All Media Reviews

Exotic Animal Petting Zoo - Tree of Tongues (2012)

2012-01-26T20:22:00.002-06:00

Mediaskare Records link

Soundcloud Link to stream the new song "Apis Bull"
(why they are such anal sob's not allowing people to embed it is baffling, but as their site is named metalsucks, they are good at *sucking* in the helping out blogs like mine, department)

As I recall posting last year, I initially really liked this band and their debut album I Have Made My Bed In Darkness. However, after taking it in enough, the hardcore screaming, especially with it so-high-in-the-mix was a turn-off and and too much of a distraction. So much so, I don't recall if it even made my top 50 albums in 2008.

But the sad thing is, these guys have enough prog to their sound, I really enjoyed them. So I and I would guess some others who read/might-find this blog would also be intrigued to hear this 2nd record of theirs.

The new song has that same upfront punk-screaming in it, I'm starting to get skeptical again. But then again, recently I revisited Refused and have grown to enjoy some of that kind of screaming. However, I'm not sure it's so high in the mix, as this new song or EAPZ's debut album.

Mike Portnoy + Billy Sheehan + Richie Kotzen (2012?)

2012-01-25T10:41:00.002-06:00

1/25/12 10:41AM

Apparently the guitarist is Richie Kotzen

from Melodicrock.com's twitter:

"One more exclusive for you. Replacing John Sykes in the Portnoy project will be Richie Kotzen."

1/24/12 2:49PM

This is the long mentioned project Mike and Eddie Trunk among many others talked about going back to early in 2011. Yesterday it was posted by melodicrock.com's twitter that John Sykes was out of the longtime referred to "Portnoy/Sykes" project, which I guess was going to be rather influenced by Classic Hard Rock ala Led Zeppelin, Deep Purple, Rainbow, etc.

But as that post Eddie made a little while ago explains, it didn't work out. And then Mike just earlier today posted on twitter

“@JeremyBednarski: @EddieTrunk Can you say who the bassist was?” Billy Sheehan...we're moving on & now working w another guitarist/singer...

Eddie Trunk's linked post

24-Jan-12 Sykes/Portnoy band ends, the story
1/24/12: Recent reports have made the rounds on my social media and online about the status of the John Sykes/Mike Portnoy band that was first announced when the guys appeared together on That Metal Show last season. There has been much speculation on the status of the band and this project since we first revealed it, and as a friend and fan of both musicians I was very much at the center of it helping where I could and serving as a sounding board with all involved. Sadly I can confirm that as of now this project is no longer moving forward.

When I first talked about Portnoy and Sykes working together I joked with them that I had never met two guys with such different work ethics. Mike wants to do everything yesterday and John really takes his time and is much more conservative. That truly is the only reason why what could have been a killer band has dissolved.

Obviously bands are like any relationship, some click, some do not. This was simply a case of two different people not only getting to know each other musically but also personally, and the schedule and timing for making this work just fell apart. Mike and the bands bass player were ready to go, and John simply was not on the same timetable. There is truly no bigger story or any drama to report. It just didn't work and everyone is moving on.

Mike has several amazing projects in the works including the killer Adrenaline Mob album coming in March, and John may very well do a solo album or something else. He has some great material written and was singing and playing in top form when this dissolved. They both remain friends and I wish them both nothing but the best going forward and who knows what the future holds?
Eddie Trunk

I'm a little bummed by this, but the fact he's still working with Billy Sheehan, I'm still curious. The new guitarist? a lot of names being thrown out on Portnoy's forum. Tony McCalpine might make sense since Portnoy just played some shows with him; although stylistically, I'm not sure I picture Tony playing the same kind of music the Portnoy/Sykes project Mike described it as.

But I'm sure more information will come soon about this.

British Theatre - British Theatre (2012)

2012-01-24T14:31:00.000-06:00

1/24/12 2:30PM

A couple of more samples/videos

Corpse from BritishTheatre on Vimeo.

Schizo from BritishTheatre on Vimeo.

1/12/12 11:42AM

This is the new project from "The Gambler" and I believe Mike Vennart (with some others?) formerly of Oceansize. Among the non-Oceansize projects, this may be the one to pay attention to the most. At least for 2012, as their Self-Titled debut album is expected to be released this year.
http://www.britishtheatremusic.com/

Some Videos there, which may or may not have Embed codes (they're not from Youtube or Vimeo obviously). When I have time, I'll try and look.
facebook post

Hello lovers. You can check my new project with Gambler out here.... www.britishtheatremusic.com .... We hope you're safe and well. Stay tuned for further updates.

British Theatre on twitter

The Reign of Kindo - TBA (2012)

2012-01-24T13:01:00.001-06:00

Not that there's a ton info to pass along just yet, but I suppose one thing that can be forwarded in here is the band took questions from fans on Facebook recently. And are publishing them on their website as they just did the other day.

”When is the new album coming out and what’s the theme?” and seemed to generate some good interest from everyone else.

Well folks, as of now we are aiming to get this new record wrapped up and ready to hit the market in the summer months. We don’t have a specific date yet as we are still making the record and it’s most important to us that we feel it’s everything we want it to be before we put it out there. Also we are hoping to launch a decent marketing campaign to help us reach some new folks as well. This will take some planning indeed.

Thematically speaking, when we write our music and our records, we have yet to set out and stick with a specific theme. Usually the themes develop via happenstance. I can tell you that this could be one of the most diverse sounding Kindo records yet. Things are still developing and because we do a lot of our writing and final arranging in the studio, we know only a little bit more about what’s to come than you do. This keeps things fun and exciting for us, you see.

“When’s the dvd coming out?”, this project has been evolving quite a bit. We are actually aiming to put together a short film that will include selections from the DVD recording as well as a great deal of footage that has been shot as we write and record this record. All we have is lots of footage and intentions to continue generating more throughout this process. I can’t give a date for when this will be done or released because we aren’t certain when to make a cut off for filming. I like the idea of documenting this process to help paint a picture of it for our fans. We have captured the very moments of when some of these songs on the upcoming records were taking shape and being recorded. It’s been interesting to leaf through some of the footage and observe ourselves at work and making decisions that will be heard on the record. I hope to possibly have several other Kindo concerts recorded to include selections from them for the film as well. Of course I’m sure it won’t be without footage of us acting like complete asses as well. As for now, the project remains a bit abstract… but I think it will be way more fun than a simple “Live DVD”.

The Chap - We Are Nobody (2012)

2012-01-24T03:04:00.002-06:00

01 Rhythm King
02 What Did We Do?
03 Better Place
04 Talk Back
05 We Are Nobody
06 Curtains
07 Painkiller
08 Running With Me
09 Hands Free
10 Look At The Girl
11 This Is Sick

http://www.lorecordings.com/
http://www.thechap.org

I don't have a ton to say at the moment, as their last album I enjoyed some of, but not as much as some of their earlier albums. Specifically Mega Breakfast. They aren't really the band who fill the Apes and Androids void exactly (maybe 2011's discovery NewVillager are tho?). Yet, I do still enjoy their music enough to still want to hear it. I do wonder given it was less than 2 years ago Well Done Europe was released, if this album might have been rushed or something. A bit like the way The Mars Volta or some other bands could be seen.

I guess I'll know when I hear it of course. But if this ends up at the same mid-level of Well Done Europe I'll kind of wonder if a different/new outside producer might benefit them. But I hope that isn't the case.

Drop date is February 20th.

Interesting review:

The Chap are nuts, right? They’re so weird that even guys who are pretty weird themselves think the Chap are weird. They don’t look like they play in a band! Weird. They’re almost in their 40s! Weird.

Their music is a hectic hybrid of almost everything that ever happened in modern western society, which means it’s really poppy but also quite screechy and detached and has really weird lyrics about cloning oneself and getting positive feedback from one’s boss. Weird.

But after almost ten years of weirding everybody out over the course of hundreds of intense live shows, four albums and even a best of Compilation, the Chap have finally let their sensitive side get the better of them, resulting in their distinctly melancholy fifth album. Written, recorded and produced by the band in London and Berlin over the first half of 2011, “We Are nobody“ is the most unified sounding Chap album to date. It contains 11 beautiful statements of loss, dislocation, nostalgia and defeat, mostly in a traditional pop song format and embedded in a surprisingly soothing and restrained sonic environment. I could go on. it’s all infectious, blistering pop music, but all the while something is deliciously wrong here. Another most intriguing and exciting collection of outsider pop from one of the UK’s most original bands.

In typical Chap manner, everything here is invested with instantly memorable melodies and several clear but disparate references whilst sounding like no other band has ever sounded. Opening song “Rhythm King“, over a distant reminder of a motown groove, asks of its elusive title character to “show me the way out of the darkness and remind me where my heart is“ while the album’s trademark super high-pitched guitars and super low bass rumble in a strange flow of harmonies.

“What did we do“ is the closest the Chap have ever gotten to a commercial radio single; while a pulsating synth bassline is complemented by ukuleles and more trademark high guitars, the song documents an onset of bittersweet memories triggered by a visit to an old haunt.

Elsewhere, on title track “We Are nobody”, the Chap magically combine a Tears For Fears homage of sorts with a surreal, frightening and deadpan tale of dissolving identities and mass migration.

“Look at the girl“ is the first song Panos and Johannes ever wrote together, shortly after meeting at University in 1997. Back then the original lyrics to the song were written by friend Geoff Lucas and have now been augmented by the Chap for the album version: as a sparse funk riff explodes into deft open harmonies, the narrator reflects on seeing a beautiful girl cycle by and eventually hints at a tragic incident...

The Chap are weird, right? So, making a serious pop record, is that going to work? You bet it is. For the human experience is a very weird thing and long ago the Chap, with their extraodinary musical versatility and deadpan delivery, made it their mission to condense that weirdness into breathtaking music. Be it in a hyperactive, humorous way or, as beautifully done here, a melancholy, introspective way.

Kimbra - Cameo Lover ([Disco-like] Remix)/Article

2012-01-24T02:33:00.003-06:00

I just noticed Kimbra post a link to this article on twitter which includes this "Cameo Lover" remix by someone named Shook. It's kind of odd remix, in that it makes the song sound like a disco tune. I'm not sure if it's good or bad really.

Also the article is from "New Philadelphia" which makes me curious if that's a city/area of NZ or Australia. But what it talks about, her song "Good Intent" showing up on the popular-yet-long-since-jumping-the-shark Drama series Grey's Anatomy. And the curiosity about how the American music industry will appreciate her and her album Vows when it gets released in the States this year.

I just wish these people would stop comparing her to Florence and the Machine. She sounds really nothing like them. But I suppose it's just the token easy comparison because they have nothing else as well known to compare her to. Except Imogen Heap or Janelle Monáe ?..but of course it doesn't happen.

Kimbra - Cameo Lover (Shook Remix) by Shook (Official)

Diablo Swing Orchestra - Pandora's Piñata (2012)

2012-01-24T02:13:00.000-06:00

1/24/12 2:12AM
Facebook post on January 17th

1. Voodoo Mon Amour
2. Guerilla Laments
3. Kevlar Sweethearts
4. How to Organize a Lynch Mob
5. Black Box Messiah
6. Exit Strategy of a Wrecking Ball
7. Aurora
8. Mass Rapture
9. Honey Trap Aftermath
10. Of Kali Ma Calibre
11. Justice for Saint Mary

This link says it's coming in April

10/9/11 4:41PM

Announcement from Facebook

Ladies and gents, we just finished our last rehearsal before the recordings will begin and we finally agreed on a title:

Pandora's Piñata

Album will be released in the first quarter of 2012 so be patient and stay tuned for sneak peaks of what to come!

Cool news, as I've been pretty anxious to hear their next record ever since being won over at ProgPower USA in 2009 by them (after not caring for them previously..the Opera-style of vocals mainly, which I've come to like), and then their record released around that time Sing-Along Songs for the Damned & Delirious finishing in my top 30 albums for '09.

This band are crazy and fun in all the best ways. Like Unexpect or Akphaezya but maybe a bit toned-down. More emphasis on cello and concsise guitar-riffs.

I found out this upcoming record was not coming until 2012 earlier this year, although it was funny enough how announced on April 1st they were breaking up. Thankfully, that was just something to find funny (unlike the other bands who've broken up this year).

Pitchfork Media: The Leader in Hipster Metal

2012-01-23T15:02:00.003-06:00

http://pitchfork.com/reviews/tracks/13035-faiseurs-de-mondes

https://twitter.com/#!/pitchforkmedia/status/161548420497145857

Yeah, yeah. I'm sure they're deeply schooled in listening to Black Metal and all sorts of other non-traditional styles of Metal. Their review history includes some Opeth albums, Mastodon, Agalloch's latest and maybe Krallice.

Yeah, Pukefork Media, where all Metal fans should get their reviews from.

LOL. They're probably never going to stop this shit until someone they look up to actually calls them out on it.

MuteMath - Odd Soul NA Tour 1st Quarter 2012 (with Canon Blue)

2012-01-23T14:20:00.001-06:00

1/23/12 2:19PM

This tour includes Canon Blue as a support!

10/14/11 2:06PM

mutemath.com link

January 26
Houston, Texas // House of Blues
VIP ON SALE 10/17
REGULAR TICKETS ON SALE 10/21

January 27
Austin, Texas // Stubb's
VIP ON SALE 10/17
REGULAR TICKETS ON SALE 10/21

January 28
Dallas, Texas // House of Blues
VIP ON SALE 10/17
REGULAR TICKETS ON SALE 10/21

January 29
Tulsa, Oklahoma // Cain's Ballroom
VIP ON SALE 10/17
REGULAR TICKETS ON SALE 10/21

January 31
Denver, Colorado // Gothic Theatre
VIP ON SALE 10/17
REGULAR TICKETS ON SALE 10/21

February 2
Los Angeles // Club Nokia Live
VIP ON SALE 10/17
REGULAR TICKETS ON SALE 10/21

February 3
San Diego, California // 4th and B Concert Theater
VIP ON SALE 10/17
REGULAR TICKETS ON SALE 10/21

February 7
San Francisco, California // The Regency Ballroom
VIP ON SALE 10/17
REGULAR TICKETS ON SALE 10/21

February 8
Sacramento, California // Ace of Spades
VIP ON SALE 10/17
REGULAR TICKETS ON SALE 10/21

February 10
Seattle, Washington // Showbox SoDo
VIP ON SALE 10/17
REGULAR TICKETS ON SALE 10/21

February 11
Spokane, Washington // Knitting Factory
VIP ON SALE 10/17
REGULAR TICKETS ON SALE 10/21

February 12
Boise, Idaho // Knitting Factory
VIP ON SALE 10/17
REGULAR TICKETS ON SALE 10/21

February 14
Salt Lake City, Utah // Club Sound
VIP ON SALE 10/17
REGULAR TICKETS ON SALE 10/21

February 16
Kansas City, Missouri // Beaumont Club
VIP ON SALE 10/17
REGULAR TICKETS ON SALE 10/21

February 17
Chicago, Illinois // House of Blues
VIP ON SALE 10/17
REGULAR TICKETS ON SALE 10/21

February 18
Minneapolis, Minnesota // First Avenue
VIP ON SALE 10/17
REGULAR TICKETS ON SALE 10/21

February 28
St. Louis, Missouri // The Pageant
VIP ON SALE 10/17
REGULAR TICKETS ON SALE 10/21

March 1
Grand Rapids, Michigan // The Intersection
VIP ON SALE 10/17
REGULAR TICKETS ON SALE 10/21

March 2
Detroit, Michigan // St. Andrew's Hall
VIP ON SALE 10/17
REGULAR TICKETS ON SALE 10/21

March 3
Columbus, Ohio // Newport Music Hall
VIP ON SALE 10/17
REGULAR TICKETS ON SALE 10/21

March 4
Cleveland, Ohio // House of Blues
VIP ON SALE 10/17
REGULAR TICKETS ON SALE 10/21

March 7
Boston, Massachusetts // House of Blues
VIP ON SALE 10/17
REGULAR TICKETS ON SALE 10/21

March 8
New York, New York // Best Buy Theater
VIP ON SALE 10/17
REGULAR TICKETS ON SALE 10/21

March 9
Philadelphia, Pennsylvania // Trocadero
VIP ON SALE 10/17
REGULAR TICKETS ON SALE 10/21

March 10
Washington D.C. // 9:30 Club
VIP ON SALE 10/17
REGULAR TICKETS ON SALE 10/21

March 11
Norfolk, Virginia // The Norva
VIP ON SALE 10/17
REGULAR TICKETS ON SALE 10/21

March 14
Charlotte, North Carolina // Amos' Southend
VIP ON SALE 10/17
REGULAR TICKETS ON SALE 10/21

March 16
Ft. Lauderdale, Florida // Revolution
VIP ON SALE 10/17
REGULAR TICKETS ON SALE 10/21

March 17
Orlando, Florida // House of Blues
VIP ON SALE 10/17
REGULAR TICKETS ON SALE 10/21

March 18
Atlanta, Georgia // The Tabernacle
VIP ON SALE 10/17
REGULAR TICKETS ON SALE 10/21

Boycotting 1st Crapenue? I may have to lift it for this show as they've never played a bad show.

OSI - Fire Make Thunder (2012)

2012-01-23T11:57:00.001-06:00

1/23/12 11:58AM

01. Cold Call
02. Guards
03. Indian Curse
04. Enemy Prayer
05. Wind Won't Howl
06. Big Chief II
07. For Nothing
08. Invisible Men

b-mouth link

"Fire Make Thunder" marks the fourth undertaking for the collaborative duo known as OSI. The CD is slated for a March 27 release via Metal Blade Records.

Formed in 2002 by Jim Matheos (FATES WARNING, ARCH/MATHEOS) and Kevin Moore (CHROMA KEY, former DREAM THEATER keyboardist), OSI is a long-distance partnership, both musicians typically writing and recording alone and sending song ideas back and forth for further elaboration.

Written and recorded throughout most of 2011, this latest release once again reflects the eclectic influences of both Matheos and Moore.

Returning as OSI's session drummer is Gavin Harrison of PORCUPINE TREE, this time co-writing one of the tracks with the band. All other instruments and programming were performed by both Matheos and Moore, while vocals and lyrics were handled exclusively by Moore.

All of the recording for "Fire Make Thunder", with the exception of drums, was done by Moore and Matheos at each musician's respective home studio with drums being recorded at Harrison's home in London. Final overdubs as well as some additional writing/arranging was completed in July 2011 in Jamaica, Iowa, where the band mixed alongside engineer Matt Sepanic at Sound Farm Studio & Recording Environment. Mastering was handled by renowned engineer Roger Siebel. The record was produced by both Moore and Matheos.

It sounds like there's some heavier riffs and samples perhaps. Songwriting and flow? we'll see. I've been impressed by other album previews, and the album didn't end up sounding as good as I thought it would. But I guess I'm slightly optimistic about this album now.

1/16/12 2:29PM

Nuclear Blast for sale link

March 23rd, on Vinyl and CD.

not that I'm all that excited or optimistic about this, as they've pretty much jumped the shark since KevMo hijacked this project to being more or less an ambient sister band to Chroma Key.

But I and I'm pretty sure others who find/read/stumble-upon this blog want to know about this record regardless.

But I'll repeat what I have said many times in this blog. The 1st record is a great flowing album, that is textural, heavy, atmospheric, and melodic. And the songwriting is terrific.

Free was mediocre, and Blood was even worse, a snoozefest save for maybe 2 songs.

By some chance, they bring back the heavy-ness and the samples, my interest might be renewed. But until then, this is an album I'll check out when it comes out and then expect to read baffling comments about it, and how it compares to the others, including the debut record, and the debut record still being their worst album by these folks, lol.

But, of course that would mean nothing is new. But so be it.

At least once this is released, Jim can start to focus on the next Fates Warning again, hopefully.

5/9/12 The Dear Hunter - Complete The Color Spectrum live

2012-01-23T11:31:00.002-06:00

1/23/12 11:32AM

I just got my ticket (Row B, Seat 10) as they went on sale for Lifetime Members today at Noon Eastern. However, given my potential travel schedule with 3 other trips from March until June that could run close to $1000 for me, I may not end up going. I would be up for selling at face-value, my ticket to someone if I am not able to go. But in the agreement before purchase, it states they are Non-Transferable. So, I'm not sure, but that may mean if someone else walked up to the door with my ticket, they wouldn't be allowed in.

I just realized, it may be worth contacting the venue about this, if I come to conclude I'm not going to be able to make this thing.

Tickets go on sale to the General Public on Saturday January 28th. Although given the smaller scale size of this venue, they may be all sold out by then.

1/19/12 2:07PM

a Wednesday night in Boston. More words hopefully later about this. I will do everything in my realistic-financial-budget to go.

Jazzkamikaze - The Return of JazzKamikaze (2012)

2012-01-22T15:41:00.003-06:00

1/22/12 3:41PM

1. Resurrection
2. Mitsuhirato
3. Future Blaster
4. Blues for J.H.
5. Volcano
6. Organic Anthem
7. Kole
8. Copenhagen Hipster
9. Agent Cooper
10. Afrique
11. Lamai
12. Xelerator Prelude
13. Xelerator
14. Karaboudjan
15. Celestial
16. In Universal Circumference (CD Bonus Track)
17. Chloroform (CD Bonus Track)
18. Volcano ’08 (CD Bonus Track)

1/19/12 9:25AM

Their new album drops on February 1st! (CD and digital)

The title, unless otherwise noted, is still that.

1/19/12 9:25AM
edit: "New album is called: The Return of JazzKamikaze"

facebook announcement

Facebook Video with music

as I've posted many times in the past, this band are great. if you like Mew, The Reign of Kindo or some others, they very well could be worth your time. They should still have Supersonic Revolutions streaming on their homepage.

Lost Lander - DRRT (2012)

2012-01-22T13:11:00.001-06:00

DRRT by Lost Lander

I'm enjoying a lot of this debut album from this new Portland group Brent Knopf of Ramona Falls/ex-Menomena, worked with.

They use fuzzy guitar, piano, vocal harmonies, strings, and a lot of other things that I often enjoy in music. Chamber College-Rock of sorts.

Kind of cool how in the encoding of the mp3's from their Bandcamp page, the lyrics show up on at least Windows Media Player I use.

The bandcamp finds in 2012, especially from bands that are working-with or even just promoted on artists facebook pages that I already know/like. It seems to be what I am digging the most this year so far.

I guess it could safe to say, 2012: the year of Bandcamp.com or the year of the "Bandcamp finds." We'll see if I discover 1 every week, I'll have 50+ newly discovered artists just from said website.

Also for some reason, a lot of them hail from Portland, Oregon (Norhern Abbey, Forest Park, now these guys). Maybe I need to go or even more there? lol.

Lost Lander on Facebook

SikTh - TBA (2012-2014?)

2012-01-22T11:14:00.001-06:00

Article link

Facebook post by the band

More Merch has been ordered guys.. hoodies and girls skinny tee's. we will then look at getting some of the other designs up. btw, Calls for a reunion are amazing.. thanks... OF COURSE we want to... we've never said other wise. It will happen when the times right. There WILL be another SikTh record... and it will be our best... thats a PROMISE. It took us the best part of 2 years to complete the writing of DOADD so I guess you'll have to be patient. Besides, theres a bucket load of riffs that we wrote for album three still sat there - so we'll have a head start next time ;-)

I'm just going with the album could come out this year, but given how long their last record Death of a Dead Day took, and what that message on FB says, it may not come for a few years.

However, news of them making a new album (and back together) while not a huge surprise, is still significant. Since for myself and I'm sure many others who really started getting into them around the time they broke up (2008) or shortly after, the often belief of a great band will become legends since they are now gone, etc

And SikTh, despite what that metalsucks article says, were "pioneering" or at least quite distinct or original in a lot of ways. That's one of the biggest reasons why they stand out to me. Progressive Thespian Metalcore with at times insanely complex compositions. Crazy, yet still within the constructs in making a song and an album work. There's not many bands, metal, progressive, or otherwise, that I see being able to do that, especially as effectively as they have done. So to have another record from these guys is rather big news to myself.

