Unfortunately my camera is broken so I wasn't able to take any pictures or videos of the show, the video of the Black Angels is from the show I attended, although I believe the Black Mountain video is from a former performance at the Grey Eagle.
Asheville NC's Grey Eagle club seems like an especially accomodating place to host a tour such as this. As a matter of fact for the past two and half years that I've been a Black Mountain fan I was really just waiting for them to come to Asheville given the band's sort of mountain hippie-rock nods that would endure them to such a location when the actual Black Mountain itself (one of many I'm sure) is merely 15 miles away. The show was still announced months early, but I did well to buy my tickets in advance as the show did sell out on the day of. Alot of this could of have to do with one factor that I was not hip to: The Black Angels, a really good late 60's style psych-rock band that have started to become quite the hot commodoty here lately, even though I didn't even hear the band's name until a few months ago.
My first impression of the Grey Eagle is that its a fairly nice venue, while the stage area itself may not be as nice as the Orange Peel's the restaurant/bar area is pretty classy. I helped myself to a Pisgah leaf amber and talked to friends while a large crowd amassed in front of the stage as the Black Angels began their set. Seeing clearly was nigh-impossible because of the number of people and lowness of the stage but the thunderous tone from vintage guitars could soon be equally felt everywhere. The band played a hypnotic and blistering set of late 60s style psych rock accentuated by Alex Maas' somewhat nasal yet perfectly fitting vocals. The band was cohesive and quite loud, but even with as enjoyable as songs like "Young Men Dead" were, I still caught myself thinking that alot of the songs were starting to sound the same halfway through the set. It was also during their set that I noticed that this show must have been a pretty anticipated event for many as I recognized next to the table I was sitting: members of Savannah, Georgia sludge metal group Kylesa as well as other apparent southeastern musicians from different walks. Once the Black Angels finished their 40 minute set the human flood went in the direction of the bar giving me a chance to finally get closer...
After a nice, quick soundcheck some surprisingly dramatic entrance music announced Black Mountain's taking of the stage. The band opened with the Sabbathian riffs of new album title track "Wilderness Heart". From the very start the band possessed a tightness and commanding power that I was blown away by. They continued with another of Wilderness Heart's heavier tracks "Let Spirits Ride" before they decided to let the head-nodding commence (especially mine) with "Wucan" from their In the Future LP. Here Stephen and Amber's vocals were crystal clear and perfect, the rhythm section played as a single well oiled machine, Stephen's riffs cracked wonderfully and Jeremy Schmidt's Moog synth/Hammond organ/mellotron dominated. They continued with the epic prog of "Tyrants", a song that took on a new meaning in a live setting, evidenced by the fact that I didn't even realize how hard I was headbanging until the end of the song. How much is to be credited with the venue or the band I don't know, but the sound was perfect for every song.
The band then picked up acoustic guitars for two numbers: a beautiful number "Buried by the Blues" which stands as one of my favorites from the new album, and the In the Future acoustic ballad "Stay Free". After that it was a string of favorites from In the Future. "Queens Will Play", "Angels", and "Stormy High" were all highlights for me. They played their new single "Old Fangs" before leaving the stage, but few were convinced that this was the end of the show as an encore brought them back out a few minutes later. They came out with the only two songs from their first self-titled LP that they played all night; the hit single "Druganaut" and fan favorite "Don't Run Our Hearts Around". "Druganaut" was at least ten times better than the album version, with Stephen's myriad of vintage guitar effects ringing clearer and more vibrant than the recording, and the song also ended up carrying an extended instrumental jam that may as well have set the stage on fire. The soulful pentatonic riffing of "Don't Run Our Hearts Around" was a truly great closer to a truly great rock show, one of the best I've seen in a while actually.
First the Dillinger Escape Plan and now this? I'll leave this to your own discretion, but apparently Mike Huckabee and Fox news are pretty stoked about Florida sludge-pop trio Torche. This is indeed real, but whether or not its genuine or an attempt for Fox news to somehow seem more hip is still up in the air... even to the band most likely. Oh and the new album "Songs For Singles" is indeed really good.
Hello all, I'm the new guy here on B.E.A.R.D. What I'll be bringing is mostly album reviews, year end lists, show reviews, and general rants that are often times disgusted about music related things. I do believe in focusing on the good music out there rather than the bad though, so I'll only bash something when I really need to. I'll be posting a review of the Black Angels/Black Mountain show in Asheville this past Wednesday soon. Good to be here.
