”

A sneak peak is available on the player on our site and through our reverb nation account. We also have a teaser video that we released last week.

There are a variety of products available with this new release (vinyl, digital download, shirt and hoodie), and many different package combinations. While we are just entering the mastering stage, and have not yet announced an official release, it can be expected for late November.

Thank you for your continuing support and helping us stay an independent, DIY band!

-TESF"

Hey, The SLoT. 2002 Called, and They Want Their Nu Metal Back

2011-09-06T08:23:00.000-07:00

The SLoT – Break the Code = *

Russian hard rockers, TheSLoT, are making the international jump with their fifth LP—and their firstin English—with Break the Code.

Break the Code isfull of fire, froth and fury, and rages from moment one on album opener “Breakthe Code” to the end of “Broken Mirror” (track 16!). The album, as a whole, slams and pulses withthe same energy you’d expect from a Jason Statham movie, but—unfortunately forthe band—Break the Code is more Crank than The Transporter. Sure, there’splenty of ballsy rock moments, but there’s nothing overly inventive orinteresting about the material that smacks of 2002 and the height of nu metal.

The SLoT is comprised of singers Nookie (no, really) andCache, guitarist ID, drummer The Dude and bassist niXon. Although the band shreds as the day is long(albeit with completely stock riffs and percussion) the biggest chunk thatsticks in my craw is the vocal work. Nookie and Cache have some rage in their pipes, but Nookie sounds morelike a full grown Veruca Salt having a tantrum when she screams.

Break the Codeisn’t a completely unlistenable record as fans of kidneythieves, Lacuna Coil, In This Moment and Kittie will likely dig on their material. Where the album suffers, however, is in thelength, the ultra-repetitive song style and Nookie’s screamed vocal work. It’s hard to imagine this ship will sail wellwith those weighty anchors dragging it down, but hey—Trapt and Creed had asuccessful few years and they were terrible!

Strap on Them Boots!

2011-09-01T07:00:00.000-07:00

One thing I love about the blogiverse is the sense of community among the bloggers. I'm always happy to participate in different movements if I feel that I can do it justice, it makes sense to do so or the initiator is a good friend of mine. In this case, the first and last points apply to this posting as my dear friend, Victorian Kitty, over at Sophistique Noir has posted another installment of her monthly themes. This one focuses on boots.

As I'm not a fashion conscious person, nor would anyone want to see me posing in front of crushed velvet backdrops each day, I'm putting together a boots themed playlist (much like I did for her Red and Black Week). Each song has the word "boot" in the title.

Enjoy!

- Fairies Wear Boots - Black Sabbath
- These Boots were Made for Walkin' - Nancy Sinatra
- BBB - How to Destroy Angels
- Get on Your Boots - U2
- Knockin' Da Boots - H-Town
- All the Young Punks (New Boots & Contracts) - The Clash
- Boots On - Randy Houser
- Boot Scootin' Boogie - Brooks and Dunn
- Die with Your Boots On - Iron Maiden
- Boots of Spanish Leather - Bob Dylan
- Boot Stamping on a Human Face Forever - Bad Religion
- Boot Scraper - Lamb of God
- Boots - The Killers
- Boot to the Moon (Wade & Wayne Jentry & Band) - Reggie & the Full Effect
- These Boots - Megadeth

Flip the Switch to Automatic, I Want 'Control'

2011-08-31T08:16:00.000-07:00

VNV Nation has dropped a free track from their upcoming eighth LP, Automatic, in the form of the slamming "Control."

"Control" does pick up where Faith, Power and Glory left off, but only in some respects. It's odd to think that a band, that creates everything from synthetic sources (synthesizers, keyboards, modulators etc) can sound so organic and natural. "Control" is indicative of the band's live sets: pulsing with the energy of a traditional live band, but driven by electronic instruments. It's a unique space to be in.

Get your mitts on "Control" here, while you still can and you be the judge. You can also listen to snippets of the entire album on the band's Facebook page.

Automatic will be released September 16 in Europe (CD/Digital), September 16 in North America (Digital) and October 25 North America (CD).

The Godfather of Goth, Peter Murphy, Returns

2011-08-29T14:12:00.000-07:00

Peter Murphy – Ninth = ** 1/2

The “Godfather of Goth,” Peter Murphy, has returned with his ninth solo album, aptly titled Ninth. Unlike previous releases like Cascade or Unshattered that sported layered, studio heavy compositions, Ninth has a decidedly raw, live feel that rumbles well in a world of over-produced garbage.

Murphy’s trademark vocals and cerebral lyrics are readily available for the longtime fans to cling to, while the urgent crunch of “Peace to Each,” “Memory Go,” “The Prince & Old Lady Shade” and “Slowdown” will attract new listeners to the sub-genre Murphy has helped define (and true aficionados will notice the sonic similarities to the Sisters of Mercy’s “Lucretia my Reflection” with the chord structure and pace of “Seesaw Sway” ).