Now whether this next album will compare to their other work? who knows. maudlin of the Well's Part the 2nd is good, but has not found the amazing statement-level of their earlier work. So, that is I suppose one reason to not expect something at that earlier level, after a hiatus. Although at least in their case, it'll only be 5-6 years, motW's was nearly 10 (although the music was still written around the period they had been a band before their hiatus/transition).

Metal Genealogy Chart:

2012-01-21T19:31:00.002-06:00

So, there's only 3 episodes left I guess of Metal Evolution on VH1 Classic.

1/21: "Shock Rock"
1/28: "Power Metal"
2/4: "Progressive Metal"

so in reading about the rest of the series, and of course in each episode + going back to Metal: A Headbanger's Journey they show the 26-subgenre Chart. So I wanted to actually take a detailed look at said 26-subgenre chart and the bands which Sam Dunn and co.include.

link

It's interesting where he puts certain bands, like Opeth for example, under "Goth Metal"? (and not "Swedish Death Metal" or even "Progressive Metal"..and there is no "Scandinavian Black Metal" only "Norweigan Black Metal")

I wonder if this series has been/is successful enough, if said other subgenre's could be featured in a continuation of this series.

It's also interesting how some bands (specifically progressive-related) are nowhere to found in there: Between the Buried and Me? Pain of Salvation? Angra? King's X? etc.

That all being said, I am looking forward to the "Progressive Metal" episode in a few weeks. Although for some reason I'm expecting it to include the expected names:
Rush, Dream Theater, Queensryche.
But
Pain of Salvation, BTBAM? likely not.
Cynic?
Tool or Porcupine Tree might be more likely.

Lehto & Wright - November (2012)

2012-01-21T11:09:00.006-06:00

1/21/12 10:58AM

1 The Humors of Tuaimgreine/RakishPadddy/The Callahan Stomp 10:35
2 Lay Down Your Weary Tune 4:40
3 Redemption Song 5:11
4 Tom Joad 9:39
5 Shenandoah 5:55
6 Dominion of the Sword 3:51

I am checking this out right now as I type this. And in just reading this write-up on their page about it, I wasn't aware of a few of these tracks being interpretations from different artists. "Lay Down Your Weary Tune" being a Bob Dylan number, "Tom Joad" is a Woody Guthrie piece, and "Redemption Song" being from Bob Marley. Although both do sound familiar; what they did with them, it may come to be seen as their own (or rather distinguishable interpretations).

But early on, wow, this is pretty sweet. Not that I'm surprised since these guys are awesome, and pretty much their entire catalog is good. Especially their last record Children's Songs.

I'd say early in the year here, this has a chance to be among the top of my albums index already. And hey, Children's Songs was #2 (among 50+) in 2010, so it wouldn't surprise me one bit if this album places rather high by the end of year as well. I can already tell, like Children's Songs, this album has stellar production, which already scores big for me.

Will more people check it out? My friend Josh will, Jordan Blum I'm sure will. And perhaps some of the people who caught on to The Galactic Cowboy Orchestra will. But beyond that, I'm not expecting it, due to the gigantic failure by so many of those folks who haven't heard Children's Songs nor any of their other work still. At least by evidence online in the Twin Cities music Media (89.3, Citypages, Radio K, Jon Bream, Chris Riemenschneider) and music fans (save for Jearlyn Steele of WCCO Radio, and whoever at Kare-11 helped them appear on their Morning show a few years ago).

I should elaborate more in the coming days/weeks once I hear it with headphones. But initially, the prog-side is still apparent on a few tracks as the review below refers to. The opening suite piece "The Humors of Tuaimgreine/RakishPadddy/The Callahan Stomp" "Redemption Song" and the closer "Dominion of the Sword."

One thing I noticed in the write-up below, how it says this is their 7th studio album, but I believe that is off by 1 or 2. Not only due to John Wright mentioning this being their 9th album last night at the cd release show, but I'm pretty sure on their website's store, they don't include at least 1 of the albums I own, which shows Steve Lehto and John Wright on the cover in front of an old-fashioned house with rifles I think.

Ye Mariners All (2000)
The Further Adventures of Darling Cory (2002)
A Game of Chess (2003)
The Thrashing Machine and Other Stories (2004)
Live At the Focal Point (2007)
Between the Jigs and the Reels (2008)
Children's Songs (2010)
Shenandoah [EP] (2011)
November (2012)

edit: maybe I'm thinking of a photo on the back or in the inner sleave. But at least looking at that list, this is their 7th proper full-length record, but 9th release overall, since they released the EP Shenandoah last year, and the 1 double live record Live at the Focal Point

It's available to buy now on their Website

November
Release year: 2012

$13.00 (shipping included)

"November" is the 7th full length studio release from Lehto & Wright. This outing continues to showcase the band's instrumental prowess with Irish Tune Sets while exploring the American song book as well. "Tom Joad," a Woodie Guthrie classic, is given a 9 1/2 minute workout while a Bob Dylan deep cut "Lay Down Your Weary Tune" is also given a Lehto & Wright twist. Our neighbors to the south are not to be excluded with an amped up version of Bob Marley's "Redemption Song" presented also. English Folk and Progressive rock are represented in full with an arrangement of "Dominion of the Sword" influenced by Martin Carthys recording of the same, here with all the Progressive Rock styling that Lehto & Wright are know for. Last but not least the fan favorite "Shenandoah" makes a re-appearance from its earlier release on a EP of the same name in 2011. "November" demonstrates Lehto & Wright's continuing forward momentum in their Folk and Folk Rock exploration.

1/18/12 12:44AM

Album title has changed to "November" (see John's post here on facebook.

Also there is an interview done with John archived here "1-15-12 "Center Stage: Celtic Roots" on WCCO Radio's Homepage with Jearlyn Steele (who also interviewed Lisi Wright last year for The Galactic Cowboy Orchestra's CD Release show I recall).

The CD Release show was obviously not January 14th, but now has moved to this Friday January 20th at The Dakota Jazz Club.

11/26/11 7:04PM

I look to include quite a lot of content about one of Minnesota best progressive rock acts soon, and this upcoming record of theirs being certainly part of that. Of course Lehto & Wright released a tremendous album in 2010 with Children's Songs, so this is in-effect the follow-up to that.

Just from doing a little searching on google, they have an album release show coming on January 14th at The Music Box Theater. Now, that was on a calendar listing here, but not something they cited officially. They don't post on facebook and twitter maybe as frequently as you'd think. Even as much as The Galactic Cowboy Orchestra, John Wright's other main project. Although Lisi Wright, being more involved with that band, probably has a lot to do with why TGCO are online a bit more.

But at this point, from chatting with Lisi a few weeks ago at another TGCO show, she said their album is expected in January with a release show. So that show scheduled on January 14th at The Music Box Theater I'm assuming is said show and when at least initially this record will be released.

However, in just reading what they did post a bit about this year, they did put out on pro-cdr/mp3 a brand new EP titled Shenandoah which includes the title track, along with the title track to this upcoming album Dominion of the Sword.

from their homepage

1 Shenandoah 5:56
2 Dominion of the Sword 3:48
3 Second Waltz for Carol Jean 1:14
4 Ye Mariners All 6:47
5 Four Drunken Maidens 3:38

cdbaby link

"Shenandoah" is Lehto and Wright's first ever EP release. This recording features the first studio recording of the long time fan favorite "Shenandoah" which has been a mainstay in the live shows since 2009. Also on this CD is the titles track from the bands up coming 2012 release "Dominion of the Sword" in addition to a live version of "Four Drunken Maidens" and two other tracks.

Lehto & Wright on Facebook
Lehto & Wright on twitter

more to add about both of these and their past releases soon.

Catchup Blogging: 1/21/12-1/29/12

2012-01-20T14:04:00.002-06:00

This is just a smallannouncement/reminder-to-myself (as I am my own boss around here, hehe).

I have next week off, and aside from a couple of routine errands and Friday Night's Hot Stove League. And likely Wed-night and Thursday (whole day) with the gf, my week is free.

I am hoping, almost demanding of myself to catchup on a lot of stuff in here. Playing reporter will happen I'm sure, but also the actual editorializing diarhea-of-the-text (and mouth likely) should be put in here in the next 9 days or so.

2012 preview?
2011 Turkey, etc?
lot more stuff in allmediareviewsnotmusic ?
Essentials?
Concert reviews/previews etc?

hopefully..now only if this job actually paid me something in monetary value, lol.

Imogen Heap - TBA (2012)

2012-01-18T09:57:00.000-06:00

This is probably the 2nd or 3rd entry about this 4th LP of hers, but it's worth posting this new soundcloud upload as it includes now 4 songs that'll likely be on the record.

I haven't gone to her fans forum or even read much on twitter/facebook of late to know where's she's at. Although given how she's such a perfectionist, this may not be released until 2013 or later, but hopefully not.

"Album 4" so far... by imogenheap

1/18/12 rateyourmusic.com

2012-01-18T09:49:00.000-06:00

Not that I want to cover much about politics here or on the new allmediareviewsnotmusic, but with this message on rateyourmusic.com today, it's probably worth passing along. If rym went away, while I'd survive, it would definitely change things and suck for awhile. Although I'm sure finding alternatives would happen, I still wouldn't want it to happen of course.

Stop SOPA and PIPA

SOPA and PIPA are two misguided bills intended to fight piracy, but will instead stifle online speech and threaten the existence of many legitimate sites such as RYM. Please take a moment to call or write your representatives to let them know you oppose these bills! If you live outside the US, please petition the State Department. RYM is offline today to raise awareness about the PROTECT IP Act (PIPA) and Stop Online Piracy Act (SOPA) bills which are currently being considered by the U.S. Congress.

As the founder of RYM, I'd like to explain why this legislation would threaten the existence of legitimate sites such as this one.

As most of you know, RYM is a reference site which provides information about music. We feature artist biographies, discographies, user-written reviews, and similar content. There is no music available for download on the site, with the exception of a collection of songs from around 100 unsigned artists who have given us explicit permission.

In addition, we prohibit users from linking to any pirated material, or even to other sites which are dedicated to providing such links. The result is that you won't find any pirated music on RYM, or even through RYM.

Despite our work in making sure RYM only contains legal material, we constantly receive complaints from a small group of misinformed artists and labels who mistake RYM for a piracy/file-sharing site and believe we're somehow making their material available for download. Oftentimes, a simple reply asking them to take a closer look at the site clears things up, but sometimes we are forced to have attorneys respond.

While I wish we wouldn't have to spend time and money responding to these false complaints, it's a situation that is manageable. However, the proposed legislation would change this dynamic in a way that would make it impossible for site owners to defend themselves against such false allegations.

The reason is simple: these bills allow the attorney general and/or third parties to effectively shut down sites like RYM without due process.

If this legislation were passed, any third-party could complain to the attorney general in an attempt to shut down RYM. The AG could then request a temporary injunction against RYM without us being notified or given a chance to defend ourselves against the allegations.

If that wasn't enough, the legislation would grant immunity to any service provider that decides to voluntarily stop providing services to RYM due to their own suspicion of copyright infringement. This gives third parties yet another way to subvert due process; they could simply bully the service providers into voluntarily shutting down a site, and it would usually be in the providers' best interest to do so given the immunity clause.

As I've mentioned above, some copyright holders unfortunately don't understand how the internet works at all. Some of them mistakenly believe that informational sites like Wikipedia are infringing sites. And the government itself has demonstrated that they can often be confused as well. For example, the Immigration and Customs Enforcement agency shut down a legitimate music site, Dajaz1.com, for over a year.

It therefore makes no sense to allow these parties to make a determination of the legitimacy of a site without input from the site operators themselves.

If RYM were temporarily shut down, it would be devastating to our finances. Running a site that serves 50 million page views per month is expensive. By the time I would be able to contest the shutdown and contact all the services needed to power RYM, I would be thousands of dollars in debt, and there's no guarantee that I would be able to re-establish all of the affiliate/advertising agreements that would be broken as a result of the injunction.

I strongly feel that artists should be properly compensated for their work. But this bill has little to do with protecting artists and everything to do with taking away fundamental legal protections to those who operate web sites. And legitimate, non-infringing sites that are related to entertainment - such as RYM - will be hurt the most.

Please take a moment to call or write your representatives to voice your opposition to this legislation. If you live outside the US, Wikipedia has information on how you can take action.

Hossein Sharifi

Founder, Rate Your Music

Resources and links

Wikipedia: SOPA and PIPA: Learn More

EFF: Stop the Internet Blacklist Legislation

Ars Technica: Why Ars Technica opposes the Stop Online Piracy Act.

Tim O'Reilly: SOPA and PIPA are bad industrial policy

*Some proponents of this legislation claim that it only applies to foreign sites, but this is false. The definition of "foreign" is loose enough to include RYM due to its use of non .com/.net/.org domain names. And section 104, the immunity clause, applies to all internet sites.

Flying Colors - Flying Colors (2012)

2012-01-18T01:36:00.000-06:00

1/18/12 1:35AM

Track Times
1 Blue Ocean 7:05
2 Shoulda Coulda Woulda 4:32
3 Kayla 5:20
4 The Storm 4:53
5 Forever in a Daze 3:56
6 Love Is What I’m Waiting For 3:36
7 Everything Changes 6:55
8 Better Than Walking Away 4:57
9 All Falls Down 3:22
10 Fool in My Heart 3:48
11 Infinite Fire 12:02

1/11/12 11:42AM

FOR IMMEDIATE RELEASE January 11, 2012

MASCOT LABEL GROUP ANNOUNCES MARCH 27 RELEASE DATE

FOR DEBUT FROM FLYING COLORS

Quintet Features Mike Portnoy, Dave LaRue, Neal Morse, Casey McPherson and Steve Morse

New York --- Mascot Label Group has announced a March 27 release date for the debut from Flying Colors (available the day prior overseas) on their Music Theories Label. The formation of the ensemble began with a simple idea: virtuoso musicians and a pop singer joining together to make new-fashioned music the old fashioned way. Refreshing, classic, old and new, the recordings are saturated with the many styles, tones and hues of the players who in becoming a band have delivered a unique fusion of vintage craftsmanship and contemporary music. Flying Colors is Mike Portnoy (drums, vocals), Dave LaRue (bass), Neal Morse (keyboards, vocals), Casey McPherson (lead vocals), and Steve Morse (guitar). Portnoy shares, "This album has bits and pieces of what you'd expect from each of us. However, the sum of all its parts led to brand new, unchartered territory for all involved."

In 2008, executive producer Bill Evans brought the idea to the world renowned musicians and producer Peter Collins. Intrigued by the idea, and the prospect of working together, the four signed on to form a band and record a first album. Steve Morse and Dave LaRue have developed a magical music chemistry over the years, that began early in their careers as partners in Dixie Dregs. Morse subsequently became a member of Deep Purple in 1995, while LaRue’s ongoing musical adventures include Joe Satriani, John Petrucci, Jordan Rudess, Steve Vai, and the aforementioned Portnoy. Multi-instrumentalist, composer and singer Neal Morse is one of the leading figures in progressive rock, who's significant notoriety follows his co-founding of the seminal band, Spock’s Beard in 1995, recordings as a solo artist, and contributions to the super-group Transatlantic. Mike Portnoy is one of the most popular and respected drummers in both metal and rock, and an accomplished writer and producer. He is the recipient of numerous industry accolades, including 26 Modern Drummer awards, Revolver Magazine’s Golden God award for “Best Drummer" and Drum Magazine's "Drummer of the Year". He rose to prominence as the leader, drummer, producer, and co-writer for metal/prog juggernaut Dream Theater, before moving on in 2010. That same year, he worked on Avenged Sevenfold’s #1 album Nightmare and their subsequent tour. And, it was Portnoy who recommended Alpha Rev's emotive singer Casey McPherson as a contender to join Flying Colors.

McPherson, who's 2010 Hollywood/Disney album New Morning debuted in the Top-5 on two Billboard charts, enjoyed major success at radio with multiple hits. The track “New Morning” spent 17 weeks in the Top-10 on Triple A Radio, and enjoyed a run on Vh1’s Top-20 Countdown for months. Steve Morse offers, "Casey was a glorious find, because he could make anything sound fantastic, and is a multitalented like the others."

Flying Colors convened for just nine days in early 2011, and composed and recorded this album during a short and intense session. Dave LaRue recalls, "It was quite an experience - the band moved at a fast pace, ideas flying around the room at all times. Sections of tunes were arranged, then re-arranged, ideas were tried every which way until we made them work, or, in some cases, discarded them altogether. Just keeping track of everything was a challenge!" McPherson adds, "This record is filled with trial and triumph. Raw and delicate songs alike amidst the swirling and daring orchestration of Steve, Neal, Mike and Dave. It's been such an inspiring challenge melding folk, prog, pop, and metal all into one big recording."

Touring plans for Flying Colors will be announced in the coming months.

To screen the Flying Colors EPK, click here: http://www.flyingcolorsmusic.com/video

For more information contact:
Steve Karas
SKH Music
917-420-0728
skaras@skhmusic.com

Pre-Ordering Link

PRE-ORDER NOW AND RECEIVE A FREE POSTER.

Pre-Order will be a Limited Edition Digipack CD!! Product will be shipped before release, so should be with you around releasedate.

Available on Ltd Edition Digipack, Double Vinyl and regular CD

1. Blue Ocean
2. Shoulda Coulda Woulda
3. Love Is What I’m Waiting For
4. The Storm
5. Kayla
6. Forever In A Daze
7. Everything Changes
8. Better Than Walking
9. All Falls Down
10. Fool In My Heart
11. Infinite Fire

well there it is. The tour dates I'll have to keep an eye out for. I will definitely think about that Double Vinyl, although like any single or double Vinyl in this case, it seems pretty much higher than I feel is worth spending €25,00 (or $31.73) then add tax+ shipping, that's likely close to $40 for a band/album I've never heard.

Although I haven't seen that clip yet since I'm at work. But that dollar figure is why I may hold off a bit until hearing more.

Meshuggah - Koloss (2012)

2012-01-17T16:42:00.003-06:00

1/17/12 4:42PM
Album title is as edited "Koloss" or "Colossus" (which I think sounds better, but that's the German word for it).

b-mouth link

01 – I Am Colossus
02 – The Demon’s Name Is Surveillance
03 – Do Not Look Down
04 – Behind The Sun
05 – The Hurt That Finds You First
06 – Marrow
07 – Break Those Bones Whose Sinews Gave It Motion
08 – Swarm
09 – Demiurge
10 – The Last Vigil

story

When Meshuggah released a brief message last week announcing the release date of their new album, I don’t think anyone even stopped to think that the album’s title might be hidden within:

After a long time of deep soul searching and intense wrecking of the psyches, the new album is finally done. Soon you will meet this colossus that will pulverize your being. Welcome to the other side on March 27.

But then came an email from stealthy MetalSucks informant Ashley Lee linking to a page in Nuclear Blast’s German webstore showing an album by the name “Koloss” — “Colossus” in German – set for release on March 23rd (releasing an album on Friday in Europe and the following Tuesday in the U.S. is still par for the course these days despite many record labels’ willful ignorance of the existence of the Internet). Here’s the English translation of the text on the NB Germany page:

Exclusively at NUCLEAR BLAST mailorder! The limited edition ”colossus” digipakincluding bonus DVD MESHUGGAH plus the magic cube! Limited to 500 bundles!

1/5/12 8:40AM

Not that I'm a huge fan or anything, but given this album is supposed to be a departure from their proto-djent sound, and more thrash oriented, I'm more curious about this album than I typically would be.

March 27th. More to add in due time.

Spawn of Possession - Incurso (2012)

2012-01-17T16:13:00.000-06:00

1/17/12 4:10PM

New song "Where Angels Go Demons Follow"

link

SPAWN OF POSSESSION - Where Angels Go Demons Follow by RelapseRecords

yah. Me likey.

1/9/12 8:42AM

Pre-order is up on their bandcamp page. Sucker drops on March 13th, 2012.

1. Abodement
2. Where Angels Go Demons Follow
3. Bodiless Sleeper
4. The Evangelist
5. Servitude of Souls
6. Deus Avertat
7. Spiritual Deception
8. No Light Spared
9. Apparition

12/2/11 4:17PM

b-mouth

Swedish tech-death assassins SPAWN OF POSSESSION have completed work on their third full-length album, "Incurso", for a spring release via Relapse Records. The CD, which will contain nine tracks plus an instrumental intro, was recorded at Pama Studios in Kristianopel, Sweden with engineer Magnus "Mankan" Sedenberg.

According to a press release, "devastating riffs, jaw-dropping time-signatures and improbably complex songwriting coalesce to create an opus of next-level death metal on 'Incurso', which the band promises to be their most supreme work to date, and more devastating than ever."

yee-ah boi!

The Mars Volta - Noctourniquet (2012)

2012-01-17T14:05:00.002-06:00

1/17/12 2:05PM

Track List/cover art and link with more info here

1 The Whip Hand
2. Aegis
3. Dyslexicon
4. Empty Vessels Make the Loudest Sound
5. The Malkin Jewel
6. Lapochka
7. In Absentia
8. Imago
9. Molochwalker
10. Trinkets Pale of Moon
11. Vedamalady
12. Noctourniquet
13. Zed and Two Naughts

"While Noctourniquet was, in typical Mars Volta fashion, written by Cedric Bixler-Zavala and Omar Rodriguez-Lopez and produced by Rodriguez-Lopez, the 13-track album explores musical territories previously uncharted in the duo's 20 or so years of creating music together. The spectrum of musical and emotional textures conceived and created by Rodriguez-Lopez ranges from the opening bombast of "The Whip Hand" to the menacing crawl of "The Malkin Jewel" punctuated throughout by hypnotic melodies and borderline electro-ambient washes, most notably in the epic "In Absentia." The bold diversity of the new material combined with Rodriguez-Lopez's most confident and refined performances to date make Noctourniquet an early contender for this year's most challenging and rewarding listen."

1/12/12 6:15PM

link

album title "Noctourniquet"

1/9/12 1:00AM
This may be the cover art by Sonny Kay, but the source doesn't really hold a ton of confidence.

1/7/12 4:08PM

Rock Zone twitter post

In Absentia, nuevo disco de The Mars Volta para el 27 de marzo.

I just saw some info their new album comes out on March 27th. There is no confirmed Title although it may start with an "A." Despite how that twitter post reads, the title is not in fact "In Absentia" but 1 of the songs is titled.

link

There is a song on the new volta that goes by the name in absentia but it is not the record title…I am afraid that is not the title of latest volta record. we will announce it soon. it really is just around the corner.

I guess it (or another track, "Zed and Two Naughts" perhaps) is going to be included on the soundtrack to the new video game MLB12 though.

some of the songs people are speculating:

Aegis
The Malking Jewel
Molochwalk
The Whip Hand
Zed And Two Naughts
In Absentia
Trinkets Pale Of Moon
Mountains of Avarice (or something similar)
Noctourniquet
Dyslexicon
Lurking About In A Cold Sweat (this may be an older title for In Absentia, not sure)

What happened with their record label situation, etc I haven't read about yet, but there was/is a facebook campaign to let them release this album, an album that has been done and ready to be released for awhile, but did not come out in 2011 due to label issues.

Brooke Waggoner with Hammock

2012-01-17T08:31:00.000-06:00

Parkers Chapel (featuring Brooke Waggoner) Single by Marc Byrd of Hammock and Brooke Waggoner

link

* We've sung the praises of ambient post-rockers Hammock before — as when we mentioned the recent and ultra-noteworthy Asleep in the Downlights, for instance. Via their Bandcamp page, Hammock is now offering a single called "Parkers Chapel" that features vocals from local songstress Brooke Waggoner and instrumentation from Hammock's Marc Byrd. Byrd notes that the lyrics were related to a deeply personal matter, saying, "When I told her the story behind it she approached the music reverently and something very special appeared." Stream "Parkers Chapel" below, or purchase it for a mere $1.25 at Hammock's Bandcamp.