This album is amazing! I haven't had much $$$ but I'm definitely ordering tomorrow and I intend on writing a track by track review where I will absolutely kiss Tera Melos' asses.
A few days ago I ran across an informal editorial by Ryan McKenney of Trap Them. Let me preface everything that follows with two caveats:
1. I have never heard anything by Trap Them (at least not consciously). 2. I did not read the editorial than spawned McKenney's response.
Allow me to paraphrase for the sake of catching everyone up. The initial question is whether or not corporate-sponsored festivals are "killing the live concert market." For the most part, this is a valid question for dedicated fans, casual listeners, and (most of all) musicians/artists/bands.
Scion Fest manages to book acts like Cannibal Corpse, Voivod, Boris, Nachtmystium (sort of), and a slew of other amazing acts, all without even sporting ticket prices. Granted, we could spend a whole week debating whether or not the aforementioned acts need any corporate backing to get a show. However, Trap Them is also on the 2010 line-up, as for several other bands whom I have only heard of conversationally. So, yes: corporate-sponsored festivals provide up-and-coming bands with the opportunity to reach large audiences without the need for multi-month-long tours, back-breaking promotion, and a healthy dose of insanity.*
Then there are the fans. Is a band less "true" or "KVLT" because they perform on a corporation's dime? Is a band "selling out" because they took a check from a corporation, rather than ending their tour in debt?
As both a musician and a music junkie, I understand why the notion of "selling out" is so toxic. Anyone seriously devoted to music understands the drive, compulsion, need to create. As much as I DESPISE Lady Gaga, I honestly believe that she is a performer because she loves to perform. to her credit, she was in an honest-to-god band before her marketed image was created (and created it was). The problem is when you come across music so bland, unimaginative, heart-less, and yet commercially polished; music that screams "IN IT FOR THE BENJAMINS."
Here lies the crux of the problem: if a band makes a profit (heaven forbid), are they less legitimate? Without even examining quality of content, is Bone Awl a better band than U2, simply because they earn less? Was Crass better than The Clash** simply because they lived in squats and shat outdoors?
I can not fault an artist or band that has an opportunity to survive a little more comfortably without having to compromise their vision. For god's sake, no one is talking about the Free Credit Score bands. They are the reason people are skeptical of corporate sponsorship; they are the reason bands are wary of being linked with a household name.
I know I am guilty beyond reproach. There have been shows that I would have loved to have gone to, and even though I could afford to, I chose not to because the tickets were "too much." Granted, when I went to What The Heck Fest in 2005 and 2006, the unlimited festival pass was only $50 for three days and about forty acts. Spoiled? You bet I am.
Different example: I will not shell out $75 (plus fees) to see Matmos and Emeralds at Moog Fest. Is $7_ excessive? Well, when you consider that the shows are all over town, in different venues, with 10+ bands per day, not entirely. Booking multiple venues for multiple bands from all over the world sounds expensive, and probably is. Is $7_ excessive? Since I only want to see two bands, yes.
Therein is the problem: the whims of the fan vs. economic reality.
I am going out on the road in a little under a month. Fortunately, I am using frequent flyer miles and the kindness of friends to skip a lot of issues like gasoline and food. Is flying to Alaska from South Carolina for a nine-day tour insane? Yes, but no more insane than driving around the lower 48 for two months, working 20-hour days, and coming home worse than broke. If anything, I think my Alaskan tour has a better chance at success than my previous US/Ontario tour. Why? Geographically isolated area with low occurrences of tour stops and concentrated population centers.
There is little harder than trying to get people out to a show. "I can see them next time." "I have seen them before." "I went to a show last night." My hope is that Alaskans are a bit more appreciative than "outsiders" when considering live music.
That being said, the majority of the shows I have played have yielded no money at the end of the night. Turnout is too low, so the venue "can't afford" to pay. The venue is run by assholes who promise money but pocket the door "because we have to pay rent and utilities." The venue does not like you (or you somehow offend them), and refuses to pay. Even worse, when a multi-band ticket has to split less than $100; touring band gets the goods in my opinion, but you might be surprised how many people will fight you for their $16 in earnings. All of these things have happened and will continue to happen.
All finger-pointing at poor venue management aside, what really exacerbates the problem is that people do not want to pay a "fair" price to see a show.