The shadow-cloaked standouts include album opener, “Velocity Bird,” the propulsive “Memory Go” and the epic ballad “Crème de la Crème.” Old fans and new will appreciate the straight-forward (as “straight-forward” as you can get when you’re Murphy) nature of Ninth as it shows up, hangs out, then politely leaves—never once providing time for you to wonder when it will go home.

You Don't F**k with the Jesus!

2011-08-19T10:58:00.000-07:00

I'm not one for censorship normally, but I couldn't look at this dude's butt anymore.

The Dwyers - Bowling with Jesus = **

Finnish punk rockers, The Dwyers, has put together a raging batch of songs on Bowling with Jesus, the band’s sophomore album.

Comprised of Eemeli Lehtonen and Mirko Metsola on guitars and vocals; Antotoni Alho on bass and Mikko Jarvio behind the kit, The Dwyers keep the punk rock pedal to the floor in the vein of No Use for a Name, The Descendents and Useless ID. Bowling with Jesus is filled to the brim with high energy tracks like “Payday,” “Rewind,” “Shit Hits Me” and "Heartbreaker.” “When the Booze is Gone” is a fantastic addition to your summer party playlist.

If you were ever curious how So Cal punk rock translated into Finnish, wonder no more. The Dwyers sound like they could have been birthed in Orange County, California alongside The Offspring (the o.g. version, of course). If you’re not able to attend this year’s Warped Tour, Bowling with Jesus is a decent substitute for your summer punk rock fix.

http://www.myspace.com/thedwyersmusic

No Regime has No Focus

2011-08-18T10:07:00.000-07:00

No Regime – As the World Implodes = *

So Cal quartet, No Regime’s debut EP, As the World Implodes, is five tracks of socio-political jams full of spitfire and fury.

The band cites alternative, punk, reggae and ska as their influences and the resulting puree is a bit confusing. There’s moments of punk riffing, ska/reggae strumming and balls out rock—often times in the same song. The assembly of these parts never seems to jive as well together as (I’m sure) the band hoped. It would seem the band really could use a helping hand to guide them to one sonic channel to focus on.

It’s not to say there’s no hope for these cats. Singer Jason Rea has a gnarly scream that can be quite effective, specifically when lamenting about the downtrodden vagrants of LA on album opener “Stand Up for the Weak.” The punk/posi-core riffage of “Mr. Frilles” and “Anguish” has the right kind of fire for the EP’s themes.

Perhaps with some narrowing of musical styles the band could truly ignite, but until then their efforts lack in a proper punch to be successful. Here’s to holding out hope for a stronger second effort.

Get Enamored with Wax on Water

2011-08-08T14:03:00.000-07:00

A few month's back I was introduced to some kick-ass new electro-rock from UK outfit, Wax on Water. Since then, I've been (im)patiently waiting for new material to surface. Gratefully, I didn't have to wait to terribly long for the group to put out their latest sampling, "Enamor."

Get your ears on this drum-heavy, dissonant tune if you're a fan of kidneythieves, Chamber of Echoes or just want something a little less sunshine and rainbows to listen to. The track is free by clicking here.

When Music Speaks, You Should Listen

2011-08-04T08:07:00.000-07:00

One thing I absolutely love about music is it suits any mood I’m in. If I’m raging with anger and frustration, I can always find something to soothe the savage beast. If I’m wallowing in self-pity, there’s always a musical shoulder I can lean on (or at least something that feels worse than I do). Music is a more abstract equivalent to man’s best friend. No disrespect to the kanine community, but even dogs have particular moods and/or people appreciations—they don’t always like everyone! Music, conversely, is a universal language. I don’t care what language it’s being sung in, somehow I get the point that’s being conveyed.

For me, my most prominent listening time is the 40, grueling hours I spend in front of a computer in the midst of cubicle-city five days a week. Picture Peter Gibbons from Office Space and you know exactly what my surroundings look like; a lifeless, vapid environment devoid of sunlight but rife with political posturing and obnoxious grandstanding. Granted, it’s not like I’m shoveling human feces or subjecting myself to experimental pharmaceutical tests, but I am in a unique situation where everyone else’s problems pass through me. I’ll spare you the innocuous details of my place of employment and rat-in-a-cage job, but do know that, “there is no joy, in Mudville.”

Exactly. Like. This.

As such, my trusty iPod get’s a rather strenuous work out as I have my headphones in my ears for at least 85% of each work day. Due to this consistent palling around, my portable library and I have developed a bit of a symbiotic relationship. There are often instances where I’ll be thinking about a particular band and POOF, a track begins to play. Other times my pride will be stinging a bit from a text-based tongue-lashing and a track will creep in to dull the pain—without my searching for it.