I have a friend who loves Hammock, and I know some others who also are very big fans. Myself? not that I hate them, but haven't really found them amazing. But Brooke Waggoner of course I think is brilliant at times.

So this is an interesting pairing.

I don't believe this is what Brooke's been working on of late, as Timbre posted the other day, playing some Harp with her, on presumably, her own, upcoming new music/record etc. But in the mean time, this will have to tide myself and others over.

Ramona Falls - TBA (2012)

2012-01-17T01:31:00.000-06:00

Facebook link

Big shout-out of Love and Gratitude to Mr. Tony Lash for mixing our new album. http://www.tonylash.com/ Wow: work-ethic + passion, a total Pro. ♥ B of ®ƒ

This is just an early announcement, as that post on Facebook Brent made confirms their new album is coming. In due time, likely in another entry, I'll elaborate about Ramona, but to say I'm excited to hear another album from them would be accurate.

In the mean time, check out that new tune in that live video.

There's also a chance for another Menomena album this year (sans Brent obviously).

Forest Park - Forest Park [EP] (2012)

2012-01-16T08:34:00.002-06:00

1/16/12 8:34AM

Edit: the WHOLE EP is there to stream. It should be available to download soon as well.

Awesome EP. The drumwork and the trumpet among other things really standout on that last track "Landscapes."

These guys are without question one of my favorite new discoveries for 2012 (maybe along with Northern Abbey). Granted, it's only 15 days into the year, but I'd be surprised if this doesn't end up on the 2012 Album Index.

Terrific EP. Maybe more material will come by the end of the year as well.

1. Golden 10:11
2. The Sun 06:06
3. Landscapes 08:13

&amp;lt;a href="http://forestpark.bandcamp.com/album/forest-park-ep"&amp;gt;Forest Park EP by Forest Park&amp;lt;/a&amp;gt;

1/13/12 2:13AM
um, wow. You know, when you hear a band you don't expect to be anything but derivative, and they are not? I just streamed this song from this project called Forest Park and totally love it! This is how Post-Rock should sound, or at least how the traditional "Post-Rock" sound works and doesn't get boring to me.

How did I hear about this? The Portland, OR band Typhoon posted a preview video to this project's new upcoming EP on their page. I think some of the members of Typhoon are involved with Forest Park.

Anyway, call me their newest fan. Really great stuff. Love the female vocal textures and trumpet especially.

Northern Abbey - Northern Abbey [EP] (2012]

2012-01-14T09:33:00.001-06:00

&amp;lt;a href="http://northernabbey.bandcamp.com/album/northern-abbey"&amp;gt;Northern Abbey by Northern Abbey&amp;lt;/a&amp;gt;

1 The Catacombs 5:29
2 Wayward Village 2:29
3 Paintings 3:29

Jessy Ribordy was passing this project along on facebook yesterday as it was just released. This 3-track debut EP from Nothern Abbey.

Wow, The River Empires much? regardless of how similar, this is SUBLIME. Damn.

Jellyfish - Bellybutton Spiltmilk 12" Vinyl (2012)

2012-01-13T17:03:00.001-06:00

1/13/12 5:02PM
They arrived at my post-office today. Absolutely lovely, not much more to say, other than I need to get around to buying a Turntable even more, to actually listen to them now.

11/30/11 1:11AM
The typical no time to go in-depth about how I love this band's 2 records, blah blah.

They're awesome, and I've been hoping to find (still am I suppose) copies of both of them on Vinyl this year. And I did find some on discogs.com this weekend and nearly ordered a copy of Bellybutton, but failed to "Checkout." The price is cheaper for this newly released 12".

I saved a bit in shipping I believe by ordering both as well.

Maybe 2012 will be a big year for Jellyfish? a new biography is coming, and some talk about a Roger Manning + Jason Falkner and perhaps also Andy Sturmer collaboration as well.

http://omnivorerecordings.com/artists/jellyfish

JELLYFISH

Bellybutton & Spilt Milk

Available January 10, 2012 where fine records are sold!

As nature intended—as 12″ LPs with the first 1,500 copies pressed on 180 gram colored vinyl!
Cut from the original analog masters by John Golden at Golden Mastering.

Early ’90s power pop at its finest—commercially available for the first time on vinyl in the U.S.! After the demise of Andy Sturmer and Roger Manning’s Beatnik Beatch, the two recruited Roger’s brother Chris and former Three O’Clock guitarist Jason Falkner to create Jellyfish. While Jason and Chris left after the first album and tour—the follow-up, Spilt Milk, was created by Andy and Roger with help from Jon Brion (Aimee Mann, Kanye West, Fiona Apple, Spoon), Lyle Workman (Todd Rundgren, Bourgeois Tagg, Beck), and T-Bone Wolk (Hall & Oates).

Even though the group lasted for only two albums and four years, their influence on power pop bands since has been as profound as the bands that Jellyfish were influenced by: Cheap Trick, Big Star, Badfinger, Raspberries, Brian Wilson, and more—all part of the power pop tradition being handed down one generation at a time.

Omnivore Recordings’ release of the two Jellyfish albums on LP marks the first time either have been commercially available on vinyl in the U.S. Bellybuttonwas only released on vinyl as a promotional item in 1990—its only official release at the time was on CD. The first 1,500 copies of the Omnivore release carefully replicates the original tri-fold gatefold packaging and is pressed on translucent blue vinyl. Spilt Milk has a similar story. It was only released on vinyl in the U.K. The U.S. release was, again, only on CD. This time around Omnivore is pressing the first 1,500 copies on translucent green vinyl.

Click on the image to download your copy and have fun coloring!

Now we know that late January is still a ways away and you’ll probably need something to do to keep you busy while you’re waiting for these pretty pieces of vinyl to be fully cooked. So we dug deep into our archives and found this illustration that was originally used for a coloring contest to promote the release of Bellybutton. We thought you might like to spend a little time coloring in Jellyfish (or maybe your kids would). If you come up with something of which you are particularly proud, go ahead and send it to us and we’ll post the ones we like.

Send to:
I Colored A Jellyfish!
Omnivore Recordings7958 Beverly Boulevard
Los Angeles, CA 90048

Here’s a few of the masterpieces we’ve received thus far—keep coloring and keep sending them to us! You can click on your fav to see it larger.

2011 Album Index on Rateyourmusic.com

2012-01-13T00:33:00.000-06:00

1950: 20-11 Win-Loss Record.

the 2011 All Media Reviews Album Index has been transcribed (and extensively coded) to my rateyourmusic page

http://rateyourmusic.com/list/SoundscapeMN/2011_album_index

as it says there, the Turkey/Review Blog should be included/added in here and then there soon enough. Having that whole thing finally done, and a 3-day weekend (not to mention the next week after next off too) should allow myself enough time to finally do it (unless my procrastination habits kick-in horribly).

Mew - TBA (2012)

2012-01-12T08:29:00.000-06:00

MewX Fan Group Post on FB

"Silas, Jonas and I have just commenced writing and recording of the new Mew record." - Bo Madsen

Fuck Yeah, new Mew coming!

Gotye - State of the Art (Video)

2012-01-11T19:01:00.000-06:00

pretty slickly animated video. This song is great, and hopefully the lemmings finally catching on to Gotye, who I have been into since August by the way, will recognize songs like this represent his style of music and art a lot better than "Somebody That I Used to Know" (or some lame cover a band uses to get attention they don't really deserve)

Flying Colors - TBA (The Storm?) (the Morse's, Portnoy)

2012-01-10T20:50:00.000-06:00

1/10/12 8:49PM

Mike just posted this on twitter a bit ago

• For all those who have been asking: Flying Colors info is coming TOMORROW!! Stay tuned... #MPin2012

maybe a new song or some samples will be included in this announcement coming tomorrow. Either way, it'll be nice to finally get more details about it.

11/9/11 12:17AM

So I was quoted by Portnoy himself on his forum earlier

angra1

I wonder if naming the band Morse Code would be too easy/obvious?

We kicked that name around for a minute and Steve told us he tried to use that name years ago and couldn't because somebody already used or trademarked it...

I can confirm (as Brauer already spilled the beans) that the band name is indeed Flying Colors...

More info coming very soon!
MP

Flying Colors? weird, my cousin's violin/harpsichord/+other instruments baroque project has a similar name in "Flying Forms."

I guess I'll have to mention the similarity to him, even though he nor his wife have ever heard any music from Mike or anyone else involved with this project.

At any case, it's good to finally start to get more pieces to this puzzle after nearly a year.
This MMPLM aka Flying Colors project's 1st album is due in March from what Mike posted a few days ago. And just this evening he posted on twitter:

MP listening to the playback of The Storm by Portnoy, Morse, Morse, LaRue & MacPherson - Electric Ladyland Studios NYC.

So maybe a song is titled "The Storm" or the album is? one or the other (or both?)

I should add a lot more in this blog as the information continues. All I really need to know is a couple of comparisons (made by Portnoy mind you) this project received earlier this year were U2 and especially Jellyfish and Kevin Gilbert in style.

Nuff said for now.

Tokyo Jihen RIP

2012-01-10T20:37:00.003-06:00

link

the final tour.

january 13 to january 23 (ticket sale)

february 14, 15, 21, 22, 28 and 29 (shows)

fuck :(. I suppose them being in Japan, seeing them live was unlikely. There of course is Shiina Ringo's solo career still. But another talented band I get into, who will be no more soon.

At least the Color Bars Mini-Album and the compilation will be coming out shortly to enjoy.

The Dear Hunter @ COACHELLA 2012

2012-01-09T19:06:00.000-06:00

Not that it's some enormous accomplishment, even say a Talk Show appearance like David Letterman or Jay Leno would be. But it does say something that they are playing a festival this big and visible.

Too bad my Lifetime Membership won't get me in for free, lol.. Gotye's there Godspeed You Black Emperor as well. The rest of the names aren't doing a lot for me from trying to read so many of them. But if this sucker is WEBCAST, I definitely will try and catch Gotye and TDH of course.

How many new fans will they make? how many did dredg or Fair to Midland make?

The Royal Veil - The Royal Veil [2012 EP]

2012-01-09T17:25:00.004-06:00

&amp;amp;amp;lt;p&amp;amp;amp;gt;&amp;amp;amp;amp;amp;amp;amp;lt;p&amp;amp;amp;amp;amp;amp;amp;gt;&amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;lt;p&amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;gt;&amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;lt;p&amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;gt;&amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;lt;a href="http://theroyalveil.bandcamp.com/album/the-royal-veil"&amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;gt;The Royal Veil by The Royal Veil&amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;lt;/a&amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;gt;&amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;lt;/p&amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;gt;&amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;lt;/p&amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;gt;&amp;amp;amp;amp;amp;amp;amp;lt;/p&amp;amp;amp;amp;amp;amp;amp;gt;&amp;amp;amp;lt;/p&amp;amp;amp;gt;

1 False Kings 5:30
2 Why? 5:23
3 Spiraling Lights 5:13
4 Trip* 12:14

Wow, some of this is totally badass. Very riffy, intricate, and not boring or repetitive. But also dark, textured, trippy and sludgey at times.

I've known Steve Bergquist, The Royal Veil's drummer, for a few years now from seeing him at shows. Their bassist Andy Klockow I first met when he played with SOAP to perform the entire Animals record from Pink Floyd live.

I got to see them a few times last year, including at the "Prog Gasm" at the 400 Bar last Spring with some other talented up-and-coming progressive rock bands in Minnesota (Brice Plays Drums namely), and certainly was optimistic about what and when they may release their 1st music, officially anyway.

So, I just purchased and listened to this 4 Track Self-Titled debut EP of theirs. And even just the 1st time hearing it, via my PC here at home, I'm already more impressed than I might have expected.

Comparisons can be made to Pink Floyd and especially The Mars Volta. But also groups like Mastodon or Tool.

I've already heard enough to know I'm going to be playing this EP of theirs a lot this year. I knew they were good, but they just hadn't released anything. Now that they have, they probably go with The Book of Right On, Between Two Skies, Lehto & Wright, Greg Herriges and Brice Plays Drums among my favorite acts, progressive or otherwise in Minnesota.

Hopefully more people will catch on in 2012 as well with this EP and seeing them live.

The Royal Veil's facebook

At the Drive-In to Reunite?

2012-01-09T14:08:00.005-06:00

altpress posting. You may have to REFRESH it once or twice to get it to load

Altpress.com can confirm that seminal post-hardcore outfit At The Drive-In will be reuniting after eleven years of dormancy. The band has launched a new website here as well as a twitter account, which is here.

The group broke up in 2001, a year after the release of Relationship Of Command. Members went on the form The Mars Volta and Sparta. AP will keep you updated as the band's plans become known.

I am torn about this, given I've always liked The Volta more..frankly a fair amount more. But, The Volta right now, coming off Octahedron, are sort of luke warm for me, so to get Cedric and Omar doing something different than The Volta, and not Omar's solo or side projects, might hold more optimism.

Still, I'm not looking for a it to be more punk. But if it resembles Relationship in Command, or The Stilleto Formal (who were often compared to AtDI, but I always compare them to The Volta) or even prog-punkers Gospel, I'll definitely want to check it out.

edit:

another story on here on Rolling Stone's website

Pain of Salvation announce new lineup

2012-01-09T00:43:00.001-06:00

For what learning this is worth

Gustaf Hielm - Bass
Daniel Karlsson - Keys
Ragnar Zolberg - Guitar, Vocals

http://www.roadrunnerrecords.com/blabbermouth.net/news.aspx?mode=Article&newsitemID=167597

Swedish progressive rockers PAIN OF SALVATION have announced the addition of keyboardist Daniel "D2" Karlsson to the group's ranks. The band has also confirmed that Gustaf Hielm (ex-MESHUGGAH) will be the bass player for its February/March 2012 European tour.

Gustaf previously played with PAIN OF SALVATION back in 1994, years before he became involved with CHARTA 77 and MESHUGGAH.

Commented PAIN OF SALVATION mainman Daniel Gildenlöw: "It feels great to have Gustaf on board for the tour. He is truly one of the best bass players I have ever seen, and I can't wait to hear him take on the songs."

Karlsson previously played keyboards for PAIN OF SALVATION in India and handled the bass for the band on tour in South America and in Europe. In addition, he did the lights for PAIN OF SALVATION in Skellefteå.

Stated Gildenlöw: "Through the years we have always had problems finding people who can master ONE instrument well enough to play our songs the way they should be played, so needless to say [Karlsson] has impressed us by playing both the bass and the keyboard with total conviction. Asking him to join the band was a natural step. Also, band meetings were getting boring with only me and Léo there."

Added Karlsson: "To be a part of this band is a real honor. I'm very grateful to have been around PAIN OF SALVATION for quite some time, both as a technician and a musician and a fan of course, and suddenly I'm being a part of them for real. It pays off to work your way up.

"My intentions is not be the 'new' Fredrik, because there's only one. And a damn good one! But I'll do my best to carry the spirit on and bring a new chapter to the history of PAIN OF SALVATION. I'm looking forward to be a part of the future of the best band in the world."

PAIN OF SALVATION's new album, "Road Salt II" was released on September 26 in Europe and was made available on October 11 in North America via InsideOut Music.

http://www.painofsalvation.com/2011/presenting-the-guitarist/

We are proud to present the last piece of the puzzle for the upcoming tour line-up – the guitar player.

First, a little background on the auditions. So, we had applications coming in from the whole world (including a few countries we had barely heard of) and it was a pretty massive task to go through them all and make our choices. From close to a hundred applicants we harshly narrowed it down to five guitar players being invited to our rehearsing room for auditions. One from Sweden, one from the UK, one from Iceland, one from Germany and one from France. These were the top-of-the-crop, and it’s quite telling that they were all lead singers in their respective past or present bands. It was hard to choose, especially between the top two guys. However, when the dust settled, it was to Iceland that we turned, and the magical Ragnar Zolberg. So, without further ado, here he is:

Holy ravens! what the f**k just happened!?
My gratitude and excitement for the upcoming tour is far beyond words and I feel unbelievably privileged to be sharing the stage with one of my favorite bands.

I’ve been going through the songs during the whole christmas that I’m spending here in London, but the only guitar I had was my nephew’s guitar…..he’s 2 years old!
Let’s just say that it’s a very small one but it sort of keeps in tune so it’s not all bad.

I can’t wait to start rocking out to the music that we’ve all come to love so dearly and I will devote my whole heart to it!

Peace
Ragnar Zolberg

We are certain that Ragnar will have everything that’s needed to kick your asses on the upcoming tour, and our first four days of rehearsals only strengthened that feeling. He is an excellent guitar player and an outstanding vocalist, and he knows how to make use of those abilities while rocking out on stage. On top of that he is an awesome person. What’s not to like?

Pain of Salvation is Daniel, always has been for the most part anyway. I suppose adding an original member in Hielm, might hold some intrigue. But for myself and the American audience, really, the only thing to think about is the next studio record. Unless they do find a way to get on a tour of the States soon, which the odds might be better, I tour the States with my own band (which doesn't presently exist, lol).

Jessy Ribordy Chat

2012-01-07T16:49:00.000-06:00

I just noticed this over on The Dear Hunter fans forum, a live chat I guess he did the other night.

Not a ton of details, but he's shooting for another album (Mars/Brighton II) for The River Empires this year. And he's writing the next Falling Up album.Apparently a new forum may come soon for fans of Falling Up and/or The River Empiers.

10:00 basic band info
10:03 music video in the works
10:05 Remix EP (like the quadra remix!!!) out in a month or so hopefully!
10:07 first show coming up soon (saturday?) portland, or
10:08 working on new music this year!
10:10 Q&A time
10:11 will play old FU songs in their shows
10:12 concerning YSDC: he's a fiction/sci-fi writer, so Fangs was natural. YSDC is fiction that shows emotion. "narrative is about hope in the most dire times."
10:15 story preview? more tweets incoming. fangs + river empires + cellar door info @JessyCalvin
10:16 second RE album? (duh.) shooting for release this year.
10:17 what does MSCRON stand for? mascaron (wiki it!) kid goes to hospital, finds out he has some sort of cancer, it's too late. "It's that moment when you find out you're not invincible." (my question, suckas)

10:21 fangs 2? definitely. wants to finish the story, of course. no eta.
10:23 gloomcatcher on spotify/itunes? maybe. semirant about pirating vs. spotify and how it benefits the artist. (possibly vs. probably not)
10:25 collab with owl city? (wtf.) tactfully denied.
10:26 uk dates? open to the idea.
10:27 hobbies? writing and music, hiking and camping. not a gamer. not big into sports. "I'm kinda a workoholic."
10:30 diamnds? just because. likes how the word looks without vowels. hahaha
10:32 talking about his writing, concept of finding the light in a dark situation.
10:34 what is Vates? it is a thing he made up, apparently. he won't explain more because it is integral to several stories. (!!!!!!!)
10:36 what inspired you to start the band? following his heart. he considers it his job. "doesn't feel like doing anything else."
10:37 story as a video game? he had an idea, but since he's not into gaming...
10:39 message at the end of darkspeed? story-related. he's planting easter eggs.
10:40 are you still a christian? gets asked that a lot. "It's not about what I say...(compares to C.S. Lewis, sci-fi/fiction with possible hints of metaphor)...i would love for people to maybe look at our situation...as waiting to see the whole thing."
10:44 something about demon hunter??? no idea, didn't listen.
10:45 was captiva a proto-fangs? (my q!) YES! FREAKING CALLED IT.
10:48 Circadian meaning? basically a "hold on, don't freak out yet." moment, "hear us out", so to speak. More about the music industry, and how it works/their place in it. "I can write a song, and it can kinda defend ourselves."
10:54 acoustic album? not likely.
10:54 why do the song titles make no sense? (lol'd) he likes watching trailers, sometimes more than the actual movies. to him a song title is like a trailer.

10:57 loses his place in the questions, hahaha.
10:58 pick one song from each album to keep. exit lights: islander. captiva: dark side of indoor track meets. fangs!: --QUESTION ABANDONED--
11:00 take lessons? not so much. watches and learns.
11:00 new merch? new t-shirts.
11:01 new fan-submission place? website in the works! new something sometime.
11:02 song titles from captiva? picked one: dark side of indoor track meets was written at an indoor track meet.
11:07 have you matured in your faith since starting FU? thinks yes. doesn't like the word 'maturing' necessarily. more like growing in a relationship.
11:10 meaning of The Dark Side of Indoor Track Meets? you can try everything, until you reach the point that grace has to step in.
11:11 gypsy in TRE? DENIED.
11:11 what in your musical career would you do differently? Not be afraid to do his own thing. (makes sense, given his troubles with popular perception and industry/labels)
11:14 uke on any sort of album? yes. his dad is hawaiian(!)
11:15 waffles or pancakes? NEITHER.
11:15 unofficial forum? greenlight. (I'll be making that shortly.)
--getting more sporadic. will update if he evens out.--
--confession: I am just being lazy. this liveblog stuff is tedious.--

11:23 josh shroy? still around, doing more mixing.
11:26 do you worry that your stories will tangle up/leave loose ends? sometimes. but optimistic.
11:27 inspiration behind Oceans? a basic love song. written before fangs! (!)
11:28 to collab with? paul mccartney
11:29 favorite topic to write about? sci-fi. idea of characters knowing something beforehand, allowing for very deliberate (and possibly confusing) actions.
11:33 favorite song to record? MSCRON. recorded in two takes with a "secret weapon pedal" for some swoopy synthy guitars.
11:36 influences: henry mancini. 80s & 90s pop. Ben Folds - Rock in the Suburbs. Incubus - Make Yourself.
11:39 closing comments. thanks for fannage. j/k.
11:39 thoughts on kickstarter? likes it.
11:40 watched lost? YES. rant time: lost covered so many subjects (sci-fi wise: time travel, mythology, aliens, science, ghosts, etc.) so new things that use the same ideas get compared to lost. (does sound annoying.)
11:43 favorite shows: firefly, mad men, dr. who, lost
11:43 signing off again. enjoyed teh chat. will set up again. "You guys are the best. You guys are awesome. I love you."
11:45 "Okay....have to find out how to get this thing off..." cut to black.

Gotye Spring 2012 North American Tour

2012-01-07T08:38:00.013-06:00

more dates likely to follow if you notice the gap in the dates in February.

Gotye -- 2012 North American Tour Dates
February 2 Los Angeles, CA @ El Rey
February 6 New York, NY @ Bowery Ballroom
March 22 Washington, DC @ 9:30 Club
March 23 Philadelphia, PA @ TLA
March 27 New York, NY @ Webster Hall
March 29 Boston, MA @ Paradise
March 30 Montreal, QB @ Corona Theatre
March 31 Toronto, ON @ Phoenix Concert Theatre
April 3 Chicago, IL @ Park West
April 4 Minneapolis, MN @ Varsity Theatre
April 6 Denver, CO @ Bluebird Theatre
April 8 Vancouver, BC @ Vogue Theatre
April 10 Seattle @ Neptune
April 11 Portland, OR @ (venue TBA)
April 12 San Francisco, CA @ The Independent

fuck yeah, April 4th, Varsity. But of course, 89.3 The Hipster and 1st Crapenue will probably put their foot into this show, but so be it. Maybe a 2012 North American tour for Kimbra will follow and she'll be at The Varsity as well.

edit: fucker is SOLD OUT already, as I am noticing they may have gone on sale as early as December 7th. I don't care, I will go down to the show and do everything I can to find my way in. Perhaps tickets like that will end up on tickethub.com

edit 2: yeah, except some douche here wants $237 and $239 PER TICKET for them, lol.

edit 3: and some idiot is also selling them on Stubhub.com between $98 and $250.