I have heard that very excuse from people. "Man, I don't want to pay $5 to go to _________." Maybe the venue has no a/c. Maybe the venue is non-smoking/alcohol free. Maybe the venue is in a "bad part of town." Maybe, maybe, maybe, and the only definite is that you are not going to get paid at the end of the night, and more than likely, the bands playing are never going to come back to your town.
So, here is my question: Is corporate-sponsorship saving the live music market from the fans, or are both sides of this equation killing music? In an economy like today's, where jobs are scarce and two dollars is worth one, is a corporate festival doing more for music than the (arguably already cheap) audience?
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*By no means am I implying that some out-of-the-woodwork band is going to get a spot on a corporate festival. I believe (or at least, hope) that all the bands on any festival have paid their dues, one way or another. That being said, who will get better exposure: a band that plays rock clubs across the US for a year, or a band that plays one big festival with multiple established acts?
Sorry for being even less active than D-Hags' been on here but, things have been "busy." By "busy," I mean that hurried sort of existence where you have lots of time which ends up being spent preparing for other tasks. Watering the gardens, feeding dogs at 3am, doing laundry. The actual act does not take very long, but there is a lot of time before and after that somehow gets gobbled up.
This sense of losing time is partly why B.E.A.R.D is highlighting Kinit Her today.
I first found Kinit Her in 2007, via their myspace page. Since then, they've improved upon their sound, as well as gone from a trio to a duo. For the sake of brevity, here's a write-up from the 2009 Equinox Festival catalog.
"The members of this trio from Wisconsin draw heavily on the symbols of a vast array of mythical and mystical ideologies. Similarly their music finds its currents in a number of interweaving forms including folk, improvised music, psychedelic, metal. [...] With backgrounds in esoteric, anthropological, and religious studies each member brings to the table a unique voice, both metaphoric and literal." (sic.)
This is all very, very true. Perhaps it is the neofolk element that almost instantly made me think of their music as ceremonial. Of course, with titles like "Lycaon of Arcadia," "The Fifth Refract," "Topaz of The Dead Giant," and "Hierophant Pentadrome," there's an implication of something older, historical, magickal.
Divine Names (2010, Brave Mysteries)
Their mixture of folk music, electronics, and metal works for the surrealist nightmare that Kinit Her very often portrays (think Comte de Lautréamont's Maldoror). The only problem that comes up, initially, is the vocal delivery.
Most of the vocals are delivered in a trembling, falsetto sort of caretaker speech. The only sort of simile I can come up with to pitch this to you in a positive light is CocoRosie, and that only works if you can tolerate their nonsense*. Having said that, their new album, Divine Names, showcases a far broader presentation of vocals. The falsetto mewling is widely absent, replaced instead by moans, chants, snarls, and generally badass vocals. Instead of visiting the hermit at the top of the mountain, you're being initiated as a neophyte in a dark ritual in a room with high, granite walls.
The first track off Divine Names, "Gratitudes," is also the longest track at 14:32, taking up the entire "A" side of the cassette. In the world of cassettes, this is not an unheard of practice. There's something intimate and divisive about tapes, where everything is contained but partitioned, that lets these divisions work. Opening a CD with a fifteen minute track is a ballsy and, I would wager, foolish move for 98% of everyone making music in the world.
"Gratitudes" opens with a pulsing beam of (down-tuned electric guitar? electronics? synth?), suspended over a churning, grinding blackness. Out of the black, horns emerge, followed by processional percussion. Then low voices begin to intone. Granted, I have nary a clue as to what is being intoned here, which might be why I find this track to be derivative (though awesome). Pussygutt's Gathering Strengths album, pieces like "Maldoror est Mort" by Current 93, "Big Church [Megszentségteleníthetetlenségeskedéseitekért]" by Sunn O))), and "Skymningen" by Ättestupa all present themselves in similar forms**. What I find perhaps the most stunning about "Gratitudes," is how close to Attila Csihar's vocals Kinit Her comes. In other words, totally badass.
The track continues until finally the intoning, the tape loops, the percussion all collapses in a torrent of (what I can only call) black metal guitars. The reverb'd distortion fades into a somber phrase for brass and electric guitar (no distortion). I'm reminded of the procession of flagellants in Bergman's Det sjunde inseglet. The violins enter, mournful cries heaven-bound, until a snarling, mangled voice speaks of topics indecipherable. The entire piece is ushered back into the distance by insect chirps and the screeches of owls.