If mood rings played music, I'd wear them all the time

Despite this touching bond that we share, there are times when I’ll let my finger do the circular-scrolling as I’ll need something specific to listen to and pair with a particular task. Here’s what I’ve come to find out:

- Remedial tasks such as data entry require some rather fast-tempo tunes. Usually, any sort of metal will work, but electronic acts like Pendulum or Imperative Reaction (literally, as I was typing this, IR just started playing!) work quite well

- There are days when I have a multitude of parties that need their egos massaged. As I’m not a fan of ball-washing those that don’t deserve it, DevilDriver, Lamb of God, Jedi Mind Tricks and Nile keep my energy level up long enough to get through the wasted time

- Speaking to that pride being stung, Dommin, The Birthday Massacre, VNV Nation, Omega Massif, Explosions in the Sky, HIM, Nine Inch Nails, Depeche Mode, Sentenced and The Smiths are quick to hand me a mental Kleenex or cold beer

- Some days I have no particular taste or inclination at all and will just let the iPod do the work for me. In those instances EVERYTHING sounds good

- Oddly enough, tunes with a particularly angry tone to them help me calm down. Amon Amarth in particular

- I’ve been told by one of the greatest people I’ve ever had the fortune of getting to know, that you should never take your “work” (in either the literal or figurative sense) home with you. As I tend to have the rumination strength of a bulldog’s bite, I often need time to wind that down. (Un)fortunately for me, I have at least a 35 minute commute each day. The best way I’ve learned to vent my frustrations—shy of running grandma off the highway—is to sing at the top of my lungs. Particularly: Flogging Molly, Alkaline Trio, Metallica, The Misfits (even if I’m making up words that Danzig mumbles), Ugly Kid Joe, Black Sabbath, Faith No More, Dustin Kensrue, Radiohead, Iron Maiden (I never said I always sing well), Frank Sinatra, HIM, NIN, Depeche Mode . . . the list goes on. *Note to self, we should go to karaoke more often

I think you get the picture. Different tunes, bands, genres for different moods. My question to you: what helps you get through torturous experiences or what types of tunes coincide with your particular moods or settings?

Crosses You Won't Mind Bearing

2011-08-03T08:35:00.000-07:00

Unless you've completely ignored the rock movement that came out of Nor Cal in the late 90's-early 00's you'd know about the sonic similarities--and, in turn, killer friendships--between the bands Far and Deftones. In fact, speaking to that relationship, Far penned a track, "At Night We Live," dedicated to former Deftones bassist Chi Cheng.

Now, Deftones vocalist Chino Moreno and Far guitarist Shaun Lopez have teamed up on a recent project. Ominously titled ††† (Crosses), the duo have already composed a five-track EP, also titled †††. It's a sonic departure from both gents respective bands as it hovers somewhere in the realm of trip-hop, industrial and a splash of synth-pop. Similar in spirit to Big Black Delta and SONOIO but with some guitars infused into the mix.

If your up for some free tunes on your hump-day, the group has released their EP for free here. If you'd like a physical copy, it'll only cost you five bones.

Repeater Has No Illusions Of Safety

2011-08-01T08:50:00.000-07:00

Repeater – We Walk from Safety = ***

I’ll probably catch hell from hipsters everywhere for this statement, but many times performance art bands/musicians can feel a bit trite midway through their act. I understand you’re trying to convey something so important and deeply-rooted in your psyche, but I’m just not interested in you writhing around in broken glass while howling like you’re being violated from behind. Conversely, when a singer doesn’t have to publicly flagellate and can rely solely on their “off-their-meds” style voice to convey the band’s point, I will gladly applaud and embrace them. Such is the case with So Cal act Repeater.

The orchestrated calamity of singer/bassist Steve Krolikowski; keyboardist Rob Wallace; guitarist Alex Forsythe and drummer Matt Hanief on the band’s debut LP, We Walk from Safety is akin to an enjoyable experience inside the mind of a manic-depressive. The emotional instability behind Krolikowski’s voice is palpable and when it’s paired with the urgent drums, haunting synth work and atmospheric guitars the resulting sonic deluge is delightfully exhausting and exists somewhere between the bummed-out bass groove of Interpol and the art-rock freak outs of Bauhaus.

It’s no wonder that We Walk from Safety was produced by known psychological ~~tormentor~~ producer, Ross Robinson (Deftones, Korn, At the Drive In). Robinson has an innate ability to get the most raw and visceral performances from the artists he works with (don’t believe me? Give Korn’s debut a listen again and tell me Jon Davis doesn’t sound like he’s ready to snap) and his work with Repeater is flawless.

For fans of Cursive, Bauhaus, Thursday or At the Drive In, Repeater deserves your attention. The band is just getting started and it’s a perfect time to support them. Specifically the band is accepting donations to press physical releases of We Walk from Safety. In an age of iPods and ear-bud zombies, actual physical releases of albums are rare and absolutely worth every penny. Take a walk from safety, hand in hand with Repeater and leave the saccharine coated garbage “music” behind.