LOL, it's pretty obvious this is 1 or 2 buffoons who realized "Somebody That I Used to Know" is getting played on 89.3 The Hipster and online everywhere, and bought between 20-50 tickets for this show to make a sizable profit. I anticipate seeing said SCALPER and offering him what I typically do outside shows when I don't have a ticket. Gotye is big, but not $98 or $250 BIG, LOL. Why the FUCK is the show being held at The Varsity Theater and Not 1st Crapenue in the 1st Place???

I guess if I end up getting into the show, at my only acceptable price or less, it won't matter. But this is definitely case of the pathetic process of Ticket Scalping. Why I do I suspect said douche ended up buying those 50 or more tickets right when they went on sale. And I'm sure I'm hardly the 1st person interested in seeing this show that couldn't buy a ticket due to this piece-of-shit-who-has-no-interest-in-the-show-to-begin-with, bogarting the tickets for his own greedy interests.

There is 89.3 The Hipster's giveaways (and maybe Radio K if they might get their head out of their ass and start playing Gotye), along with the obvious going-down-to-the-show and looking for someone with extras.

But this does kind of piss me off, a) I didn't realize this show was coming here, b) And now that I do, it already sold out. And there's a chance it may get moved to 1st Crapenue, although at least if it did, I'd be able to purchase a ticket now, as much as it pains me to be feeding 1st Crapenue, I want to see this guy live.

edit 4: and another explanation as to how/why this is already sold out: 1st Crapenue listed it and all the lemming Hipsters flocked.

edit 5: I'm not actually sure when tickets went on sale, as one or two things google pulled up suggested they may not have been available until this past week (January 4th). But in looking at First Ave's schedule, they have some group called Lucero scheduled on April 4th for the Mainroom at 8PM. Perhaps Gotye could get rescheduled and play earlier like an all-ages show at 5 or even 6PM. Otherwise, unless the venue is under the First-Ave umbrella (i.e. not places like The Pantages Theater), I don't know where it could get moved to. But it's pathetic how I and I am guessing many others will not have a ticket come April 4th if it doesn't get moved, largely due to these greedy bastards trying to make their living, Scalping tickets for this and the dozens of other shows I'm sure they do this with.

edit 6:

On sale: Saturday, December 10 at 12:00pm CST

link

Gotye’s intricate set was orchestrated to a tee. Acclaimed animation teams faultlessly backed his music and lyrics with jaw dropping, dizzying, at times creepy, but always emotive visuals. Brendan Cook’s dystopic endowment for opener and lead single Eyes Wide Open was the perfect spearhead for the visual banquet. The audience sang long proudly as Gotye’s musical phalanx materialised our aural memory of the track. Award winning illustrator, animator and director, Lucinda Schreiber then held the audience in a jubilant daze with her quirky morphing bear-man in second trackSmoke and Mirrors.

House of Fools - Versus the Beast (2012) Early Review

2012-01-06T13:56:00.004-06:00

1 Oblivion 4:56
2 Daylight 3:44
3 Another Place 3:53
4 Time 5:06
5 Dogfight 5:31
6 Love 3:59
7 Pickle 4:19
8 Happy Now 4:03
9 Pick or Choose 4:33
10 Cover Me 4:55
11 Need to Be Free 4:59
12 Johnny Utah 6:57
13 When the Lights Go Out 12:09

It's been nearly 5 long years since House of Fools released their epic masterpiece of a debut record Live and Learn, an album which disgustingly, very few people have still talked about or even are aware of. But of course as long as it's available to hear, it's never too late.

This long awaited and largely labored-over record finally dropped within the last week and as one who has looked forward to their next work, it did not disappoint.

Pretty much every track has something enjoyable. Specifically, the guitar solos, including some of House of Fools trademark southern-bluesy double (or triple even) solos, are perfectly placed and fit each song's mood. There's a bunch of them.

Song-wise, "Time" "Dogfight" and especially "Need to Be Free" stand out the most. Although, I'll admit the demo of "Need to Be Free" on Fresh Hot Shit, I may still prefer a little due to my love of fat, bubbly keys. But they added an interesting element by using a lot of vocal distortion. Some of the other songs that continue to grow for me include "Daylight," "Johnny Utah," "Another Place," "Oblivion," and "Pick or Choose."

The Pink Floyd influence is definitely here on this record in different spots, but one specifically being how they use samples and seguing sections at the end of songs, which maybe stands out a little more than on Live and Learn.

This album lyrically is about frustration, sarcasm and really a group of people who don't deserve the unlucky fate they describe at times. House of Fools got screwed over by their record company, Drive-Thru Records as evidenced in this article. They treated them like shit, as the often fickle two-faced record label-environment can be. They ended up suing Drive-Thru Records, which probably has as much to do with why they are still a band now, and how this album actually got released, as anything.

I imagine a lot of that story/background also will be told in the upcoming Kickstarter-Campaign supported documentary film When the Lights Go Out, which I personally did contribute to and look forward to finally seeing in a few months.

I keep enjoying more about this record, although I can't deny, I'm skeptical if it'll match Live and Learn's depth, consistency or longevity. But for a sophomore release, this is hardly a dud. And in some ways given it does differ enough from Live and Learn, it shows they are not interested in making Live and Learn Part 2, i.e. progressing/being-progressive in some ways.

What I can't help but still wonder is, the band wrote some 70 or more songs since Live and Learn. Some of which were on Fresh Hot Shit and a few others circulated in places online. Given that many songs were written, maybe some of those could get released somewhat soon if they are finished, mixed, mastered etc and the band are happy with them. Maybe even just on bandcamp like Kaddisfly and Bend Sinister have done recently. But I also ask myself whether this record does well or not, what are the odds the band is still a band even say 1 year from now. Maybe this album will surprisingly do enough for that to happen. Of course only *time* will tell. But for now, it's my early leader for 2012 Albums.

it's now available for $8 on cdbaby

Team Me - Show Me (official video)

2012-01-05T05:19:00.000-06:00

for the Mew fans especially who haven't checked them out, this song isn't a bad sample song. I have been enjoying To the Treetops a great deal over the last couple of months, I may think of it as one of the definitive records of 2011. It's rather addictive.

King's X Spring 2012 Tour Dates

2012-01-05T04:42:00.000-06:00

2012 TOUR DATES - more coming...
3-28-12 Dirty Dog Bar / Austin, TX
3-29-12 Warehouse Live Studio / Houston, TX
3-30-12 Trees / Dallas, TX
4-1-12 House of Rock / Corpus Christi, TX
4-3-12 The Rock / Tucson, AZ
4-5-12 Key Club / West Hollywood, CA
4-6-12 Brick by Brick / San Diego, CA
4-7-12 The Coach House / San Juan, CA
4-10-12 Don Quixote’s / Felton, CA
4-12-12 Cargo / Reno, NV
4-13-12 The Boardwalk / Orangevale, CA
4-14-12 Pound West Oakland / Oakland, CA
4-17-12 Hawthorne Theatre / Portland, OR
4-18-12 El Corazon / Seattle, WA
4-21-12 Herman’s Hideaway /Denver, CO

gawd I miss these guys. No Minnesota date there (or Upper Midwest), but it says more are coming. Although odds are if they come here again, it'll be at the Sauna that is Station 4, but I guess beggars can't be choosers.

Tokyo Jihen - Color Bars (2012 Mini-Album)

2012-01-04T11:53:00.001-06:00

1 椎名林檎 - 今夜はから騒ぎ
2 伊澤一葉 - 怪ホラーダスト
3 亀田誠治 - タイムカプセル
4 浮雲 - sa_i_ta
5 刄田綴色 - ほんとのところ

They have this new 5-track Mini-Album of sorts, I guess, expected on January 18th, 2012.

Here's a new video/song I'm presuming will be on it.

when more info comes across my radar, I'll post it.

facebook

Oedipus - Vicious Little Smile (2012)

2012-01-04T00:58:00.001-06:00

http://oedipusband.com/

The two press releases from their site (and mailing list) are below about this upcoming record.. It comes out digitally on january 24th in Poland, then March 13th in the States and other places. I'm not clear about if the March release will be digital or on CD or even Vinyl.

For those who've never checked this band out, they released a new EP in 2011 titled Holding Out for More which is pretty good, although more pure power-pop, unlike their more experimental/prog-rock influenced debut record from 2005 Humbility.

Happy New Year! We hope you all had a great holiday and are getting off to a great start in 2012. As we kick off what is going to be a great year, we are very pleased to announce that on March 13th, 2012 we will be releasing our first full length release since 2005's Humbility entitled Vicious Little Smile!
Stay tuned for more exciting news and updates coming soon including tour dates, new music videos, and exclusive sneak peeks of Vicious Little Smile, but in the meantime WATCH THE PROMO VIDEO for a preview of our next single "Kiss on the Fist":

We are very excited to bring you all a very special announcement to kick off 2012. Following the release of two new singles this January we will be dropping our brand new digital LP Vicious Little Smile on January 24th, 2012!

Starting January 10th, 2012 we will release our brand new single “Kiss on the Fist”, followed by another new single “Liar” on January 17th, 2012, before the digital release of Vicious LIttle Smile, our brand new, full length 9 song LP!

We hope you enjoy, and look forward to hearing from you in the new year! Stay tuned for more exciting news and updates coming soon, but in the meantime watch the promo video for a preview of our next single “Kiss on the Fist”:

House of Fools - Versus the Beast (2011/2012)

2012-01-03T15:30:00.000-06:00

1/3/12 3:30PM

forget iTunes, and pick it up either on mp3 or CD at CDBABY.com for only $8. I just ordere 2 copies. Very good album, 4-stars at least and a review hopefully will be coming by the end of the week.

12/31/11 8:01PM

I finally got to hear it, sounds pretty epic. Really happy to see "Need to Be Free" on there. I'll know more obviously on Monday morning when I check it out with headphones. Other than for the folks who picked up a copy last night at their cd release show, it goes on Sale on iTunes on Tuesday January 3rd.

Here's the track list.

1 Oblivion 4:56
2 Daylight 3:44
3 Another Place 3:53
4 Time 5:06
5 Dogfight 5:31
6 Love 3:59
7 Pickle 4:19
8 Happy Now 4:03
9 Pick or Choose 4:33
10 Cover Me 4:55
11 Need to Be Free 4:59
12 Johnny Utah 6:57
13 When the Lights Go Out 12:09

Video for "Time"

wow. Totally wow. For some reason, I don't remember being quite as impressed by this song earlier this year.

The new song Another Place is streamable here.

Video for "Dogfight"

12/12/11 10:35PM

There's the cover. This long awaited 2nd full-length album is being made available 1st at an album release show on December 30th in House of Fools hometown.

More stuff about a new video for the song "Time" and a (new off Versus the Beast?) song will be uploaded to stream on Wednesday on absolutepunk.net

here's what they've posted:

http://houseoffools.net/

House of Fools week

We have several exciting happenings this week. On Wednesday our friends over at Absolute Punk will be streaming an unreleased song from versus the beast, so make sure you head over there and check that out. That same day, we are the featured cover story in YES! Weekly, a Triad based entertainment magazine. It’s free and available in Greensboro, Winston-Salem, High Point and pretty much all other Triad retail locations. We will also be debuting the video for Time later in the week here on the site, so make sure that you keep checking back for that! More news to come…..

*
House of Fools versus the beast
The day that we (and hopefully you) have been patiently waiting on is finally almost here. After more than two years of writing and a year of recording and mixing, we are very excited to announce the release of House of Fools versus the beast.

Your first chance to pick up a copy will be at our cd release show on December 30th at Greene Street Club in Greensboro, NC. This is going to be a very special night, so start making plans to be there! versus the beast will be available for download via iTunes and other outlets following the release show, so if you can’t be at the show to get a physical copy, make sure you keep tuning in here for more updates on when and where you can download the album.

We are planning all sorts of song exclusives as well as a video release before the record comes out, so make sure you follow us on facebook and twitter for regular updates. Head over to Greene Street’s website to pre-order your tickets for the show! Updates will be a lot more frequent so stay tuned!

The Human Abstract RIP

2012-01-01T22:16:00.001-06:00

Not that I ever *loved* them, but I know a lot of people who did. Their one interesting album, the only one I own a copy of, Nocturnal, is the one thing I would say is worth remembering them for. Otherwise, they always seemed like a poor man's Protest the Hero. But then again, Protest the Hero isn't a band I'm all that crazy about anymore as well, but so be it. For the fans, I still think it's unfortunate.

2011 Album Index 10-1

2011-12-30T07:19:00.003-06:00

10. The Baltic Sea - Period Piece
(ambient progressive rock)
This album/band honestly came in at the 11th hour, as 3 weeks ago I'd never even heard of them. But a user on the dredg fans forum suggested them as their best discovery of 2011. I've listened to this album probably 6 or 7 times already and each time enjoyed it more. Other than about a 3 minute section of the last nearly 13 minute track "The All Consumers", this album is more or less flawless.

Their style is of the college-prog vein, using a lot of odd time signatures, textures and varying styles. Their drummer especially is notice-able throughout. Specifically on songs like "Foss" and "Heavy is the Coast." Extremely quick fills ala Neil Peart, Gavin Harrison., or others.

I guess if compared them to 1 band specifically, it might be the highly talented, yet still unknown Sound & Shape. Maybe their vocalist sounding rather similar is part of that. The moods and dynamics work incredibly on this album. Even many ambient or post-rock sections add to my enjoyment of it.

While I feel odd placing a record so new to me this high, I am pretty certain I'm going to love this album a lot in the coming years, it seems worth doing. And also their previous record Through Scenic Heights and Days Regrets which like this album, is also in its entirety, available to stream on their bandcamp page.

Maybe they could do a tour with Sound & Shape or another, seemingly-appealing band. I guess they're from Portland, ME, and not Spain, which I thought I'd originally read and posted recently in this blog. I'd certainly be up for seeing them play this stuff live. Maybe soon.

9. Three - The Ghost You Gave to Me
(heavy art/progressive rock)
The initial posting Joey Eppard of Three made, said he felt they made the best record of their career. And I had pretty high hopes for it, even before that message. But after reading that and hearing the 1st song/video "Numbers" I was starting to think it may be.

And I can't lie, this album did impress me a ton the 1st couple of times I heard it. Although since it hasn't been all that long that it came out, and partially due to a lack of time, I probably haven't listened to it as much as I initially listened to Wakepig or The End is Begun. At the same time, when I heard it, I couldn't find anything I didn't like. It's filled with catchy hooks (like "React," and "High Times" "Afterglows"and "Pretty" among them), technical sections, and even some music that without question is the heaviest the band has ever been (at least the guitar riffs on "Numbers" and "Sparrows" "It's Alive" specifically).

The biggest highlight, among many, is the epic track "Only Child." I love the gradual build and the way that song takes me on a journey. Each section really works, from the vocals and lyrics, to the changing dynamics that go back and forth. From some of the string arrangements to the subtle drums with brushes stand out. And the outro is just haunting with interplay between power chords and simple yet very effective piano texture.

I would say this album is at least on par composition wise with those last 2 proper full-lengths, and production-wise it's a step-up. And based on that, it may eventually become my favorite of theirs, even surpassing the incredible mostly live record Half Life. Time will of course tell, but for now, I am enjoying taking it in more each time.

8. Mercies - Three Thousand Days
(jangley power-pop/rock)
This is/was like Erick Serna's The Killing Floor, a project that came about after The Dear Hunter moved back home to Southern California, and touring members Josh Rheault, Sammy and Luke Dent, Nate Patterson and among others, the aforementioned Erick Serna. I guess Josh Rheault may be the biggest driving force behind this band, but it does seem largely like a collaborative effort.

When this album came out, I was definitely interested to hear it, but I had no expectation that it would be half as good as it is. This record is tremendous, from song to song. It's folk or jangle-ish power-pop of a sort. Each song really carries something great about it, so much so, picking one or two as the best is rather hard.

I do love dearly, the final track "Call or Write" and it's echoing chorus that stays with me

"We'll call we'll write, we'll call we'll write, we'll call we'll write, if you want us to.
We'll call we'll write. we'll call write, we'll stay the night, if you want us to"

I suppose lyrically some of the songs are about the typical relationships, and being that I began one not that long before this album came out, this record spoke to me even beyond a musical level.

Scanning the track list, I enjoy things about every song. The vocal harmonies, the piano, the acoustic guitar, the dreamy nature of a lot of it. I think this album is one of the most consistent, accessible, mature, less-is-more, memorable albums from this year, or even to come out in the last 5 or 10 years. I'm not sure if these guys have always been this good at songwriting, or if Casey Crescenzo and The Dear Hunter's influence rubbed off on them to make an album this good. Nate Patterson is involved, and given he also is/was a member of The Receiving of End of Sirens, however much involvement he had, wouldn't surprise me as that band was filled with talent, even beyond Casey.

I really hope this is just the beginning for them, and we'll see more music, more touring (they have done a little in the Northeast I recall reading about), and an increase of visibility, as like a lot of bands I tend to latch on to, they could reach a much wider audience if they were given the exposure. Will it happen? I guess I can't help but just ask the rhetorical, what has happened to so many others like them? They need to get the folks who represent Warpaint and Local Natives helping them out I guess, since on rateyourmusic.com they have the whole 2 ratings right now.

7. Battle Circus - Battle Circus
(modern/symphonic college progressive rock)
On the Ours fans forum killtheband.com, a friend of mine recommended this Australian band back in late 2008. She like myself, is a pretty big fan of Muse, which was the biggest thing I associated with them up until finally hearing this album. Given how much they reminded me of Muse, I wasn't exactly expecting this to be incredible or even that addictive. But it came out like Muse (in a good way), and a lot of others styles in a good.way.

They make a Wall-of-sound Cabaret style of progressive rock; at least which might be one way to describe them and this album. There's a lot of big, pounding guitar riffs, along with almost vintage piano. Their singer uses falsetto in a rather melodramatic or operatic way, much like Matt Bellamy or some others. A number of the tracks on this album start slowly, and crescendo into a lot of layers.

This album was one I enjoyed and was impressed with more than I expected, really from the point I 1st heard it back in June. While other albums didn't remain high, it did, and I suppose the biggest reason for that is it's consistency from song to song. There's not a song I ever skip, nor have I felt I wore it out. They have enough things going on in their music, from the pounding drums, to the dreamy lyrics, that I always felt it offered something with each listen.

The 14 minute "Much Like Mescaline" and it's multi-part composition, and the 9 minutes-plus "Flying Machine" are maybe still my go-to songs. The latter has this almost cinematic piano part towards the end, that while it is all in a major key, really hooks my ear every time I listen to it.

This record would be Battle Circus's last album sadly, as not that long after it was released, and moving from Australia to New Jersey, the band announced their breakup. The biggest reasons, I'm not sure, only that lack of interest, sales, and the move to America turned out to be more difficult than they anticipated. But for a Swan Song of sorts, this was a very big way to go out.

6. East of the Wall - The Apologist
(progressive/technical metalcore)
I became a fan of this band towards the end of 2008 with their 1st album Farmer's Almanac, which is an all-instrumental album. Then in 2010, their follow-up Ressentiment they added vocals, but at the same time it was all older material composed primarily under the Biclops name. But the biggest thing about that album from last year was how horrendous the cymbals clipped. I labored to listen to it maybe 3 times, and unfortunately could not bring myself to again.

And as a result, I really didn't expect a lot from this album. But as it turns out, I was extremely happy to be surprised almost beyond belief how good it turned out. There is next-to-no problems with the cymbals sounding like tambourines. And the flow and compositions are outstanding. This is one, extremely heavy, riffy, smash-your-face-in, balls-to-the-wall technical metalcore album.

The whole thing flows extremely well, with the vocals working wonderfully. Some clean with harmonies at times, and an extensive amount screaming that really fit. Punchy lead bass lines, jazzy poly-rhythms from the guitars and the drums really show off how much skill this group has.

As I wrote a few months ago on rateyourmusic.com, I think this may be the best Metal album I've heard since Burst's Lazarus Bird from 2008. It's really a statement record, and one where I sense they are now truly a "band" (and not a hybrid collaboration of the members other projects like The Postman Syndrome, Day Without Dawn and Biclops) and have found "their sound:" so to speak.

The Apologist is a record I put on and listen to, and afterwards I can't help but think to myself, "damn that was something." I'm really in awe of it, so much so, I probably look forward to playing it a fair amount more just to discover so many of the intricate sections even better. And also as I wrote on rateyourmusic.com earlier this Fall, it seems like one of the most overlooked metal albums of 2011. Perhaps more time and touring will help, as the show I finally got to see them this past Fall, was nearly as impressive.

5. Between the Buried and Me - The Parallax: Hypersleep Dialogues [Mini Album/EP]
(avant-garde technical/progressive metalcore)
This is the first part of a multi-part series this band are taking on. I was pretty let down by their last record, 2009's The Great Misdirect, but I'd say this is more than a return to form. Three tracks, all in the 8-11 minute range, really seem to work in a less-is-more way. Which for this band, and considering their last release, is pretty impressive.

It's almost a tease in a way, believe it or not, as they do bring-in a lot of sections that seem almost too short. Stylistically, it doesn't vary incredibly from their traditional sound, with the unorthodox shifts in dynamics and sections that pound heavily, into a silly or quiet part, and then back and forth again.

Do any of the 3 tracks stand out over the others? I guess I never found that to be the case, as I listened to this thing almost every time, all at once, and saw it as 1 30 minute or so piece. A bit like 2007's Colors I suppose.

4. The Dear Hunter - The Color Spectrum
(conceptual progressive rock)
Ever since hearing about this idea 3 or 4 years ago, it sounded extremely intriguing. Casey Crescenzo and The Dear Hunter were going to make a series of EPs based on all different colors. An ambitious idea, that he obviously thought about how to do it, a fair amount. And I sense has and will benefit him and the band long-term as songwriters. Casey wanted to do this, partially just as a way to challenge himself as a songwriter. And I think overall, the result has been a success.

It is 9 EPs of course, and all-together amounts to about 2 1/2 hours worth of music, and thus, it didn't become something I ended up listening to all-at-once extremely often. At the same time, each EP has songs that really stand out as being favorites, while others fit the sound (or color) of that EP. To make a list of specific favorites:

Indigo: What Time Taught Us, Mandala, Therma
Green: The Inheritance, The Canopy
Yellow: Misplaced Devotion, She's Always Singing
Blue: The Collapse of the Great Tide Cliffs, Trapdoor
Orange: Echo, But There's Wolves?, Stuck on a Wire
Violet: Mr.Mallum, Look Away
White: Lost But Not All Gone, Home
Black: Filth and Squalor, This Body
Red: I Couldn't Do it Alone

Indigo from the get go, was my favorite, and still is. Ironically, that is the one EP Casey and the band did for the most part all on their own, at home. I just love it when Casey uses an electronic element, at least on that EP, as it almost reminds me of some of how those Ms. Leading Demos sound. I think the track "Mandala" alone makes that EP tremendous. It has that gradual build I love, and a vocal melody+phrasing that is inspiring. I feel both sad and yet happy when I listen to it. It's one of the best songs of 2011 and certainly one of The Dear Hunter's best or one of my favorites at least.

But said favorite songs I posted above range from Post Rock (Blue) to Folk (Green) to electronic/industrial (Black), to very inspiring/uplifting lyrically (White), to majestic/cabaret (Violet), to poppy and almost Western (Yellow), to Blues Rock (Orange). I'd say the goal of exploring the emotional side of each color ended up working with the varied styles. But more importantly, the songs I highlighted above stand out due to how well written they are, within said style.

This project was a huge task that it seems Casey and the band managed to pull off. It very easily could be a key part in their history, as everything with the Acts seems to be of less significance for Casey now. But all for the better I would hope. This collection of EPs, while I'm not certain will go down historically as the most significant, influential idea, even this decade, I wouldn't be surprised will only grow more interest with time. Personally, perhaps as well, because I'd be lying if I claimed I loved every song on here. And it might have had a shot at taking the crown this year had I. But it still belongs this high due to far too much good music on it.