If these guys aren't Bergman fans, I'll eat my shoe.
Side "B" brings the heavy back, though in a more song-oriented form. I would like to avoid going too much into the "B" side because of both the nature of the music, and the format. Kinit Her is not the band you put on because you're driving to the grocery store. Kinit Her is not music you put on because you have to type a ten page paper on campaign donation reform. This is music that requires time to digest, time to understand and appreciate. Additionally, the cassette form, like vinyl, does not suffer the impatient listener. If you want to skip around, go buy an iPod. Even if you try to fast-forward through a cassette, there's a very real chance you'll go too far (or stop short).
All of that being said, Kinit Her is much like the esoterica that influences their music. There's a lot of time and effort that goes into understanding their message, but if you're willing to give them your time, you'll be rewarded.
---------------------------------------------------------- Kinit Her performing "Colour Ride" at Cafe OTO, London, ENG (16JUN09)
DISCOGRAPHY Divine Names c30 (2010, Brave Mysteries' Cassette Cabal) Glyms Or Beame Of Radicall Truthes CD (2009, Hinterzimmer Records) Glyms Or Beame Of Radicall Truthes cass (2009, Living Tapes) As Magi c28 (2008, Living Tapes) Menial As Archivists & Bone Marrow Artifacts c47 (2007, Blossom Rust Tapes) Bone Marrow Artifacts CDr (2007, Self-Released) Menial As Archivists CDr (2006, Self-Released)
*not that I "hate" CocoRosie so much as I think their albums have too much filler and, Kinit Her is better. **Arguably, Crowley and LaVey did more for music than the Beatles.
The future, as far as I am concerned, is the upcoming release by Sacramento(I think)band Tera Melos entitled Patagonian Rats. As of now, the only song that any of us (except for Tera Melos of course)has heard is Frozen Zoo. I've heard some mixed reviews from people but, personally, I love Frozen Zoo. Accompanying the release of Frozen Zoo came two very strange videos which I just recently watched for the first time. and I have a feeling that I am in for a huge surprise with this new album and to be honest, I wouldn't have it any other way. I'm sure a lot of people will say stuff like, "I liked Melodies but they sold out with Patagonian Rats." It's inevitable that things like that be said. So, as I patiently wait for September and the new album...I will continue to be an unsavory character and diligently search the interwebs for a leak of any part of this album. Impatience is my bag.
On the subject of Tera Melos and more specifically, Nick Reinhart. Have you heard Bygones? Bygones is a heavenly mixture of Tera Melos' Nick Reinhart and Hella's Zach Hill and if you haven't heard it...well...what, are you living under a rock? I can't say that I absolutely LOVE every song but the track Dirt Weed is hands down one of the most "punk" songs to have come out in the last two decades. Long story short, I HIGHLY recommend you go dig on Bygones.
Okay, not "ALL TIME" as in forever. As of right now, I have decided that my top ten favorite albums thus far are as follows: 10. Fugees - 'The Score' 9. Steely Dan - 'Aja' 8. Ryan Adams and the Cardinals - 'Jacksonville City Nights' 7. Wu-Tang Clan - 'Wu-Tang Forever' 6. Baroness - 'Red Album' 5. Ryan Adams - 'Heartbreaker' 4. Thin Lizzy - 'Jailbreak' 3. Steely Dan - 'Can't Buy a Thrill' 2. Tera Melos - 'Melodies' 1. Charles Mingus - 'The Black Saint and the Sinner Lady'
If you read the last entry, you are aware that I didn't hold up to my promise of "at least two new posts" on that given week. Well, I had to make a trip to California and that fuzzed things up a bit but honestly, I slammed a wall. I wanted something to write about and I feverishly combed the internet but found nothing that really peaked my interest. Not enough to write an entire piece on. I've found that that this generation and I are plagued with the a.d.d. and a.d.h.d. and there really is no way of holding anyone's attention for any substantial length of time. Plus, I read this article: http://www.npr.org/templates/story/story.php?storyId=127370598&sc=fb&cc=fp Which TBOTZ posted on Facebook. That is when I realized that it isn't that people are becoming stupid as much as instant gratification has hit it's climax. We're ejaculating information and it is terribly difficult for anyone to sit still without writhing about in fits of anguish. Which is why I intend on continuing the theme of covering several bands in a very short manner. Also, to aid your brain, there will be pictures/videos/etc to accompany your reading experience. After you leave here, scoot on over to that NPR article.
TORO Y MOI Here is the video for "Talamak":
There has been a lot of buzz about Toro y Moi as of late, especially in the South. Being from South Carolina and only a short hour or so drive from Columbia it's terribly difficult to ignore such an act. In fact, a band from my neck of the woods has begun representing Columbia instead of Spartanburg after befriending this fellow from Toro y Moi, or so I've noticed on their myspace. I will refrain from naming this band as they are already embarrassing themselves enough but, before I escape this point, I would like to say that this 'local' band reminds me of ICP when they were claiming Detroit and as Eminem said, "Y'all live twenty miles away." But I digress... Toro Y Moi is a band that, by name alone, disinterests me. I have to admit that it seemed ill-contrived and pretentious, and the whole deal may very well be. However, upon listening intently to only two songs, I found that I can actually relate to Toro Y Moi a great deal and, although he is not my favorite artist nor is he part of any genre that I enjoy very much, I actually dig the two songs that I have analyzed thus far. "Talamak" and "Blessa" are genuinely great songs, especially the latter. At risk of giving you, the reader, the wrong impression of Toro y Moi, I feel it very important to point out that the song "Blessa" has an almost '90's hip-hop feel which is really what hooked me. Of course, there is no rapping. Nevertheless, I believe that there is potential for rap/hip-hop artists to sample these tunes and drop one hell of a beat on them. In fact, there is an astounding amount material to be 'remixed' with Toro y Moi and that alone sells me. The songs are classy, friendly and would most definitely provide a great soundtrack to a movie about youth and summer or something. Carpark Records has without a doubt found themselves a very promising act in Toro y Moi and to them and the artist I say kudos. If you're interested in listening to Toro y Moi please proceed to; http://www.myspace.com/toroymoi http://toroymoi.blogspot.com/
The Emotron It's amazing how many people hate the Emotron. Contradictory to that, it's truly amazing how much of a following that the Emotron has gathered, and rightfully so on both sides. I personally can not quite fathom how anyone could hate The Emotron as I have spent many wonderful nights at Emotron shows. I suppose that one looking at the Emotron from the perspective of a musician analyzing musical talent could possibly see him as talentless and tasteless but, they would be very wrong in such an analysis. The Emotron's songs play out like a fond memory of 1986 turned sour with drugs and bizarre humor. In a way the music, instrumentally, mirrors some very odd children's shows of the early '90's that I used to watch. Standing tall above the strange and pulsing notes lies the two most important parts of the Emotron to me, personally. First of all, his lyrics are hilarious, deviously poignant and almost obnoxiously eccentric. I mean obnoxious in a good way, of course. Speaking of obnoxious, I have heard people refer to music such as the Emotron as "absurdist". Whatever that means. The Emotron, though I doubt that "they" would admit it, bare strong similarities to acts such as Dan Deacon, Liam Lynch and Atom and His Package. However, I would venture to say that three aforementioned artists couldn't quite hold a candle to the Emotron on any front because they are all so different in their own little ways and most of all, the latter is supremely talented in making the viewer both uncomfortable and euphoric at the same time. The bands compared to the Emotron merely sound similar. Not to insult those other artists but I doubt that their live shows can live up to the expectations that an Emotron show provides. Which is a mixture of sexually driven awkwardness entwined with masochism, severe sarcasm, cultural stereotypes (especially of the South) and props galore (so many unique props in fact, that Carrot Top, were he dead, would be spinning in his ginger grave). The last time that I saw the Emotron, which was about a week ago now, he "flipped the script" as some may say and took his performance in a very different direction. Many of his shows start out with him in some sort of cowboy attire bouncing around (at one point in time he had the top of his head shaved to give the appearance of male pattern hair loss) and singing lyrics such as; "I want a hurricane to have a black girls name I want a hurricane a hurricane
Lets play a drinkin' game lets get drunk and sang About how these god dern gas prices are lame
I want my middle name to be my middle name I don't want my middle name to be my first one
What is your username please don't be ashamed That you had that sucker since nineteen ninety seven
You had that sucker since 1997 You had that sucker since 1997 Since 1997" But this particular show that I witnessed was quite different. The night began with the Emotron dressed as a Cowboy in all black with a hunch on his back. He set up several TVs and a VHS player, an animals food or water bowl, chicken wire separating him from the audience, several bags of paper shavings in that designated area and finally, he crawled under the stage at Ground Zero for a little while. When he came out he was almost nearly naked and covered in a mixture of body paint, mud (maybe it was mud..or poop...or just paint as well I suppose), strange bits of panty hose ripped and strewn from his shoulders to his groin and peculiar nylon sacks here and there. He crawled, legs dragging behind him, in front of the TVs that were now playing these odd clips of bugs mating, rubbing their legs together and so forth. He had what appeared to be turkey calls in his mouth and he was making a noise that to the everyday square would have surely been disturbing. In fact, many people seemed very disturbed. He proceeded to sing songs that I couldn't recall from his previous shows or the one CD of his that I own. Between lines he drank a strange brown liquid from the pet food/water bowl and howled loudly with the neon green turkey calls in his mouth. I watched as people shook their heads, shuddered in disbelief and a few even turned around and walked away.