3. Arch/Matheos - Sympathetic Resonance
(modern/lyrical progressive metal)
I could not have been more excited, enticed, fanboy-ish, etc about this album. Or perhaps just the prospect of another album with Jim Matheos working with original lead singer of Fates Warning, John Arch. I adored Arch's 2003 2-song 27-minute EP A Twist of Fate . It's one of the greatest works in progressive metal, without a doubt. But it always left me and others with the huge desire/hope that John would do something again.

So, this is that something again, with his old Fates band mate Jim Matheos, and actually the rest of the current lineup of Fates Warning in Frank Aresti (guitar), Joey Vera (bass) and recently joined drummer Bobby Jarzombek.

This is more or less how good progressive metal, in the traditional sense, can get. The epic songs with frequent time changes, poly-rhythms, layers of vocals, etc. And where John and Jim standout at times, is the cohesiveness and flow. This record has that, but it also has so much going on, it offers a lot of new things to notice each time. And while I have enjoyed this a lot, I am still taking-it-in to the point of knowing what parts, melodies, etc really are to look forward to.

John's vocals are pretty crazy here. I know a lot of people don't care for them, or at least have had to have them grow on them at best. Me, of course, that's never been an issue. But I think John really experimented well with phrasing, rhyming and rhythm with regards to what is going on with the music. I think in some ways, that is the biggest different with this album, compared to his solo EP. And this was much more collaborative with Jim.

I enjoy every song on here pretty equally, it's not so easy to pinpoint so many things over others. The production is really exceptional. The drum work could not have been better, as much as I love Mark Zonder, Jarzombek is a technician-and-a-half. The ending of "Incense and Myrrh" with the gradual crescendo and sad, wailing from Arch and the guitar does stand out in a lot of respects. It kind of brings a tear to my eyes to be honest, sort of in a fuck you to all the haters, and THIS is what PROGRESSIVE METAL is about and JOHN ARCH is MY GUY! Also in a nostalgic way, as I felt somewhat the same seeing Fates Warning at ProgPowerUSA in 2009, feeling an identity with them, and all the years I have been a fan. Stuck with them, etc. It's amazing not only how older music can bring those memories and feelings back, but sometimes just hearing musicians again from that period can invoke those levels of joy, happiness and extreme sadness for longing for the past.

Also just with Arch, and that EP being so great, the doubt that anything more would ever come. This album was almost a disbelief in coming true, a little like the Soundscape album Grave New World in 2009. I had the mindset of thinking, "a new album from Jim Matheos with John Arch? really?, I don't believe it! I'll only believe it when I see it. "

And in the interview with Brian Slagel of Metal Blade Records about the album, it was confirmed there will be more. I'm kind of overjoyed and in Fates Warning fan-heaven of sorts. I guess that's why I owe it to myself, to keep going back to this album in the next few years. I suspect when that next work is made, I'll probably know this one even better.

2. Kimbra - Vows
(soulful, layered, retro, eclectic, vocal-driven pop)
Like many people outside of Australia and New Zealand presumably, I was first introduced to Kimbra from the Gotye song "Somebody That I Used To Know." And after reading more about Gotye and who this female singer he got to sing on that song, I was rather intrigued. I think with my background of enjoying artsy female singer/songwriter's over the last few years, namely Imogen Heap, St.Vincent and just last year Janelle Monáe, the interest in Kimbra's music was not that surprising.

What was surprising was how young she is, being only 21, to make a record of this quality. And this is her debut album, although it was many years in the making. Very similar to Janelle Monáe's The Archandroid's many years of buildup and anticipation, until being released in 2010.

I instantly liked this album, and not too long after I realized how while Gotye's Making Mirrors was good, this was breathtaking. It is/was very addictive as the songs had these incredible ear worms that took hours to leave my head. The pop sensibility, the energy, the production, the twists and segues many of them have. Especially vocally. Kimbra has an incredible voice, with range, heart and soul.

To name off favorites is kind of silly, because every song on here is great, but I guess the strongest ear worms for me would be parts of "Cameo Lover" "Settle Down" and 'Two Way Street." But songs like "Good Intent" "Call Me" and Kimbra's take on Nina Simone's "Plain Gold Ring" really stand out as well. She has this sass and pizazz about her. The retro jazzy pop and soul side really comes out on them. Then there's the incredible ballad "Wandering Limbs" featuring the Daniel Johns-like singer Sam Lawrence. And then the closing epic of sorts "Withdraw" into "Build Up," Kimbra really extends herself vocally with these multi-part emotional harmonies.

This is such an exceptional record, I wonder how she'll ever be able to top it. I also wonder if in the longterm I might consider it among 2011 albums, my favorite or at least it may be the record I'll listen more in the future. The songs are just so addictive and infectious. The energy is so upbeat at times, and there's so much going on, in pretty much every song, that I find myself looking forward to hearing them.

Not to mention, she's rather easy on the eyes, which my girlfriend isn't all that thrilled with me saying, but given she became a fan as well, she may not be able to avoid hearing it from me. She actually is probably the 1st artist, at least newer/modern musician her and I like pretty close to equally, which says a lot about the accessibility and talent of Kimbra and this album.

That also suggests the near future, specifically in 2012 when Vows is released in the US (along with Gotye's Making Mirrors as well actually), she may blow up so much, she may become a hipster darling. I hope if that does happen, at least she'll not get pigeon-holed like so many others. But her interest/influence from the new drummer of The Mars Volta, Deantoni Parks along with The Mars Volta in general, may get some of those hipsters to not ruin how she's introduced.

1. Hotel of the Laughing Tree - Terror and Everything After
(modern/heavy college-progressive rock)
I was all ready to go ahead and review this album in the Fall of 2010, until the point some members of the band got in touch with me to hold off until it officially was released. It was supposed to be released in September of 2010, but as circumstances arose, they found it more beneficial to wait until February 2011. Much like Kaddisfly's Set Sail the Prairie in 2006, in more than one way.

By pushing it back, I was able to hear it even more, and they added one of the best tracks on it, in "Weather Maps for Nikolai." Along with re-ordering the track list (the album was originally intended to start with the song "Sanctuary" but after re-ordering the track list, it begins with the song "Barnaby's Bison Blind"). I honestly still have a love of the original order of songs, but ultimately, it doesn't impact how good this album is.

Why I find it so good, and it finished as my #1 album for 2011, there are a number of reasons. For one, it was my favorite or it took the #1 spot before the year even began, and nothing seemed to ever challenge it. A traditional story it seems with many years. It held up all year, and still does, as I have never had any feelings about it that detracted how good it is.

Another reason simply is how good each song is. Every track on this album is big in some way. From the guitar riffs, the dynamics, the horn parts, the mandolin, the gang vocals. They really explore a plethora of styles, from blues rock, to chamber, to folk-rock, to post-rock, to even a big classic rock influence. It's one of those albums that varies a ton, yet the songwriting is without a dud. And it also is very much "an album lovers" album in that it is best heard all-at-once.

"Weather Maps for Nikolai" is a rocker. A very tight, riffy tune that I look forward to hearing every time I play it. "Gunpowder Falls" has this great repeatedly pounding riff with a preachy vocal part that I love each time. It leads to this dreamy yet big keyboard part that is really epic. "Bad Canterbury" is one of the best songs of 2011, without question. It has that happy, catchy style to it, so much so, it could have reached a much larger audience. Much like Emanuel & the Fear's "Jimmie's Song" or some others in recent years, it's a song I hear every time and think, this song is just too damn good to not be known by more people.

"Noah" has this big vocal chorus that just never leaves my head. "Everybody wants to throw a party for me, everybody wants to throw a part for me." The horn section on it also just works so well, there's nothing they could do to make it better. The title track is a epic of sorts that features themes, led by very clean guitar, which I always think of dredg's Mark Engles. It's one of those songs, the more you hear it, the more you get sucked in.

This is a debut album, but it clearly is a band who put a lot into their 1st full-length. It has stood the test of time, as I probably like it even more now than when I 1st got to hear it. And it came somewhat unexpectedly, given their 1st EP I was only luke warm about. But I've seen it happen in the past, where a band sort of makes a breakthrough record. So much so, it does make me wonder what they can do to top this. But I'll certainly be paying attention no matter how good their next work may be.

It is kind of sad, as last year at this time, I knew this album was a record I loved and made sense to be #1 going in to the year. Now, at the end of 2011, is there an album I can say that about? not yet, although there's some potentials like the new House of Fools album. But I'll admit, for 2011, this album held a great sense of security in that if nothing great came out the rest of the year, at least I could hold on to the fact this was a great, as-it-became 5-star album. Every year I look for at least one of those, and at the start of 2011 I had one in this record. Right now for 2012, I don't have one yet. So this was a rare case of offering an album of top-tier status during the entire year.

How much others caught on to this album, is a whole other story. They did not. And I told everyone I could about it pretty much. Which speaks less to me, and more to people's time, taste and maybe how circulated it became. I guess like some other examples such as Karnivool or even Kaddisfly and Apes and Androids, the years after the release, this album may reach a lot more people. It certainly deserves that. But only time will tell. I suppose in 2013 or 2014, it will be nice to look back on this and remember if it did.

And so that's it for the 2011 Album Index. However, I have a long Turkey/Non-2011 Album Index blog to include soon in here. Hopefully this weekend, or by next week sometime. There's definitely a fair amount of recollecting to do, and statements to make about other music, and the year 2011 in general. Once that comes, and a diarrhea-of-the-mouth podcast, I will hopefully put 2011 to bed and start to focus on the potential big year that will be 2012.

House of Fools article

2011-12-29T23:28:00.000-06:00

link to article

I believe I mentioned this in a recent post, but had not read this article. It basically tells in more detail about the hell they went through with their former record label Drive Thru Records. Based on this, I'm actually surprised they are still a band now. We'll see how well Versus the Beast does coming soon, but in the mean time, this article definitely explains more about how awful things can get in the music industry.

It's probably worth adding there's some grammar or even part of the article not included here.

House of Fools has a new management deal, a new album and a new vision for their music. (photo by Josh Hofer, www.corruptedlens.net)

I’m sharing a table with Josh King, David McLaughlin and Joel Kiser of Greensboro indie-rock band House of Fools at the Pour House on dollar can night; the former two huddled around cans of Bud as Kiser comes back from the bar with a frothy New Belgium draft. “Well look at you Mr. Moneybags,” King says dryly. The smashed-all-to-hell face of Kiser’s phone tells a slightly different story.

The last time I had spoken to the band was during the summer of 2009, when they had just welcomed in a new rhythm section: drummer Jack Foster and bassist Jordan Powers. House of Fools at the time was on the ropes, weathering a deteriorating support network, a bassist obliged to move on because of professional choices and a drummer forced to quit because of a bad back. The band was no doubt on the ropes, but quitting altogether had never been discussed.

The induction of Foster and Powers, however, was a shot of adrenaline for the fizzling band. For four years, they had toured to the point of exhaustion. Yet, they were still as broke as the glass on Kiser’s mobile despite being signed to a promising independent label in southern California almost before they even were a band. The two new faces represented a lifeline and they were chomping at the bit to talk about it. The subject they dared not approach, however, was anything to do with their label and the possibility of new records.

“Things just aren’t good right now,” McLaughlin said at the time. “That’s all I can say.”

All that changed over a few dollar Budweisers. It took three years and several attorneys, but the band had just won a drawn-out legal fight to be released from contract with their label, Drive-Thru Records, in a story fit for an episode of “Behind the Music”. Rancorous name-calling, shifty lawyers and contractual strong-arming — it’s got all of it.

The art of the deal

A contract can be a quirky thing. In theory, it’s a document that at least two parties enter into for the mutual assurance that both will fulfill the terms laid forth therein, for mutual benefit. In reality, the burden of fulfillment is almost always placed on the party with fewer resources at their disposal.

House of Fools become aware of this when Drive-Thru Records, for reasons not entirely known to the band at the time, decided to short them on promised advances for the next recording project.

The band was on the road and running on the fumes of the buzz afforded by their 2007 debut LP Live and Learn when they received an e-mail from the label’s co-owner Stefanie Reines. In it, King recalled, she insisted the band renegotiate their deal for three albums into a 360 deal, which would give a label a chunk of all proceeds: album sales, tour gate, merchandise sales. The 360 deal isn’t exactly a new practice; it goes back to the days of Motown when Berry Gordy was signing singing groups to them and thus given dominion over everything about his artists right down to the way they dressed.

The new deal would have certainly shifted a greater portion of the band’s income to the label, but by this time Drive Thru was feeling the effects of their own bad deals. Lopsided distribution contracts with MCA (and subsequently Geffen) and Sanctuary Records were handcuffing Drive-Thru’s profitability in new markets, and promises that the label made to House of Fools in regards to European tours and string quartets in the studio went unfulfilled.

“They sent us all an e-mail once we had formed the band saying that we could go ahead and quit our jobs,” King said. “So we all quit our jobs and went on the road with bands that we should have never went on the road with.”

At this point, King says that Drive-Thru had practically ceased with tour and recording support, and insisting the band agree to more stringent and less gainful terms was the proverbial straw. The band saw it as a breach of contract on the label’s part and rather than pursue litigation, they agreed that this wasn’t working out for anyone and they asked for their release.

“At that moment I remember that we got e- mails from them calling us redneck pieces of shit, hicks and hillbillies, all sorts of stuff,” King said.

It got worse. The band decided to simply try and placate their Drive-Thru bosses and fulfill the terms of their deal as best they could. Two more albums was all it would take and the band felt they could do that in a year at best. After that, McLaughlin said, every song the band sent to the label’s head Richard Reines was roundly rejected.

Matt Bowers tickles the ivory while laying down tracks for House of Fools' upcoming release Versus the Beast.

“They basically just didn’t like our music at that point,” King added. “I remember Richard saying, ‘We need it to sound more like Queen, with guitar solos.’” A quick history of Drive-Thru Records: The label was, for a time in the late 1990s to mid 2000s, the preeminent West Coast home for independent pop punk acts. Teen-focused acts like New Found Glory, Hellogoodbye and the Starting Line made a lot of noise while under the banner of Drive-Thru. The label also dabbled outside of that rather narrowly defined spectrum via folk rockers Steel Train and the ska-rock band Rx Bandits, but their bread and butter rested with teen bands making music for teen crowds. House of Fools has some marked pop leanings dotting mostly rockist influences, as noted by the Pink Floyd, Led Zeppelin and Stevie Ray Vaughn posters lining their practice space, but they are not a pop-punk band. King intimated that Drive-Thru thought they could make them one, however, by pigeonholing them into tours with pop-punk and screamo bands.

“One of the last tours we did [for Drive-Thru], we were opening up for this band where all the dudes in it were 18, 19 years old. I think I was 25 or 26,” he said. “We used to play at five o’clock in the afternoon and it’d be a sold-out crowd, but there’d be kids falling asleep in the front of the stage waiting for us to be done. It was over their heads. It was rock and roll. They wanted pop punk.”

So House of Fools just kept touring, minus the support of Drive-Thru.

One of them was Peter Thall, who has counted Billy Joel, Weezer and Will Smith among his clients. According to King, Thall asked for $1,500 to make their contract go away. The band paid the money and then said they never heard from Thall again. They had one more legal avenue, however. Pinto Coates Kyre & Brown, a Greensboro firm that specializes in personal injury, not entertainment, and also employs Deb Bowers, mother of keyboardist Matt Bowers, came to their rescue.

Since House of Fools originally signed their contract in the state of North Carolina, once PCK&B served Drive-Thru with a court summons in early 2011, they would have been required to contest it in North Carolina. For a label that’s been listed as “on hiatus” since 2009, there was little incentive to fight this bucking horse. So they relented, and House of Fools was free.

Now they just had to do it on their own, but that wouldn’t be a problem because that had already been the case for a long time. The band had been sitting on a pile of 70-plus songs for the past two years, all demo-ed and tracked live in their home studio, many intended for Drive-Thru, but to the band, they had already grown stale.

“I don’t even know what I was talking about then. They’re old news,” King said. “So we started from scratch on a whole new album.”

That album is entitled Versus the Beast, a name that carries with it obvious implications. McLaughlin calls it the band’s rock album, but it is also therapeutic in that regard. Produced entirely at home by the band The band themselves, it tapped into the represents the associations they made melodic ideas and lyrical while on the road and got onto tours with other working bands. They toured the Southeast with alt-country quartet Limbeck and played through the Midwest with Los Angeles progrockers Particle all while battling the label, and enduring what Kiser referred to as the “House of Fools curse.”

“We had our first manager quit over frustration from dealing with the label, then the person who signed us to our publishing deal themes that resonate the most with House of Fools across 13 tracks. The specter of playing to pop-punk and metal crowds is long gone; the guys have gotten back to the music they set out to play in the beginning. Whether or not another label comes calling, this is the House of Fools sound.

“If we got a good offer, we’d love to have some help,” King said. “But it’d have to be pretty f**king good at this point.” with Universal got cancer, recovered and then got fired,” Kiser said. “We hired attorneys and they just tended to disappear on us.”

House of Fools releases Versus The Beast on Friday, Dec. 30 at Greene Street Club.

Crippled Black Phoenix - (Mankind) The Crafty Ape (2012)

2011-12-28T20:24:00.000-06:00

12/28/11 8:23PM

Crippled Black Phoenix - A Letter Concerning Dogheads by coolgreen

They posted this last week on facebook. The song "A Letter Concerning Dogheads" which is stream and downloadable. I'm digging the ending especially.

12/5/11 8:45AM
Pre-Order link

CD 1:
Chapter I – A Thread
1. Nothing (We Are…)
2. The Heart Of Every Country
3. Get Down And Live With It
4. A Letter Concerning Dogheads
5. The Brain / Poznan
Chapter II – The Trap
6. Laying Traps
7. Born In A Hurricane
8. Release The Clowns
9. (What?)
CD 2:
Chapter III – The Blues Of Man
1. A Suggestion (Not A Very Nice One)
2. (Dig, Bury, Deny)
3. Operation Mincemeat
4. We Will Never Get Out This World Alive Faced With Complete Failure, Utter Defiance Is The Only Response

2011 I got pretty into these guys, or rather, they were/are one of my favorite new bands . So naturally I'm pretty interested in this. 2 CDs? This might be pretty lengthly, which may not matter. I will say, as much as I have really enjoyed getting into them, some of their compositons are pretty extensive, which hurts them I suppose a bit.

And as noted in that link above, the release date is January 30th, 2011.

Still, among the upcoming records, this is still pretty high on my list.

Epic Rock Talk - Episode 3

2011-12-27T11:41:00.000-06:00

nearly 2 hours, separated into 2 parts

http://epicrocktalk.blogspot.com/2011/12/episode-3-end-of-2011new-studio.html

Topics:

Dream Theater (Red, Ra)
Three
The Dear Hunter (Flying Colors)
Scale the Summit (Mono, Pelican, Isis)
Devin Townsend (Apes and Androids, Strapping Young Lad, Marillion)
Daniel J (Orphaned Land)
Mastodon (Between the Buried and Me, Protest the Hero, Skeleton Staff, House of Fools,
Animals as Leaders (Liquid Tension Experiment, Platypus, Cloudkicker)
Djent (Born of Osiris, Attack Attack, Djentstep/Dubstep, Autotune, Imogen Heap, Cynic, Peter Frampton)
Iced Earth
Revocation (Last Chance to Reason, Dead Letter Circus, Fair to Midland, What's Left of Her, Solstafir, Steven Wilson, Hands of Despair, For the Imperium)
November's Doom (Subterranean Masquerade, Novembre, Klimt 1918, Katatonia)
Doom Metal (Zebulon Pike)
Metal Evolution Documentary
Black Metal (Gloriabelly, False, Alcest, Meshuggah)
Protest the Hero (Coheed and Cambria, Muse, Between the Buried and Me, Zero Hour)
Erick Serna and the Killing Floor (The Dear Hunter, Trent Romens, The Galactic Cowboy Orchestra, The House Harkonnen, Nicole Atkins)
dredg (King's X, Pain of Salvation, Marillion, Dream Theater)The Dear Hunter
Apes and Androids
The Stiletto Formal
dredg
Hotel of the Laughing Tree
Margot & the Nuclear So & So's
The Baltic Sea
Radical Face
Bruce Peninsula
Neverending White Lights (Bed of Stars, Dallas Green)
NewVillager
Team Me
Kimbra
Arch/Matheos
*Shels (Tangled Thoughts of Leaving, Younger Brother, Tokyo Jihen)
The Book of Right On
House of Fools
Ne Obliviscaris
Lehto & Wright
The Age of Rockets (Rosetta)
Fates Warning (Arch/Matheos, OSI)
The Reign of Kindo (Steven Wilson)
Crippled Black Phoenix (Godspeed You Black Emperor, Clann Zu)
Emanuel & the Fear
Spawn of Possession (Subterranean Masquerade)
The Faceless
Cynic (Metal Evolution Documentary: Fates Warning, Between the Buried and Me maudlin of the Well, SikTh, Pain of Salvation, Porcupine Tree)
Local Natives Warpaint
Demians
Flying Colors (John Sykes, Derek Sherinian)
Marillion
The Mars Volta
Meshuggah
Vektor

2011 Album Index 20-11

2011-12-27T01:18:00.006-06:00

20. dredg - Chuckles & Mr. Squeezy
So many fans, whether they were longtime, dedicated fans, or even newer, fringe fans, HATE this album. Me? I actually never found it repulsive. I probably spent a good 2-3 weeks listening to it regularly, and I more or less enjoyed every song off it. Is it different? yes, for sure. Is it less "epic" yeah, it's probably their shortest record. Is hip-hop producer Dan the Automator's impact on it pretty notice-able? of course. But guess what? the songs still sound like dredg, and that being a FACT, is what matters first and foremost to me.

I don't anticipate it becoming a favorite of mine historically, but this was definitely a case of a band I love, making a somewhat different style of record, that I found still worked. Song-wise, my favorite still remains "The Thought of Losing You" which has one of the huge choruses I can't seem to get out of my head. "The Tent"? good tune, I don't follow why people have crucified that one. It's just a slower, moody track that certainly works within the flow of this album. "Upon Returning" ? I recall only being lukewarm about it live, but it definitely grew on me. Rather catchy, and the sarcastic lyrics I didn't mind.

The ballad "The Ornament" a lot of the fans have been waiting for, for a long time, and it turned out very well. "Down Without a Fight" even with the heavy synths, still really works. 'Somebody is Laughing" "Kalathat" "Another Tribe" etc, to me, EVERY SONG IS GOOD. A lot of people can't handle a band trying new, different things. Me? if the songs still sound good, I find it can almost be better that the artist did something different, just not to get stagnant.

Down the road here, perhaps more people will come around on this record, but for now I'm going to hold true to that I enjoyed this album when it came out, and applaud the band for doing something new. I love dredg, and while this album never became as addictive as their others, I am definitely not going to look at it the way so many others have. And I won't be surprised if others do come around on it eventually.

19. Brice Plays Drums - I Laugh at Your Greener Pastures
I saw this band at the so-called "Prog-gasm 2011" at the 400 Bar back in May with The Royal Veil, Orphan Bloom and Water Colors, and other than The Royal Veil, I'd never heard of any of the bands at that show. But I was impressed by more or less all of them. Brice Plays Drums specifically are a younger group of musicians who hail from the Hastings, MN area I guess. And this debut album of theirs was a long-time in the making.