A good friend of mine arrived to the show late, in the middle of the Emotron's set and as he walked down the stairs of Ground Zero, to where this glorious act of comedy and mocked avant-garde was well underway, he said that he felt as if he were entering the ranks of a clandestine meeting of some fucked up cult. This friend then rushed over to me, grabbed my shoulder and whipped me around saying, "What the fuck is going on here?". I felt as if my father had caught me masturbating to Hentai or something. For a moment I almost felt ashamed and then I remembered that this friend is from California and as far as I know, nothing like the Emotron has ever happened in that state. As the evening progressed and the Emotron's performance came to an end the majority of the audience still in attendance were seated on the stage or sat cross-legged in the floor (which only added to the cult-like feeling in the air). I heard people complaining that the Emotron, "...didn't set his dick on fire!". Some even proclaimed that, "It wasn't his best show by any means." A little later, I caught the Emotron upstairs of Ground Zero talking with the owner and he said, "Some kids in the parking lot shot me with a paintball gun and said, 'You didn't show your dick!'". Which made for the perfect end to hands down the best Emotron show that I've ever seen. Everything was well in perspective and for once, I didn't so much see the Emotron as this disgusting schizophrenic episode interpreted into live art as much as a very clever individual doing precisely what he pleases. If you're interested in learning more about the Emotron and ways that you can help please check out; http://www.myspace.com/theemotron http://en.wikipedia.org/wiki/The_Emotron
I apologize for any grammatical errors in this piece. I had little time to edit, as I am already late for a kegger at some frat kids fag party. GP forever!
I can't tell if there is a great deal of traffic to this blog but I greatly enjoy writing my often offensive opinions about music here so, readers or not, I, *ahem* I mean we, are back. I know that TBOTZ has been very busy with his final semester of college for the last few months and a big congratulations goes out to him for graduating with a BA in Political Science! I had almost forgotten about this little endeavor and then one day I was stricken with an urge to write about some tunes that I had been peeping lately and there it was, in all of it's glory, the Big Ears Analysis Report Daily. I have been diligently trying to write a poignant and tasteful article about this and that but have yet to really get the hang of this "positive" lifestyle. I'm still the same old cynical DHAGZ with a lot of terrible things to say but I realized thanks to a post by someone named 'Melanie' that I could probably obtain more honey if I didn't kick over the bee's nest. I can't quite give Melanie all of the credit. Actually, I had decided to attempt being a little less abrasive a couple months ago and then I read her comment and that was the final straw on the camel's back. Still, I feel it necessary to elaborate on exactly what will be going down here in the near future. I WILL continue to be honest, if I listen to your band and I don't like it, I will tell you what I don't like about it because the world doesn't need ANYMORE mediocrity. We're full up. If your band is good and going places I will be lavish with my praise. We've all got opinions Melanie and you care about mine far less than I care about yours, I'm sure. I may call some people fat and cause them to kill themselves or I may cause them to go to the gym. A little constructive criticism never hurt anyone. However, I realize that I may have been more critical than constructive and therein lies the need for change. Furthermore, I have to say that the comment from miss Melanie got me slightly on the defensive about my knowledge of music. She seems to think I know nothing about the game or the players when I am as well a very relentless player myself. For the record Mel, I am a musician, I can recognize talent when I hear it and doll, I promise you that I AM IN THE KNOW when it comes to righteous tunes. "I'm the Osiris of this shit!" To quote the great Wu-Tang Clan. So, we will let bygones be bygones and sally forth to the future of this nearly forsaken blog. Consider this a welcome back post and expect at least two updates in the next week.
I really enjoyed doing this last time so, I figured I would throw down on the bands that added me since my last installment. Before I jump into the filthy pool, I really feel it is necessary that I discuss Pandora radio. If you have never used Pandora radio, I suggest that you do. It's cool for finding new music. However, if you type in Pink Floyd, they play Led Zepplin. Yuck. If you type in Modest Mouse, they play the Postal Service. Damn, that doesn't even make sense. If you type in Mount Eerie, they play a lot of really weird hippy shit. That's just depressing, right? Right. Still, I suggest giving Pandora a try it's definitely not the worst website on Earth. www.pandora.com Okay, let's begin...
1. All's Quiet Don't know where they're from. Don't know their "genre" Pressing play...
Oh fuck. "Southern hardcore" is the label I would toss on these dastard bastards. Think Maylene and the Sons of Disaster and wish you didn't know who they are. The bass drum sounds like a slowed taser. There is absolutely no depth to the kick drum it sounds like automated bullshit. Worse, there's a little break in the song "Directionary" with uber-gay singing. This is absolutely terrible. OH A BREAKDOWN!!!! I didn't see that coming... I didn't have much before but, I now have NO faith in humanity. I hope there is some validity to this whole 2012 thing. I have to turn this off now before my freshly shaven testicles fall off. If you care to hear this nonsense, please visit www.myspace.com/allsquiet
2. Truth About Vegas West Palm Beach, FL Pop Punk/Rock
Fitting opening guitar riff and rhythm for their genre. Very pop punk and the next five seconds will make or break them...These guys are V neck wearing pussies. Moving along. www.myspace.com/truthaboutvegas
3. Jojo Taterhead Revival Greenville, SC Ska/Reggae/Roots Music
Judging by their name and genre, I assume that I am going to hate this. I'm a 'judge a book by it's cover' type of guy. At any rate, first song: Pirate Anthem. Jesus. Definitely ska, really slow ska. They call that reggae, I think. " I want to a pirate. Heyyyyyy!" Give me a fucking break. I could be playing Modern Warfare 2 right now...In fact I'm going to go ahead and skip these guys and their pseudo-political lyrics. www.myspace.com/jojotaterheadrevival
4. At Sixes and Sevens Pelion, Wherever the hell that is Metal/Hardcore/Progressive www.myspace.com/thevoiceofsanity
I officially think that the words "hardcore" and "progressive" have no place next to each other. First guitar sounds like As I Lay Dying has been listening to a little too much death metal. The kick drum sounds too much like a fucking taser, what's the deal with that shit?!? No vocals, that's a plus. Avenged Sevenfold had gay sex with I Killed the Prom Queen and this was the result. It's like AIDS but without the "catchy" factor. Boring, boring, boring music. There isn't an ounce of "progressive" to this. They obviously used a drum machine...from 1984. I hate to sound all Simon what's his face from American Idol but this is hideous music.
5. Pound for Pound Springfield, IL Hardcore/Metal/Punk
I miss the days when metal kids hated punk kids. I miss their cute little fights at shows. I miss the genres doing their best not to mix. Still, I must give this a chance because, I have a feeling no one else will. "Depression" Black Flag cover. This is the only shot you guys have. If this sucks, you're fucked. Okay, the lead singer sounds like the cookie monster. This is bad. Real bad. Fuck Pound for Pound. www.myspace.com/poundforpound217
6. TURNOVER Virginia Beach, VA Pop Punk
A lot of pop punk bands try to add me. Either pop punk is coming back with the fierceness or I just attract this kind of shit. "Sleepless Nights" I am hooked thus far...waiting on the vocals and the verse. Holy shit! I wouldn't really call this pop punk but I love it! Kind of has a Saves the Day feel mixed with Hot Water Music. Though it's not the most amazing music I have ever heard, in comparison to the other bands above...this is heaven. I don't want to ruin this with a long, pointless review. If "pop punk" is your thing and you like a little class in your music...these are the guys to see. Listen to TURNOVER! www.myspace.com/turnoverva
Wow, I can't believe that was all! I'm already contemplating my next entry and let's put it this way, if you like conspiracy theories and things of that nature...you're going to dig it.