Their sound, I suppose could be compared to a number of artists. Specifically, music like Carlos Santana, The Mars Volta, Cavil at Rest, RX Bandits, Kaddisfly among others. This record, is in-effect one 30 minute song, separated into 4 movements. Very much in the progressive rock tradition, but it also is successful in being less-is-more. I put it on many times this year, and would get through it, then wanting even more. Which while it sucks to want more, it does show how something may look long on paper, really isn't. It's rather refined, and tight sounding. The transitions from fast to slow, soft to heavy, really seem to fit perfectly. I'd guess some of that is how much time it took to finish.

It has those sections that I love, whether it be a jammy riff, a keyboard solo, the syncopation between guitar and keyboard, the spacey, almost-under-water-sounding parts, or even a lyric or two I enjoy. I'd also say, as their name suggests, the drum work at times really stands out.

A few quotes that come to mind:

"Little gnome, why don't you go back to your home"
"Did you realize?..did youuu reeeee-ahhhh-lyyyyyze??
"There lies an entire disassembled army, just waiting to get off their feet and move their ass's"

The band have another record expected in 2012 titled Man the Animal Cannon which I guess they played a lot of it live at shows I was and wasn't at. But with that coming, and with this debut record of theirs, they've immediately become one of my favorite local or band of any kind. And being as new/young as they are, hopefully this is just the beginning for them. Another band I can claim from my home state, doing progressive rock rather well, and holding promise for the future. Whether the prog-ignoring media sources like 89.3, Radio K, Citypages, Chris Riemenschneider, Jon Bream, Pitchfork, and other notable websites ever notice them? I'm skeptical. But this blog and whatever forums I'm on at least should receive mention from me. The progressive rock scene outside of Minnesota, the jury may still be out on.

18. O'Brother - Garden Window
The 1st time I saw this band's name, it was in I think Alternative Press 100 Bands You Need Know 2011, and why their name caught my eye was due to a comparison to among others, the band Annuals. I also recall reading the highly talented Timbre was going to be playing some Harp on their upcoming album.

I think I had seen their name previously, from them going on tour with a band I knew. It may have been The Dear Hunter, or another band. But they did tour in 2011 with The Dear Hunter, and were at the show at The Triple Rock Social Club in July.

At that show last Summer, I recall liking some of what I heard, but also was a little wary about their sludgey/doomy sound overall. Ironically, it wasn't that long after seeing doomy local band Zebulon Pike, and more or less writing them and most of that style of music off. But I recall being curious enough, I wanted to not forget to check out this record of theirs coming soon.

And the overall result ended up being a fair amount better than I expected. The flow, textures, styles explored, etc, really work on here. The doom Metal element I don't think hurts this album, in fact I think it adds to it. There's a very thick, heavy, almost wall-of-sound side to this album, that is impossible to ignore. There's also some extremely memorable, even catchy/poppy parts. I'd say the track "Easy Talk (Open Your Mouth)" is *easily* one of the best songs of 2011. I instantly loved it.

The echoing chorus "Why don't you open your mouth and let it out now" 30x's

That song is one of those tunes that stays with me. It reminds me of Kaddisfly, dredg, Ours, Fair to Midland, The Velvet Teen and a bunch of other bands, when they come up with a piece that just is so powerful, it stays with me. The dreamy vocal harmonies, soaring guitar textures give me goosebumps every fucking time I hear it.

This was beyond a pleasant surprise, but one I kind of a had feeling about. And O'Brother are now a band I'm on board with, and will look forward to what they do next. But this record of theirs is one I'm actually still discovering a lot about.

17. Vektor - Outer Isolation
2009's Black Future album took down that abhor-able Animal Collective record on rateyourmusic.com and I could never forget that. And I'll admit to checking that out, and up-rating it a bit, because I can't stand the childish activities so many of those users have by creating multiple accounts to down-rate an album that may be rated/ranked higher than their hipster trash (Radiohead also comes to mind). But there was some legitimacy to rating Black Future pretty high, as it was a really well composed, somewhat new spin on (progressive/modern) thrash metal.

So, naturally I was excited to hear this album, and I can't say it disappointed in any way really. It's filled with intricate parts, from the drumming, to the guitar solos, to even how the blackened vocals blend so well. It really is a badass, ballsy metal album. I can't say I'm a huge fan of thrash, but when it's done like this, in a really tasteful and punchy way, I get sucked in

I'd put this album on some times, and instantly get a high energy level. And that's one thing that scores well for me with any album, especially a Metal record.

16. For the Imperium - For the Imperium
As I posted about this album a few weeks ago, I have been more or less shocked how quickly I started to enjoy this, and how much. This is a new Finnish avant-garde Metal band's debut record. They sound like they are fans of a number of bands, namely Avenged Sevenfold, Faith No More, Coheed and Cambria and System of a Down. Their singer specifically. And some of the stuff written about them says how much of a Mike Patton fan he is, which may be true. However, I don't think it hurts this record at all.

I love it when a band is odd/weird/quirky/outrageous by combining genres and manages to do so while not losing song composition quality. It's not easy, but when pulled off, is some of if not my favorite kind of music. It shows they are taking chances, and trying to push boundaries. And For the Imperium have managed to do that on this debut album of theirs.

I'd say most notably, from about 3rd or 4th track on, it just comes at you left and right with unexpected parts, dynamics. Whether it be a really poppy chorus that almost sounds cheesy, but ends up sounding catchy. Or some technical section that is followed by something tongue-in-cheek.

And because I'm almost surprised what they pulled off here, I keep going back to this album. Like Apes and Androids, Crotchduster, Between the Buried and Me or some other out-there kinds of music (Mr.Bungle certainly, Unexpect), I am drawn to this stuff when it works. And it's melodic enough, and not boring, that I keep playing it and enjoying it more and more. I think this band may have just begun, in that a few years from now, I'll remember 1st hearing this band and album for the 1st time. I still need to check out their previous EP, but I'd certainly include this band with the likes of Painted in Exile, Leprous, Ne Obliviscaris and a few others in the next wave of experimental Metal bands actually doing different things, being progressive, and still being able to write impressive songs.

15. Bruce Peninsula - Open Flames
As I posted many times on this blog over the last year or more, this album was a minor miracle, with Bruce Peninsula's lead singer Neil Haverty being diagnosed with Leukemia. Thankfully, the Leukemia went into remission, and the band were able to finish this album and release it.

I got introduced to them I recall in early 2010 from a big fan on The Mars Volta forum.They released their debut record A Mountain is a Mouth in 2009, and had I heard it back then, it would likely have finished pretty high on my 2009 Index. It's a great record, filled with tribal drumming, frequent female-gang vocal harmonies, and some really nice, almost earthy melodies. Along with Haverty's trademark gruff vocal style, almost like a more digest-able Tom Waits.

And thanks to the same user from the Mars Volta forum, a lot of the new songs were made available live. Many of them intrigued me how they'd sound on recording. I'd say they for the most part were as good, if not better than I expected. They included more of those energetic percussive parts, and those passionate female vocals. Sometimes lead, sometimes harmonies. Songs like "Say Yeah," "Pull Me Under," "Chupacabra," "As Long As I Live" all have a hook or something I look forward to hearing each time I play this album. And I'd say there isn't any song I skip, including some of the ballads. My only disappointment might be Neil Haverty's lead vocals aren't as noticed as on A Mountain is a Mouth. But perhaps with their next album and some other related projects, that will return.

I guess the only other thing about this band is the bands they get compared to like The Rural Alberta Advantage, I don't really follow. Nor is their popularity probably close to what it should be. They're from Canada, the Toronto area specifically. I suppose they have sadly found the same fate of Bend Sinister, Neverending White Lights and a few others (People for Audio?) in that I know they could and should reach a much wider audience, but for various reasons, largely being in Canada, it hasn't happened, yet at least. Maybe in due time.

14. Jimmy Gnecco - The Heart: X Edition
Some people might remember from my 2010 Index including this album, the original, stripped-down version. And to be honest, as much as I love Jimmy and Ours, that album ended up as low as it did due to not being as impressed, attached, etc to it. Even a bit of swallowing on the vocals didn't help.

But, I often felt seeing those songs live, it might change my mind. And having seen many of them, in person or hearing/seeing live recordings, they did. And this is the re-recording of those songs like they are live; with the full band. And for some reason, they all pretty much sound even better. The piano, some electric guitar, or even a little bit of re-arranging/extended parts.

I knew songs like "Gravity," "Darling," "Mystery" were great live, but they finally came out bigger and more layered on this. Plus, I cannot discount the inclusion of the last/new track "The Bells" also improved how much I enjoy this. That tune is just terrific, although admittedly, it's more or less an Ours song. Except that, Jimmy and Ours are one in the same pretty much. But for anyone who loves Ours, loved 2008's Mercy or really any awesome, soulful screaming vocal parts, check out that tune. It's one of the best songs Jimmy's ever recorded.

go here, as it was uploaded by Jimmy himself on Youtube.

So, while the acoustic edition I bought, and still like a lot of, it's clear these songs were made greater to me with more of a full sound. And I'm not sure exactly the status of Jimmy with his solo work, because Static (Ours/Jimmy's guitarist) posted something recently about writing new Ours music. Plus he will be working with Slash and/or Velvet Revolver soon, along with Weathervane and even an appearance on the upcoming 2nd Neverending White Lights part of Love Will Ruin next Summer. But for now, this is another release supporting why he's my favorite singer and one of my favorite, and best songwriters working today. All the work he's doing right now also adds to that.

13. Water & Bodies - Light Year
The debut full-length from 4 of the 5-members of Kaddisfly, after 2 promising EPs in 2009 and 2010. Every time I listened to this album I enjoyed it, even given how different it is to Kaddisfly. It's more song-oriented and poppy I suppose in some ways. Some of the best songs, have those parts I always enjoy. From "Written & Read" with it's wonderful, sad guitar melody over subtle layers of synths. "Free World" being quite the rocker to "Moments in a Life" having the inspirational line "We've got to live before we die."

Some others like "Lonely Night" has this great groove to it and yet is rather catchy and upbeat at the same time. "1980," 'Echoes," and "Parallels" have really grown on me. The title track, and even the last epic, saying-goodbye track "Already Gone" really work for me. Tight songwriting, really nice blend of layers including the often slow, sad yet beautiful guitar work from Aaron Tollefson on many tracks. Those slow yet soaring lines just grab me and add such a richness to many of these songs.

I guess the reception to this album was mixed at best from others, with some being surprised, and others just sticking with wanting Kaddisfly back and nothing more. My feeling is now, nearly a year later, is it's still a very good, consistent album song-to-song. It's not really found the blow-me-away factor like Kaddisfly, but I also never really expected it to. It's just a solid album without a bad song it, with less amazing songs, but just one with many very good ones.

I'm not sure the immediate future for the guys, given the recent Kaddisfly demos that were shared and everything, and the level of success of this 1st album. They've sort of found their audience locally in Portland and somewhat on the West Coast, at least for touring. Whether it makes sense to focus still on W&B's or mix things up with both, I guess we'll see. I am still a fanboy of Kaddisfly, but at the same time I will continue to look forward to what Water & Bodies do in the future.

12. *Shels - Plains of the Purple Buffalo
This band I 1st listened in early 2008 with their debut album Sea of the Dying Dhow. I recall liking that album, but for some reason not going back to it all that much soon after. For some reason, I thought they broke up, but I may be thinking of another band of a similar name or style.

They are another one of these "post" bands making a rather distinct style of music. They use this thick wall-of -sound at times that is just breathtaking. Along with stuff like trumpet and vocal harmonies, they have this recipe that is really epic or just incredibly dense sounding. That is probably the best way I'd describe most if not this whole album.

And considering some factors, I really wondered after a little time, if this might be an album-of-the-year contender. But sadly, it never quite was. That outstanding combination of layers and textures works extremely well on Plains of the Purple Buffalo for maybe 40 or 45 minutes. But the final 3 or 4 tracks seem to go on a little too long for me to bump it into 4.5 star or album of the year status. Why that is, is I'm not sure they flow as well as those 1st 8 or 9 tracks, and some of the cymbals I recall clipping a bit here and there.

While that was the fate I gave this album up to this point, it's certainly one I'd suggest to anyone into a somewhat original style of Post-Rock. It's just ended up with a little too much on the end to find myself addicted to it. But I would certainly call myself a bigger fan of this UK band, and also might want to include something more on their last/debut record Sea of the Dhying Dhow as well.

11. Tangled Thoughts of Leaving - Deaden the Fields
I wrote about this band a lot this year. Like their fellow Australian "post" band Meniscus, they had a debut record coming, after some pretty impressive music on EPs previously. And the video footage the band shared online sounded awesome. Great dynamics, blending of textures. From major to minor keys, heavy to quiet, dark to beautiful.

As I wrote more than once, I really thought this record would be one of those statement debut albums, and in some ways it is or was. It's very meticulous and extensive in a lot of ways. It only has 6 songs on it, but it clocks in over an hour. That on paper, appears like an homage to many traditional progressive rock albums. One reason why it's as long as it is, or just each song is, is due to the fact the band write music within jam sessions. They love jazz, and a lot of jazz is composed in a similar way.

I guess I never grew addicted to it enough for it to find my top 10 due to a few factors. One being, the cymbals do clip on it intermittently. As sad as it is for me to accept, they do, and not just in one or two spots. Not to the point I wouldn't listen to this album again, but enough so, it hurts my feeling about it. Although a record like The Reign of Kindo's Rhythm, Chord & Melody I can claim the same about, yet I still love that album.

Another factor I suppose is how long some of it is, even though I'd support its flow for the most part. It never reached the point of wanting to play it everyday. The opening 17 minute piece "Landmarks" might be part of that.

But at the same time, there's more than enough to enjoy about it, to have it still hold intrigue for me. The interval patterns, driving piano parts, many of the songs have those gradual builds. And I will say, I happen to love the climax of the last song "They Found My Skull in the Nest of a Bird." It's incredibly intense and layered. It almost captures something from a movie score, and it's like a realization of something, or a reaching of a bigger, ultimate goal, in the final scene.

I would still highly endorse more people check it out, as this is one of the most talented instrumental bands in the music industry today, like *Shels, doing their own take on Post or just progressive rock. Are they carrying on a tradition from a band like Tortoise ? (jazzy post-rock), I guess I can't agree with that, but I honestly haven't heard an extensive amount of music from Tortoise to know. I guess it doesn't really matter at this point to me. Deaden the Fields is a very impressive debut album that I can see myself, even despite some tambourine-toned cymbals in spots, to explore in the future along with whatever else they put out.

Storm Corrosion - Storm Corrosion (2012) (1.0)

2011-12-26T01:18:00.000-06:00

12/26/11 1:16AM
Cover Art:

Storm Corrosion will be issued by Roadrunner in April 2012. Apart from Mikael and Steven, the album includes guest appearances by Gavin Harrison on drums/percussion, Ben Castle on woodwinds, and Dave Stewart on string arrangements.

9/26/11 8:57AM

Due in April 2012.

Opeth's facebook Wall post

"The long awaited collaboration between Mikael Akerfeldt and Steven Wilson (Porcupine Tree) is finally being completed. The project goes under the name of 'Storm Corrosion' and will have a self-titled record out in April 2012 through a yet unnamed label. This album could be seen as the final part in the odd trilogy of records completed by "Heritage" and Steven Wilson's brand new solo album "Grace for Drowning". Read more on Steve Wilson's latest venture at gracefordrowning.com"

3/30/11 6:14AM

The project it sounds like will be titled "Storm Corrosion" and the record itself as well. It is done, but it won't be coming out until early 2012.

b-mouth story

not really a ton of new quotes or info in that. It'll be orchestal, yes. And different than anything they've both done, yes. And very little to no drums, yes.

But not until 2012.

I am anticipating something vaguely like Scott Walker's The Drift. Somewhat subtle, and minimalistic stuff. But who knows, hearing even that kind of music from these 2 guys. But we have awhile until we'll know anyway.

11/2/10 1:32PM
Blabbermouth link

"STEVEN WILSON On Project With MIKAEL ÅKERFELDT: We Didn't Wanna Do A Prog-Metal Supergroup - Oct. 31, 2010

PORCUPINE TREE's Steven Wilson recently spoke to the U.K. branch of Roadrunner Records about his much-anticipated collaboration project with OPETH's Mikael Åkerfeldt, tentatively dubbed "Storm Corrosion". You can now watch the chat below.

On how the songwriting sessions for "Storm Corrosion" are progressing:

Wilson: "In March we started [working on the material for it]. It's sporadic, because we get together once every three months. [Mikael] comes over to my studio and we work for a few days and we get really drunk on red wine, go buy and loads of records and then come back, and if we're lucky, do, like, ten minutes work. But the incredible thing was that although, comparatively, we haven't worked that long, what we produced we were so happy with, and we are so happy with. It's nice to know that what we always suspected was that when we actually got together, it was gonna be quite easy. It was also in the back of your mind, thinking, 'Maybe it won't work.' Maybe it [was] just built up so much [in my head before we started writing songs], and it was so easy. So easy. And the music was so crazy and so inspiring to both of us. So I think that was good to feel, like, 'It's gonna work.' So we have about, I'd say, 25 minutes of music [written] so far. We're getting together again in November to do another piece or two. Drink some more wine, buy some more records... So that's kind of a work in progress, and I don't know when that will come out. Then it would be great to do some shows around that, too, but he's [Mikael] gonna be back with OPETH next year at some point, so it may not be feasible. But certainly the record [should be ready to be recorded and released by then]."

On the similarities and differences between PORCUPINE TREE and OPETH and how they play into the new project:

Wilson: "The funny thing is that the music we're making together is actually nothing like either of us made before. Because I think we both had this idea of this kind of music that we knew we couldn't get our bands to play, but that we both kind of understood where we were coming from. 'Cause we have this kind of passion [for] very experimental, obscure records, almost orchestral in their scope. And we wanted to make a record like that for a long time. It's a long way from metal and it's a long way from anything that, I think, Mikael has ever done, including the 'Damnation' record [from OPETH]. I think a lot of people thought, 'Oh, it's gonna be like 'Damnation'.' It's not; it's a long way from that, too. And it's actually a long way from anything I've done; [it's] possibly closer to aspects of things I've done, but really quite distinct from anything I've ever [released]. [It's] very orchestral, lots of strings, lots of guitars and vocals, too. Lots of very long songs that kind of go in different directions that you don't necessarily expect them to go in — almost theatrical in a way. And we both kind of admitted to ourselves that there are a lot of fans out there that are probably gonna hate it. But we're doing it for us. The one thing we didn't wanna do is get together and do a prog-metal supergroup, which would have been so easy to do — and kind of expected, in a way. And, you know, we might do that anyway one day. But this time around, we thought, 'Let's just do this [kind of] record.' Some people will love it and some people will not, and that's OK, because, in a way, I don't think we wanted to just give what was expected, and we're certainly not doing that."

On whether Steven and Mikael are self-producing the new project:

Wilson: "Right now, we kind of fall into my studio at midnight and work through the night and just... It's great, because in many respects, Mikael is the closest I know to someone who is... How do I put this? He's the equivalent of me in his band. He's like the captain of the ship and we kind of understand each other — all the frustrations of being in that position, all the stresses and pressures of being in that situation — so because of that, there's no ego thing at all — yet! [Laughs] But we're both kind of control freaks, in a way, so that's kind of a strange situation to be, where you're working with someone where you don't feel any of those issues and you have that complete trust. So we're just like... [I go], 'Here, you have the guitar. Do something amazing.' And he does. And then I'm like, 'Oh, I've got an idea for that,' and I do some keyboard thing. And he's like, 'That's amazing! I love that.' And so it's really... It sounds like we're kind of blowing each other the whole time... [Laughs] But it's just so much fun. And that's the important thing — I think it's fun. Because there's no ego and there's no pressure. Because people don't know what to expect. And we've kind of already resigned ourselves to the fact that we're gonna do something that people are gonna hate, anyway. I mean, I'm exaggerating... I'm sure a lot of people are gonna dig it. But people are gonna be surprised by it. We're not giving people what they expect, so there's little pressure, really — there's very little pressure. It's just literally swapping instruments and I'm kind of recording it on my own system."

In a recent interview with U.K.'s Classic Rock, Åkerfeldt stated about the writing process for the "Storm Corrosion" CD, "I got together recently with Steven at his house, and we wrote a new tune straight away. Of course, with the two of us involved, it was 10 minutes long. And it came out so well that we started working on a second one as well."

Although DREAM THEATER drummer Mike Portnoy was initially supposed to be part of the project, it now appears that he will no longer be involved.

"To be honest, there's just no room for drums on what we've done so far," Åkerfeldt said. "I called Mike up, and he was cool about it. He's got so much going on anyway, and I'm sure we will work together in the future."

So, I'm sort of late in the game here with this. Sorta, kinda, not really. The info is not all that detailed, other than what Steven added there. The name "Storm Corrosion" and some other bits were mentioned a few months ago, I just never got around to passing it along.

I have to admit one thing, the thing about Steven saying this won't be a "Prog Metal" project is fine and probably best, but then he says they may do that eventually. I'm kind of hoping they won't unless it's not like PT or Opeth especially, and more or less derivative of other music.

But not a ton to add, other than I will listen to this, and I won't expect anything mind blowing, but would love to be pleasantly surprised. The Portnoy point has been beaten to death. He's not in it. Maybe he'll be asked to play in the "Prog Metal" project they may do.

Steven's 2011- 2012 Forecast though which I guess is nice to get an idea about.

2011:
Spring:
-Solo Album with guests
late Spring-Fall:
-Blackfield III aka their 3rd album
late Summer/Fall:
Storm Corrosion

no Concerts in Minnesota

2012:
Porcupine Tree

no concert in Minnesota

2011 Album Index 30-21

2011-12-24T16:10:00.000-06:00

30. Nicole Atkins - Mondo Amore
I was really impressed and surprised by this record when it came out. Not so much that it had good songs on it, but I sort of forgot about Nicole after enjoying much of her 1st proper full-length in 2008's Neptune City.
But for whatever reason, I had no clue this was coming out. And this was released in February I recall, and as a result, it was early-on, one of my top records.

It is/was a consistent record start to finish. Bluesy piano and string driven rock. To add, here's a little from what I wrote in my delayed review back in March.

I guess in terms of songs to namedrop: Cry Cry Cry, The Tower, My Baby Don't Lie, Vultures, War is Hell. Memorable melodies and sections. Even just how she used piano in it, with the segues and transitions.

The Tower is great, epic, and probably up there with "Neptune City" among the best songs she's written.

At this point, I can't say this album went much further than it did early in the year. I suppose I may have worn it out a little, and the fact whenever I went into Barnes and Noble last spring and summer to visit my girlfriend, they had it playing. I heard it so much in a short period of time, it may have run its course for me. I guess that's why it didn't hold up the whole year and dropped this low. But unlike other records from 2011, I don't find anything or any songs bad on it. I suppose when her next record comes out, or the next time she hits Minnesota on tour, I'll be up for revisiting it again.

29. White Denim - D
I noticed this band added to the "New Prog" list on Wikipedia over the Summer. I read a bit about them and even sampled their music, but didn't follow why. At that point I dismissed them. However, when they were included on the tour with The Dear Hunter and Manchester Orchestra this Fall, I was a little more curious.

At said show in Minneapolis at The Cabooze in November, I wasn't expecting to watch them on stage. But in the process of being there, after The Dear Hunter finished, their music drew me in. They played 2 or 3 songs that almost sounded like The Mars Volta. I was impressed enough, I decided to pickup this new album of theirs on Vinyl after their performance.

After hearing this album enough times, The Mars Volta comparison might not be so accurate. But they or this album has a great, late 60's/early 70's psychedelic rock vibe to it. It's really playful, energetic and upbeat. Their singer almost sounds like the singer from Skeleton$ or Dirty Projectors, but is not annoying in any way.

In re-reading some of the comments about it on rateyourmusic, I would agree with stuff like, they have a familiar sound, yet there isn't exactly any band who combines all the styles they do. They're prog, they're jammy, they're blues-rock, they're psych, they're even poppy at times.

My favorite song probably is the instrumental "At the Farm." I have yet to get tired of that one. The drumming and guitar interplay is just infectious. It's almost like Led Zeppelin, Cream or early Rush or something.

I even hear a band like Wishbone Ash in their sound. Not sure if them or The Volta is the best comparison, but I recall wanting to pull out Argus more than once when listening to this record recently. I may do that, along with spending time with their back catalog. now, as this is one of the better new bands I've been introduced to in 2011. And one I would definitely see live again.

28. NewVillager - NewVillager
The next Apes and Androids? Well, that may be wishful thinking and never actually happen. However, as I posted in here a few weeks ago, this band may be one-of the best bands to come since, making that style of melodramatic, humorous, falsetto-driven electronic pop/rock.

And like Apes and Androids, I understand their live shows outdo this studio work. But, since all I have to go on is this record, I was still impressed enough. I suppose they fall sort of in between Apes and Androids and a band like The Chap. And this being NewVillager's debut record, it might just be a foreshadowing of what may come in the coming years (assuming they do make more music after this).

But as I posted a few weeks ago, this record has it's share of highlights. The single "Lighthouse" especially is uplifting.

Go out, go free, up to the lighthouse
Go out, go free, up to the lighthouse
See what you never
See, see what you never...see

I could see Apes and Androids writing that. Others like "How to Get Back" "Say the Code""Upholder"; and the rest, I honestly enjoy pretty much every tune on here. Some of it almost sounds like TV on the Radio, who are a band I've never loved, but never found repulsive. I might say the same about Abba, who maybe they are fans of as well by listening to the track "Black Rain."

I think part of me wants the next Apes and Androids, and by finding this band, I am partially believing they are in a way, and their future may bring the same ambition AandA's had. Although I kind of thought the same about The Chap and few others a few years ago, but I'm hoping this band may stand out more. Also hopefully I'll have an opportunity to see them live at some point soon, because that is maybe my biggest regret with AandA's. Perhaps I'll even regard this record greater as that has happened to me with others (a great live show makes the studio work seem better).

27. Meniscus - War of Currents
This Australian "post" band released an EP in 2007 titled Absence of I which I have enjoyed off and on for many years. But I always was curious about when they would put out something new and longer. And actually this release isn't a great deal longer being about 35 minutes. That EP though, had these great builds and dynamics, which in truth, isn't all that different than a lot of "post" music. But, for whatever reason, the heavy riffs, the samples including bees, or something else, I found their brand of "post" music better than a lot of the formulaic Explosions in the Sky copycats.

Well this record varies a bit from Absence of I, but not incredibly. The samples are there again, and some of, but maybe not as much of the heavier sections. The flowing nature of it is like their 1st release. I don't ever get bored or wonder when the song will go somewhere.

The style at times almost reminds me of some trip-hop or another "post" band I like in God is an Astronaut. Even the early Porcupine Tree I hear moments similar to. Although I honestly was thinking this could be bigger, more epic, etc of a debut record, and for that I can't say I was attached to it. At the same time, I enjoy it a lot for what it is. And the truth is, I'm not even sure the band themselves regard it as a full-length, as I recall reading something from them saying they wanted to include more music, but due to time/budget they didn't record more. So perhaps this is just the next part leading to their 1st extensive work. I guess we'll see, but for now I am enjoying this as much if not more than their other release. And they along with some others like Tangled Thoughts of Leaving, support a great scene down under for this kind of arty instrumental rock.

26. UneXpect - Fables of the Sleepless Empire
A long awaited and celebrated release by the band and their dedicated fan base. I have enjoyed Unexpect for a few years now, although not to the point of being addicted. But I'd say along with a few other unique extreme metal bands such as SikTh, maudlin of the Well, Between the Buried and Me and a few others, they have always stood out as being original and much less derivative. In other words, they have defined their own sound, as opposed to aping off of others (even with some exceptions when that happens, but the songwriting is still good).

That all being said, I was rather excited for this like most of their fans. And honestly, I enjoy it, but not really as much as I hoped. Why is it this high on my list? I suppose part of that is just respect and it still works really in the *mood* music purpose it has for me.

Some have said it's a departure from their other records, namely their last record from 2006 In a Flesh Aquarium. And I understand that, but I also don't think it hurts how it's more accessible, melodically. The vocals are still outrageously crazy, and there are still extremely technical sections that seem darn silly.

I probably have taken a number of years to digest their other albums, and perhaps this one will require more time in the future as well. More of a grower, but right now, I'd call it a well polished (production-wise for one) record that given the desire to hear something really busy, I will probably give it another go. But it wasn't sniffing my top 10 just purely on how much I listened to it alone.

25. Dream Theater - A Dramatic Turn of Events
Well well well. The post-Portnoy Dream Theater now has been produced, and the end result actually ended up pretty damn good. A Grammy nomination, more attention they've received probably since Images and Words. Yada yada yada.

The truth about this album for me is, it sounds like Dream Theater, not any other band. And the quality songwriting and meticulous sections are there throughout most of the album "Build Me Up, Break Me Down" is probably the only track I'm not all that crazy about. But the rest is what I at one time, really looked for in an album from them.

Now is it a classic? not at this point. I really, probably listened to it 5 or 6 times, and then just was content with what it was. Why that is, is primarily due to my interest to listen to Dream Theater music regularly. I just don't. Maybe once or twice a year at best. Although I did recently purchase Scenes From a Memory on Vinyl (and not realizing I wasn't receiving a 20% discount from The Electric Fetus until after the clerk rang me up).

But just from when I was listening to it, some of the sections of "Breaking All Illusions" and "Outcry" really worked, even giving me goosebumps. Maybe part of that is due to hearing them make music like this again. They didn't seem to include those long-winded noodle-y sections I roll my eyes at, and Jordan's keyboards were not as plastic-y, nor did they seem to overstay their welcome. Even the single "On the Backs of Angels" I really enjoyed.

Mike Mangini? he seemed to fit well with the band. No disrespect to Mike Portnoy, but I could easily see the parts he had, being parts Portnoy would have made. In other words, I didn't notice Portnoy's absence.

Now the BS about it copying Images and Words that went down, I just rolled my eyes at. Musically, tonally, structurally, sonically, this album sounds more like their last couple of records as-a-whole. It just doesn't include nearly as much of the un-desired parts of those (Portnoy vocals being one, but not the only part).

A step in the right direction. We'll see if anything happens at The Grammy's. I would be up for seeing them again live supporting this, but their tour with Trivium didn't end up in the Twin Cities anyway. But perhaps another US leg happens next year and it will.

24. Anathema - Falling Deeper
Another year, and another Anathema record comes out of nowhere to me. Although unlike 2010's wonderful We're Here Because We're Here, this album was actually not new material, just newly arranged versions of songs from their 1st 2 albums and EPs (1992-1995). And I guess it's the 2nd time they've done this, with previously re-arranging older songs on the Hindsight compilation from 2008.

The string arrangements, the flow and textures, the guests (Anneke Van Giersbergen ex-The Gathering among them). The emotional element that comes across much of it. Very melancholy, yet extremely beautiful. I could probably listen to this album 10 more times and receive the same therapeutic, calming reaction.

Anathema, a band I have known about for years, but only the last couple have I spent any time with their music. Their darker, gothic Metal period, perhaps I'll dive into eventually, but for now, I am really adoring their recent transition into somber progressive rock of this sort.

23. Erick Serna and the Killing Floor - The Grip
When The Dear Hunter decided to move back to California late in 2009 from Rhode Island, Erick Serna decided not to go with them, being that is not where he's from. So, he wasn't on tour with them, nor recording with them. As a result, he decided to start his own project, and with the aid of bandcamp, was able to make this debut record of him and "The Killing Floor," which became available for $5 digitally.

While this album may have been partially inspired with his work with The Dear Hunter, this is not music The Dear Hunter would seemingly make. This is, really great ballsy blues-rock. A lot of thick riffs, and including a great old-school tradition from the likes of Robert Johnson and of course Jimi Hendrix.

It's definitely a less-is-more record, and one that I would put on semi-regularly because how good it was, and how it never felt long at all being around 35 minutes. Maybe blues-rock works best around half-an-hour? I dunno, but I just know how it brought in that love for dirty, grindy, blue-collar sense I have often loved about Blues based rock music.

My favorites specifically include "Whiskey Song" "It's Been a Long Time Comin'" "Jet Plane Blues" "Hey Sweet Thing," "The Grip, "some are ballads, some nice twangy acoustic guitar, and some use what sounds like slide-guitar. And his vocals work well in this style. I'd say more or less every song is good, as this album I never skip a tune.

We'll see what Erick does now after this. I know he was involved with Mercies and he has played some shows supporting it, at least in his native Massachusetts and the Northeast. He emailed me wanting to come play in Minneapolis again, and I'd love to see that happen. Perhaps if the situation arises, such as opening for another band he knows, it may happen. But in the mean time, I'll be enjoying this record along with other new Blues-Rock releases like the one from Trent Romens, and look forward to what he may do next.

22. Neverending White Lights - Act III: Love Will Ruin (Part One)
An album that Daniel Victor in a lot of ways, SLAVED OVER, for many years. I recall an interview and/or perhaps the recent online webcast with Evan Konrad he did, he mentioned more about the tumultuous amounts of stress over it.

How to summarize? Basically he wrote blog after blog on myspace about struggling over the songs for it for the better part of 2 years. Re-writing, and re-working. He wrote a ton of songs, so much so, this became only Part One, and Part Two will be released next Summer.

Daniel Victor also had a scary situation with damaging one of his vocal chords, he was in danger of never being able to sing again. I recall him mentioning going for a few months, not even being able to speak, let alone sing.

So, this was a miracle to finally, after the better part of 4 years, being released. And the end result was pretty damn good. Although less guests than on the past records, and maybe not as many breathtaking tunes like "Dove Coloured Sky" or "The Grace" there is still a great flow and consistency on here. These songs are well written, very well and cleanly produced.

Evan Konrad also known as Bed of Stars, clearly is a talented singer and songwriter, so much so, he was featured one three songs, "Falling Apart" "The Lonely War" and "The Hereafter," including some of which he co-wrote. His voice definitely channels/is-influenced by Jimmy Gnecco and even Dallas Green, who had been on the previous 2 NWL records. His has a great falsetto, and I can totally see why Daniel has taken him under his wing. Bed of Stars is to be releasing music under Daniel's label, Ocean Records, soon as well.

I guess to offer a reference point, musically the songs on here do remind me of Peter Gabriel, Pink Floyd and maybe more on this album at times, U2. But they aren't exactly aping that style. It's more just using those artists ability to make at times darker, textured/layered pop/rock. The songs I wouldn't call simple or simplistic. But they aren't overdone. It's somewhere in that happy medium, that I have always liked about their music.

Now given this is only the 1st part, the 2nd may eventually impact how much I appreciate this album. I suppose to see the two as a double, or even listen to both all-at-once may happen. Although the previous two records were longer than this, I recall Daniel saying how he didn't want to release something as excessive as a double album. But the 2nd Part coming next Summer will feature among others, Jimmy Gnecco on 1 track. That alone has me very optimistic about it. But until hearing that, I am still going to be extremely satisfied with this one, especially given how much work I know it took to make. Also the fact a few weeks ago, Daniel sadly lost his studio due to water damage, makes this album and all the music he made there, almost more sad, and thus I want to appreciate it more.
.

21. Radical Face - The Family Tree: The Roots
I don't recall exactly who recommended this band, but I suspect it was a friend of mine on rateyourmusic who has been rather good at suggesting bands to me. And in looking back, it was May of 2010 I 1st checked out the 1st record Ghost from this band/project of Jacksonville, FL native Ben Cooper, whose also known for playing in a few other bands such as Electric President, Iron Orchestra and Mother's Basement.

I remember liking Ghost last year, enough to rate it at 3.5 stars and suggesting it to others. But not so much, I was keeping tabs on Radical Face after that. So, reading about this album, and it being the 1st of a trilogy (the other two "Family Tree" releases "The Branches" and "The Relatives" are expected in 2012), really got me intrigued.

It ended up being a really sublime composition of chamber folk/rock. I almost think I was surprised how good it was at 1st, almost forgetting what drew me to RF's music in the 1st place.

As I wrote in my initial posting:

So, in describing Radical Face, I suppose to call them sort of melodic, layered acoustic/chamber rock/pop/folk might be somewhat accurate. Of course hearing the music itself is best, but as a necessary evil, the artists I might compare them to being Punch Brothers, The Age of Rockets and even The River Empires, to name a few.

Its an album that has this dreamy almost spiritual side to it. Almost like an escape album of sorts. I do love how the subtle melodies and harmonies play with my attention. I'll put it on, enjoy the various emotions expressed, and think wow, damn that was great.

So, when the 2nd and 3rd parts come next year, I suppose any and all connections to this album may be made. I am expecting some ambition, given what it seems like Ben Cooper's trying to do here. How they compare musically, or other facets, we'll know soon enough. But just with this album I have come to already view Radical Face in a more favorable/memorable way.

2011 Album Index 40-31

2011-12-23T21:46:00.005-06:00

40. Falling Up - Your Sparking Death Cometh
Jessy Ribordy's original, heavier, more electric, rock-oriented band. Their last album, 2009 Fangs! I have come to enjoy a lot. And part of that is the production quality, and part of that also is the seemingly departure of the Christian element. Like Fangs!, this album was produced by Casey Crescenzo, and it was recorded at Casey's studio in Southern California.

I had high hopes for it, after enjoying Fangs! more and more, and contributing to the successful Kickstarter campaign. While I'd say at this point, I don't enjoy this album as much as Fangs! nor was it as addictive as I hoped (like The River Empires of course), I guess I enjoy a lot of it. There's a strong sense of grandiosity and epic-ness (if that is really a word to use), about it. It often sounds like Jessy's trying to sound like a rock band backed by a symphony orchestra. Lot of heavy, thick synthesizers and guitar tones, and doubled (or more tracked) vocals.

I suppose part of what hurt it overall is it's length. I'd say I enjoy the first two-thirds (or the 1st 35 or so minutes) of the album okay, but the last 3 or 4 tracks I almost get a sense of samey-ness to it.. But as far as specifics, the 1st track "Circadian" has one of those repeated vocal lines I can't get out of my head.

(x2) And they're burying all of the evidence
My glamorous words will catch them
Burying all of the evidence
Some thousands of eyes are watching (x2)

Songs like "The Wonder" reminds me of something off Fangs!, with the vocal and guitar textures. "Diamnds" and "Blue Ghost" are catchy enough, their melodies stay with me.

So while this album didn't blow me away, it still ended up as one of the albums I enjoyed this year. I guess it's clear though, I don't look for them to reach the interest level that The River Empires is, and maybe even The Gloomcatcher. But especially leaving the Christian side out of their music, I enjoy Falling Up enough. Now what exactly happens with Jessy's schedule and priorities in the future for each project? it seems still only up for speculation. I recall reading things favoring both Falling Up and The River Empires, and as well, the thing Casey Crescenzo mentioned to me about scoring films. I guess no matter what he does, it'll be something I and this blog will keep tabs on.

39. Skeleton Staff - Psychomorphism
The sophomore release from one of the best new power-pop bands. They hail from Australia, which happens to becoming more and more of a hotbed for new music.

Honestly, this album was released on December 12th, and I've only been able to listen to it 3 or 4 times. And the best things I can say about it is, it's like their last record, rather consistent and catchy. It doesn't vary too much, and it includes about 40 minutes worth of music.

Many songs include the trademark vocal harmonies and Brian May-ish guitar parts, catchy piano, and the occasional string layers. "Prince of Thieves," "The World In 7 Days," "Capsize" "Rat Poision" and "Gateway to the Stars" among them.

I think my favorite track could be "Turnstyle" which stands out stylistically being more groove/almost-funk oriented. It's very energetic and catchy.

A solid 2nd record from this band, which is one I suppose time will tell more on how well it holds up. But for now, it's an album I enjoy, and given how recently it was released, I probably will listen to more than some other 2011 albums in 2012.

38. The Galactic Cowboy Orchestra - All Out of Peaches
One of John Wright's, of Lehto & Wright's other, newer projects, which features his wife Lisi and 2 other talented musicians in Dan Neale on guitar and Mark O'Day on drums. Their sound blends a few genres pretty well in jazz, bluegrass and progressive rock, or as they like to call themselves "New Grass Art Rock."

This is their 2nd release, and I guess I'd say it's about as good if not a little better than their debut album from 2009 Lookin' For a Little Strange. There's a few songs on here that stand out, "The Blaze" "Five Up Front" "At Cross Purposes" the title track, plus the 2 epics "Memo 9" and "Minion." Some very nice violin work from Lisi on those, especially "The Blaze." That tune could be on pop radio to be honest, but of course, save for KFAI and maybe KBEM, none of the stations would ever consider playing it.

There's really good production on this album, and it captures at least a good amount of the energy they have live. Good musicianship, tight songwriting, dynamics that keep your attention, and a blend of styles all work here, like on their last record. They even covered surprsingly, a Lady Gaga song in "Paparazzi."

They've garnered some attention in other parts of the country on tour, which is good to know, but also silly that the same interest level may not be what it is even in their home here in Minnesota.

37. Jolly - The Audio Guide to Happiness (Part 1)
I first head this band's name in the summer of 2010. And I don't even think I listened to them, just based on some of the comments. They sounded like they were another one of those bands who are aping other, better bands. And then the Used Bin Radio guys interviewed one of the members and started talking about them enough to get me curious. And I checked out this record and enjoyed it somewhat, but not enough to go back to it more than one or two more times.

Well in the last month I revisited it, and realized it's definitely a grower, and the band can be awfully good at times. They do remind me of Oceansize among some other bands. Their singer I think was part of my issue with them, but his voice works well enough with their music. He has a deeper, (tenor?) style of singing on most of their songs. A bit like other bands such as Minus the Bear or Umphrey's McGee, in that they don't need a standout lead vocal for their songs to work. They just need to have vocal lines mix well enough with their music.

I'd say highlight-wise, tracks like the catchy-ness of "Joy," the almost-ethnic (Pat Metheny-s Pedro Aznar) vocal chanting on "Where Everything's Perfect" and "Still a Dream" along with the raw, heaviness and crunchy layers on "The Pattern" really do enough for me. Along with the narrative and segue sections, which might seem cheesy at 1st, but I think works overall and don't go on for extensive amounts of time.

So, while I don't know how big a fan of this band I'll ever become, nor are they the most original group I've listened to in many years or anything, I think their songwriting and the way this album was composed is impressive enough, I could easily see myself going back to it and their previous record in the coming years.

36. Younger Brother - Vaccine
This is a side-project of Simone Posford of the English electronic band Shpongle and Benji Vaughan of Prometheus. I've been continuously impressed in just hearing this in recent weeks, it jumped all the way up in the Index. I guess why that is, is primarily due to the flow and great moody nature of it. It's kind of a mix of electronic-pop/rock, and ambient music. I guess being a fan of groups like Stateless and Woven, among others (Porcupine Tree, Pure Reason Revolution, OSI ? even), this seemed to work really well. This album featured more vocals than their previous 2.

The 1st couple of tracks sound kind of poppy, but it seems from then on, the album flows rather well. A nice mood record, and also trippy enough at times to want to go back to listen closer. Their use of samples, vocal effects, guitar textures, and the drum work, are reasons to continue to go back to it.

Suggested: Night Lead Me Astray, Spinning Into Place, Train

35. Al Di Meola - Pursuit of Radical Rhapsody
I saw Al play a solo show I want to say back in 2008, and he played some of the music that ended up on this record live that was pretty great. I distinctly remember the Italian vibe to much of it, with accordion namely. His acoustic fret-board work plus those accordion textures, I couldn't forget.

So hearing this album I was brought back to that show a bit. Al Di Meola being who he is and his past work, the changing times and ultra busy leads are not something unusual. But I think the actual varying textures and dynamics give this record a unique style. It does remind me some of his early work (namely his 1st 4, classic lps), where I have my head-turn intermittently. I can't help just love hearing Al solo and play fast, but still within the structure of the songs he writes.

This record goes from multi-section italian, to latin jazz pieces that build to great peaks, to ballads that evoke great calm. While his presence was missed on the Return to Forever tour this Summer, this record at least gave me and many others our Al Di Meola and Jazz-Rock fix.

Kaddisfly - Demos & Rarities [Compilation]
Well I posted about this over the weekend, and it sort of came out of nowhere. I might not be so knowledgeable as to know the exact date Kaddisfly formed, but it was 10 years ago this past week, and this was the way they decided to say Happy Anniversary.

Kaddisfly has been on Hiatus since 2009, but not too long before that, they had recorded these demos for a showcase I recall in New York City in front of some major record labels. Some of these tunes I recall them playing live (and some other new songs as well, that apparently never got demo-ed well enough to share). "It Has to Be This Way" specifically is the song that I recall most. And I'll admit to having heard other versions of it, but the one on here they made available on their bandcamp page is without question the best.

But I'd say every song on here is excellent. It's almost a tease as it reminds me why I love Kaddisfly's music so much. "Man on a String" is probably as powerful and emotional a song I've ever heard them make.The ending of "Conan" is pretty crazy, almost like "Via Rail" in a way. "Hourglass" and "Lately" are both songs I could see working on any of their other records. Very lyrical and having those driving choruses. 'Slow Motion" and "You Are a Painter" are kind of epic, in a subtle way.

Most of the guys are now doing Water & Bodies, which is great, but this collection of songs just reminds me of what was so great about Kaddisfly, and what is different about Water & Bodies.

I suppose among the songs that didn't get included, one specific song, the 8-minute track "Flowers" is the main thing that comes to mind given it was supposed to be a b-side for Set Sail the Prairie . But in reading a comment a bit ago on their Facebook page about it, the band don't own the rights to it, their ex-record label Hopeless Records does. So the band sadly had no ability to include it. But it is on Youtube amongst other places online for those wondering.

34. Tokyo Jihen - Daihakken
A friend and co-volunteer in KFAI's music library was playing some stuff last June for me one week I was there, and this happened to be one of the bands he brought in. Tokyo Jihen (or Tokyo Incidents) are this Japanese group who explore many different styles of music, while featuring a female lead singer who can sing in many different styles (and accents). Call them J-Rock, J-Pop, jazzy punk, loungey-prog, pop-ballading reggae, Symphonic-pop, etc. They really pull off, quite well, an assortment of styles. But I suppose it's their overall songwriting I am impressed by the most.

I checked out some of their other records, and eventually their singer Ringo Shina's solo work as well. I believe it was Adult that was what my friend at KFAI was playing for me. A great energy record, and something I wanted to try and track down a hard-copy. I have yet to do so with that album, nor with this new album of theirs. "Daihakken" I guess means "discovery" in Japanese. A fitting title for me anyway.

Like a number of other albums this year, I find about a couple of songs in, it really starts to work. "Osorubeki Otona Tachi," is extremely catchy and yet jazzy/funky/loungey at the same time.

"Adam and Eve would toss the apple away,
the earth would turn the other way
You'd live up far on some barren star,
but down below you might hear us laughing
I'll give you all you're wanting so bad,
hold out your hands,
whisper a prayer
Can you feel forever and ever?

"(Kinjirareta Asobi)" is quite the rocker, "Atarashii Bunmeikaika" is playful power-pop number. I love the flow of "Sora ga Natteiru," which fades and then nicely segues into the following song "Kaze ni Ayakatte Ik,." That one which features some odd guitar textures along with Shina Ringo's repeated vocal phrasing on some lyrics, one being "Space Space Space Space Invaderssss" Even the last standard track "Onna no Ko wa Daredemo" has this great jazzy-pop charm to it.

So this is one of those records that has a handful of quite good, memorable tunes on it. And I can't say I ever got bored with it. The Japanese music I've gotten into in recent years is not extensive, with Mutyumu, Kacica, Presence of Soul and a few others. But this band (and Ringo Shina's solo work) are one I can include among that group now.

33. Team Me - To the Treetops
A member on the progressiveears.com forum suggested this band I want to say sometime last Summer. And honestly, a lot of the suggestions I get from that site are nice thoughts, but often don't do much for me. But this band for whatever reason, really did.

After checking out and liking their Self-Titled EP, I noticed this debut album coming out from this band from Norway. I actually didn't expect a full-length so soon. But after hearing the EP, I was rather intrigued by this full-length coming, and it turned out to be one excellent debut record. It's filled with upbeat, energetic, orchestral pop/rock. Vocally they remind me of Mew and some other bands. Including wonderful use of vocal harmonies Musically I'm reminded of the likes of The Polyphonic Spree, Annuals and Anathallo.

Song-wise, the thing that stands out most, is the outstanding flow from track-to-track. I'd say just the 1st 5 or 6 tracks are equally good. It's really one of those albums that's great to wake up to, or one to put on for energy or an uplifting mood. And that's why it got rather addictive, in a short time. And why I wouldn't be surprised I'll be listening to it often in the coming years.

32. Mutemath - Odd Soul
The 3rd album from this band, and the 1st since the departure of original/longtime guitarist Greg Hill. I was initially skeptical how good this could be with his leaving, but as it turns out, even with a little style change, the quality of the songwriting wasn't affected much if at all.

Actually, many others have said this is better than their last album from 2009 Armistice. While I wouldn't necessarily agree with that, I can understand why. There's some wonderful, epic tracks on this album. And they showed they can write music that's more heavily influenced by 70's classic rock and funk. Some of the fuzz guitar really grooves on this album. "Tell Your Heart Heads Up," "Quarantine," "Allies," and especially "Cavalaries" for example, have that great, badass groove.

The song "All or Nothing" is another standout, in that it starts out like one of their traditional ballads, but about 2:45-in this build starts on with what sounds like on a synthesizer, and it leads to this awesome climax.

This may ultimately become my favorite record of theirs (why I think I probably am underating it a bit at 32), and while I'd be surprised if I'll ever prefer their recorded music over their shows, this is definitely a sign of a band who hasn't tailed off in their songwriting. Now, they haven't made one of those perfect, epic, classic records yet, but at least they aren't a band I would soon dismiss based on this.

31. Hands of Despair - Hereafter
This is one of the best produced Metal albums I've ever heard. I'm not sure how, but I'd say this ranks up there with The River Empires, Kevin Gilbert and the last Soundscape album in amazement on the clarity and clean-tone that was able to be captured. So much so, I'm not sure I pay enough attention to the actual music itself.

But I did enough to appreciate this. Their vocals sound fantastic, some clean, some using deeper guttural growls really effectively. Some of the songs have nice quieter sections that segue well to the heavier parts. Many symphonic parts including synths (and mellotron perhaps?), blast beats, and forceful power chords all seem to work together with their vocals.

This is how Death Metal can work, or at least Death Metal with some doom and progressive elements being it's only 6 tracks, but all of which range between 7 and 11 or so minutes.. It's not over-the-top, but it's not generic. It's just well thought-out and precise. And it clearly is a band whose doing this music, to make good sounding music. If even a fraction of the hard rock and metal bands had this band's attention to detail, the production issues with so many albums would not factor in.

A really intense album, that at times is a mindfuck of ferocity.

Suggested: Creator, Shattered Memories

maudlin of the Well: (Limited) CD Reissues in 2012

2011-12-22T06:01:00.000-06:00

These are being issued in limited printing (250 I guess) by Finnish label Blood Music, sometime early 2012. As much as I love buying the Vinyls, I do want these on CD as well. Plus BONUS tracks.

Blood Music post on Facebook

Quick note to mention that we just picked up rights to re-release the long out-of-print Bath and Leaving Your Body Map in limited edition CD packages with a few extra never-before-released bonus songs.

Also, the previously never-before-released Part the Second CD.

These will come in limited runs of 250 copies only.

Proceeds from the agreement are going towards funding the final mixing stages of Kayo Dot's new album "Gamma Knife."

The River Empires - Cellar Door (Series)

2011-12-22T04:28:00.000-06:00

See this post on Facebook with Video Trailer

I am going to presume this is for a series, my guess would be a Web-based Series, just based on budget and interest levels. I'd love to be wrong and have this air even on some smaller Cable network like A&E or something, but I'm not expecting it.

But clearly, there's something soon to be announced, and how and whatever the format it is, it's titled "Cellar Door" from seeing that trailer. Hopefully there'll be more to know and add soon, like sometime early in 2012.

Also check out the new piece at jessy's blog

In order to help myself finish the end of my series pilot script, I wrote this piece. Right when it climaxes is when the last scene takes place, then credits will roll — in my mind.

And I did stumble upon this video a bit agoo on Vimeo, of Jessy in a studio last year sometime.

2011 Album Index 50-41

2011-12-22T03:51:00.002-06:00

50a. The Gloomcatcher - Starla Over the Fences [EP]

Jessy Ribordy's overflow project in the process of making music for The River Empires over the last couple of years. The debut LP from 2010 Slow Chorale I really enjoyed much of, and still find has not found quite the numbers from TRE and The Dear Hunter fans as I'd expect.

And this EP was I guess some material that he hadn't quite finished when Slow Chorale came out. Unfortunately, not many people talked about it or knew it was released this Summer. Although I did post some stuff about it, but in the grand scheme of things, 1 blog can only reach so many people, right?

Musically, it does share a lot with the Slow Chorale songs. The folky, dramatic, ironic lyrical style anyway. I'd say where it differs is primarily the use of keys, namely on the 1st 2 tracks "Junelight" and "Younger Wives." The other songs are more singer/songwriter, which hearing Jessy make those kind of tunes, I'm definitely more into than most typical singer/songwriters.

The concept behind it being about a Trial in the 1880's is not exactly mentioned in detail, but perhaps the lyrics are including more about the backgrounds of the people involved in the trial.

Overall, a good, solid EP, but I suppose The Gloomcatcher's potential is still unclear as there's a lot to like with this EP and Slow Chorale, but neither release has reached the addictive level of other great records. I guess depending on Jessy's schedule with The River Empires, Falling Up, and/or any other outside work, like scoring music for movies, The Gloomcatcher's future (or lack of sadly) may be based on.

Suggested: Younger Wives, Junelight, Horses

50b. Memoryhouse - The Years [EP]

This is technically the re-release/re-recording/re-mastering I guess of this Toronto based duo's debut EP from 2010. It includes a few new tracks as well. I guess the best thing to say about it is reminded me at times of a couple of groups I have adored. Warpaint, but maybe moreso, Kacica. The dreamy, ethereal, healing tone. And I'm a sucker for that trippy, sad, therapeutic music. I swear at least 3 or 4 times I listened to the tune "Modern, Normal" and thought I had been so mesmerized, I could have been somewhere else. Like astral-projection, something metaphysical, or having a dream and not realizing it.

And I'll credit Radio K for this one, as I heard them air songs off it a handful of times this Summer and Fall. Even though with the Radio K and P4K pimping, I'm still on board with this group. One of those (potential) rare hipster finds that are at least intriguing when they become visible. And their debut full-length is coming out on February 12, 2012 titled The Slideshow Effect. I guess we'll see if that ends up retaining their charm and special brand of hypnotic music.

One note about this though, as some people I know can't deal with drum machines, as I believe at least some of this does not include real drums. But their style of music actually doesn't seem to warrant much if any drums.

Suggested: Sleep Patterns, Modern, Normal

49. Opeth - Heritage

A polarizing record, and one that I can't say is even close to their best work. But I am not down about it really. It is what it is. And it's not Metal, which is not a big deal. But, it is more in the vein of Damnation, for me not to look at it like another band almost.

It really is Mikael getting to play Jethro Tull and King Crimson in some ways. Or Wolfmother for that matter. The 70's psychedelic (at times stoner) rock worship has been done by a number of other artists over the last 5 years especially. Some I found a waste of time (remember that band Astra?) to one-album wonders (Black Mountain) to some like Wolfmother, who don't try to reinvent any wheels.

And Opeth did not try to reinvent any wheels here. They just decided to make a retro-sounding record. And it worked for the most part. The songwriting is still good enough, and ear-worm worthy, namely "The Devil's Orchard" and "Slither."

Is this where Opeth is going? who knows. I do wonder if using the harsh-effect of growling on Mikael's voice all these years has led him to retire that trademark of his and the band's sound. Which may be sad, but understandable to me. But like some other records this year (that'll be in this years Index), this another case of the masses making too big a deal about what they expect from an artist with a large legacy they really have no responsibility to live up to.

So I'm just sitting back and not really expecting much. Much like 2008's Watershed, there's far too many who overreact and overrate things. Meanwhile, I just find other music to lean towards, and just enjoy this for what it is.

48. Jonas Bjerre - Songs and Music from the Movie Skyscraper

The 2nd release (or more?) in as many years from Mew singer/frontman Jonas Bjerre, outside of Mew. 2010's Apparatjik project, was a nice diversion and way to hear him sing in something similar, but slightly different than Mew. And this, I'd say also has that similar-to-Mew-but-not-exactly-Mew element as well.

This is a soundtrack to the Danish film Skyskraber (or "Skyscaper"), and the cinematic part of the music is evident. When I 1st heard it, I was rather impressed, almost to the point I wondered how addictive it might get. However, over some time, I guess a lot of the songs seem to blend, or have a similar melodic style. Some of that is just the vocals Jonas sings on here. And part of that likely is just what worked for the movie, which I'll admit, to not having seen.

But, it's a record that's enjoyable, and has enough moments like "There's a Cloud In My Brain" "The Story of a Would-be Traffic Light and "Waste It" that are dreamy, playful, calming like a lot of Mew's last record No More Stories, I still got enough from this recording. The interludes, instrumentals, and slower ballads I suspect involved much of the story, which I guess is a coming-of-age-story about a young man who faces challenges involving family, love, social anxiety among other things.

47. Pain of Salvation - Road Salt Two

This was a bit of a comeback record to me as I didn't expect a ton given how uninterested I was in 2010's Road Salt One. Although some of that could be how forgettable Road Salt One was, there was almost no chance this record would even be half as bad. So, I'd say it wasn't.

The 70's blues and psychedelic rock influence is here again of course, but with some nice flourishes and orchestral sections. "Healing Now," "To the Shoreline," "The Deeper Cut," "The Physics of Gridlock" all have their moments. Jazz-like drum work from Leo Margarit, to sweeping acoustic guitar. Even the previously released "Mortar Grind" has it's charm and memorability.

Is this a step in the right direction? I might say yes, but with Fredrik and Johan Hallgren now leaving, the bar is still rather low for what Pain of Salvation does next. That is the best way to avoid being burned I've found, and with this record even placing this year (as opposed to RS 1 not placing in 2010), it might say something about learning from experience. I just wonder if eventually I'll never expect Daniel to ever make anything resembling the style or quality of their "peak period" (Entropia through Remedy Lane) sadly. But its not like every band/artist even has a "peak period" in their history anyway.

46. Glen Campbell - Ghost on the Canvas

Much of this was very unexpected. Thanks to a caller named Tony on Used Bin Radio for suggesting this record to the hosts Brad and Joe, and then myself taking their recommendation. Some of this is orchestral, some of it is epic. Some of the melodies stay with you. It's not overwhelming, but it's also not really boring.

The title track may be the song you retain the most. But others like "A Thousand Lifetimes" "It's Your Amazing Grace" "In My Arms" and even some of the segues tracks and sections of songs, add to the charm of this album. Some great banjo, piano, and mix of slide, acoustic and electric guitar add to how well this record came out.

Bittersweet how the man has alzheimers, and how this could be his Swan song work. But I don't sense his condition hurt how well this record came out.

45. Canon Blue - Rumspringa

One week over the summer I noticed at KFAI we got a copy of this record. Around the same time, Radio K was playing the 1st track on their air "Chicago" quite frequently.

This band reminds me of a couple of other bands, namely Mutemath or even Paper Route.
It's that textured, loopy, almost-electronic style of poppy Rock they fall into. But they also include many chamber elements like horns and strings, almost like Sufjan Stevens. The songwriting is pretty consistent, which features rather precise drum work on nearly every song.

The songs are all named after different cities, almost entirely in the Upper Midwest. They are from Nashville I guess, so maybe that was mostly inspired from their time on tour. I'm not sure if there's any more to that being a concept of a sort, but for what it's worth, the record sounds pretty cohesive.

Suggested: Fading Colors (Bloomington), Indian Summer (Des Moines), Heavy Heart (Minneapolis A), Chicago (Chicago)

44. Trent Romens - Aware

This is the debut record from a new, young blues-rock/singer-songwriter from Minnesota. I just posted some stuff about this album a few weeks ago after purchasing a copy of this at a headlining show he did with The Galactic Cowboy Orchestra.

Like the show I saw, I guess I became unexpectedly surprised how much of the blues, and the guitar solos got my attention here. Blues rock often features those great solos, and when they work, they are really tasteful to me. Among the songs on here that do include those, the track "Loves Lost Cause" is probably go-to track 1st and foremost. I just can't help but turn my head when he goes into salsa-prog mode on that one.

Other songs on this record add to its flow and consistency such as "Fairy Tale" "Right Back Where I Started" "Key to the Highway" and "Going Down Slow" "I'm Sorry Sheriff.." Twang guitar, keyboards, vocal harmonies, and the less-is-more feeling I get from it, really impressed me. Given this is his 1st release, Trent Romens seems like he may have a bright future for fans to look forward to, locally in Minnesota or otherwise.

43. Gotye - Making Mirrors

"Somebody That I Used to Know" the song featuring Kimbra, probably has been and still is the best song I've heard all year. At least the most memorable and addictive. And after a ton of buzz in Gotye's native Australia this Summer, it seems the last few months, it's finally reaching the audience it warrants. The video being as visually noteworthy, in a Peter Gabriel-esque way also has helped.

And this record should finally be released in the US in 2012, which probably will get his name out there even more. Although whether the interest in Gotye's new album will go far beyond that specific song is unclear. But for myself, this record does go beyond that tune.

"Easy Way Out" reminds me of The Beatles "Daytripper" for some reason. "State of the Art" uses what sounds like vocoder and some other voice-effects, pretty well, even as it can sound a little silly at times. That song also features some samples, which having listened to his previous record Like Drawing Blood, is one part of his music I really enjoy..

"Eyes Wide Open" almost sounds New Wave-ish. "Smoke and Mirrors" is another one that has a vibe that I retain, with it's moody, mystical element. "I Feel Better" almost sounds like it could have been written in the 60's, and is a rather uplifting power-pop-ish tune. "In Your Light" is rather percussive and almost tribal sounding, but also including horns.

The only thing I guess hurt this record is there's like 3 or 4 tunes, specifically towards the end, that are more or less forgettable. Because along with it's hit, this record has a lot of meat to it, that it probably could've warranted placing a fair amount higher. But perhaps being attached to Kimbra's record and his previous one hurt the way I saw this, and how addictive it was. However, I wouldn't be surprised if I end up listening to it more in the coming years still.

42. Marketa Irglova - Anar

The female presence of the duo The Swell Season. The globe got to know her when the 2007 movie Once came out, and then the following Movie Awards season saw them nominated and win at the Academy Awards, Golden Globes and Independent Spirit Awards for the song "Falling Slowly."

And I've enjoyed seeing her live with The Swell Season, and their recorded music. But this is the 1st music I've heard from Marketa on her own. And some of this reminded me how much I love her voice on some of the TSS songs she's featured on.

Even though, many of her vocal parts don't vary here, there's a wonderful, almost melancholy element to this whole record. She has a subtle, touching soul to her voice, vocal harmonies, along with much of the instrumentation including strings and piano, I got sucked in to really enjoying this album, probably more than I expected.

And I now feel even worse not seeing the new The Swell Season documentary, along with missing her show at The Cedar Cultural Center on Black Friday (I went to see Rush Heads in Eau Claire, WI instead).

Suggested: Crossroads, Go Back

41. What's Left of Her - Perceptions

Technically, this is a 2010 album, given it was 1st made available from the band back in November. But as in this blog's history, I wasn't introduced to it or the band until early this year. And given the late point it was released last year, it qualifies for 2011.

In re-reading my comments earlier this year, their sound could be described as "progressive deathcore." Which most deathcore, I don't care for. But the way they use keys, including at times in a video-game toned/style, seems to allow them and this album to stand out. I also noted how the flow of this record was/is a reason I kept going back to it. Great energy, and lacking in dead spots. Along with very little to no issues with the cymbals clipping that I recall , I found myself going back to this album many times early in 2011.
(although streaming on youtube might not be the best way to tell, edit: yeah, the free mp3 zip on their facebook sounds VASTLY BETTER than the streams on youtube)

Along with Painted in Exile and a few others, this is one band who does hold some reason to still pay attention to the 'core styles of Extreme Metal.

Suggested: : A New Aesthetic, Oceans, Needlework, When I Was Human

For What It's Worth: 5 Year Anniversary Today

2011-12-21T11:51:00.002-06:00

5 Years ago today, on December 21st, 2006 I made my 1st post in "All Media Reviews"

Here it is/was

1 entry I talked about meeting Prince

I don't have time right now to write up a whole reflection entry, etc as I'm at work. Maybe later.

But for now, just a little nod/note etc that I've now wasted 5 years (and over 900 or some entries, lol) of my life in this little blog.

Happy Anniversary, to me, lol.

although technically, if you consider my livejournal, it's been a lot more than 5 years :p.

Akphaezya: new song "Genesis"

2011-12-20T08:25:00.000-06:00

From their post on Facebook

Akphaezya "Genesis" by Akphaezya

will check it out later.

Steven Wilson - Cut Ribbon

2011-12-20T03:55:00.000-06:00

http://soundcloud.com/steven-wilson/tracks

CUT RIBBON by Steven Wilson

pretty badass as I remember it. It being the original demo that was on his myspace, that was at least inquired, if not mentioned to be part of the project he was to make with Mikael Akerfeldt. That project, now being Storm Corrosion. But I follow why it (likely) will not.

It's probably best suited for one of his solo records or Porcupine Tree.

2011 Album Index 60-51

2011-12-18T17:54:00.003-06:00

This is the 1st entry, hopefully with the next 5 (50-1) rather soon. And an editorial/summary/hyperbole by myself of 2011 will be included either as an EDIT in here (unlikely), as a separate entry (maybe), in the to-follow Turkey Blog (quite possibly), or the final Entry 10-1 (probably).

But as I am definitely time-crunched for the next few hours, that part of this amateur-journalist's editorial will be put on hold.

60. Jon Anderson - Open [Single/EP]
I don't have extensive things to say about this 20-minute single/ep of Jon Anderson's other than, I checked it out a couple of times and enjoyed it. It has some great, at least isolated, moments of orchestration and various instruments. I suppose I might compare it a bit to the Yes album Magnification, but some of the ideas are drawn-out a little more effectively. But the honest to god truth be, I need to hear it more to see where it compares to his best work (namely Olias of Sunnhillow) and the Yes stuff of course. I guess at this point, I'd rather listen to this than Fly From Here which is sad, but not completely surprising. But then again, had I been able to listen to this more, it might be a bit higher as well.

59. Sigmund Droid - Black Motorboat [EP]
This is only a 2-song EP/Single of sorts, having the title track and "Nightrace" but both of these tracks are great. Much in the vein of their 2009 debut EP Maximum Grind. Catchy, groovy, and some of that 80's post-punk electro, almost-Thomas Dolby-esque vocal style that Apes and Androids used so well. This band are one of the best things around since A&A's absence. Although it doesn't hurt Pablo used to play with A&As, which perhaps some of those guys influence may have influenced their music. Given this was only 2 songs, hopefully Solomon and Pablo have more work coming soon, perhaps in 2012.

58. Steven Wilson - Grace for Drowning
I'm not gonna lie, I listened to this record maybe 3 times. And while I did like enough of it, I didn't find the desire to go back to it much, obviously. But, I guess given it's around 90 minutes in total, and includes enough moments I enjoyed, much of "Raider II" namely, it kind of by default skates by the Turkey-blog status. Is it jazzy? yeah. Are there many parts that echo his past work? definitely. Does it sound inspired by early King Crimson? yeah, but specifically, albums like Lizard and Islands are like this to me, *mood music* at best (unlike stuff like In the Court of the Crimson King, The Wake of Poseidon, Lark's Tongue in Aspic, or Red).

I'm not sure if ultimately I'll prefer this over his 2008 debut Insurgentes. Probably right now, I do slightly, maybe due to the fact it's actually 2 records (Deform to Form a Star and Like Dust I Have Cleared from My Eye), not a double LP in fact. And looking at each LP individually, like Marillion's Happiness is the Road or The River Empires Epilogue Volumes 1 and 2 in a way, it's length doesn't seem so much of a chore.

But I guess I still distinguish in quality, Porcupine Tree's music to work best for my taste (save for the in-your-face-lyrics and lacking-substance hiccup in 2007's Fear of a Blank Planet). Unfortunately, his plans for 2012 are to work on his next solo record, instead of the next work from Porcupine Tree. So, given my feeling about these solo releases of his, I wouldn't foresee his return to the higher part of the Index soon. But, for what it's worth, I'll take this over the new Blackfield record in a heartbeat.

57. Stateless - Matilda
This is not as unique or song-quality wise as consistent as the Self-titled debut album from 2007. But, I listened to it a number of times early in the year to rate it around 3 stars. Songs like "Ariel" and "Song for the Outsider" have their big enough moments. In a way this record is a mixture of strings-and-electronica with Jeff Buckley-esque vocal inspiration.

I guess this record probably could have placed higher, but it wasn't as demanding when it was available, and a number of other records kind of usurped my attention from it. I suppose some revisiting may help it in the coming years.

56. Cynthesis - DeEvolution
This record could have found it's way up much higher than this. The Tiptun brothers from Zero Hour reuniting with ZH's original singer Erik Rosvold (namely from their classic 2001 release The Towers of Avarice) seemed like an incredible reunion. And my feeling about this album is it was pretty great in terms of the style and songwriting, even with a little departure of the Zero Hour technicality. However, after about 4 or 5 times hearing it, the ole mix-killer of tambourine-toned-compression problem of the splash and crash cymbals from Enchant's Sean Flanegan, killed my desire to go back to this. Although, there have been much worse cases of those tambourine-sounding cymbals, they just kept sticking out too much that I was forced to not listen to it much, after purchasing a hardcopy from The Lasers Edge even.

The actual songs style is quite cool though, with many psychedelic layers and transitions worthy of Pink Floyd. And Erick's vocals sound awesome here. It is pretty sad that the cymbals ruined this, because to hear him sing on record again brought a lot to me initially hearing this. Why this isn't in the Turkey Blog, is mainly due to how high it was originally, and it only having 1, albeit significant, issue.

55. Typhoon - A New Kind of House [EP]
I noticed this name among some of the Margot & the Nuclear So & So's fans. Also I recall a review on rateyourmusic.com suggesting this Portland, OR-based band over another band I discovered this year in The Minor Canon. I ultimately enjoyed them more than The Minor Canon this year. Their use of strings and horns appealed to me as I tend to be a sucker for the college rock bands using the chamber-element effectively. Also their use of dynamics and percussion (even just clapping, like Margot, Anathallo, Jared Micah & Hats or many others have used) Their singer has an odd way of pronouncing some words, but not so odd that it detracts from his singing, and in a way, it makes them a little more distinct.

I also enjoyed some of their 2010 debut record Hunger and Thirst, which supplants them as a band to keep tabs on. Perhaps their next record will be coming soon, and allmediareviews should pass along info when it crosses my radar.

Suggested: "Claws Pt 1," "Home"

54. Strange Maps - Technicolor Experiments [EP]
Space-rock is one of those styles of music that when it works well, it's pretty awesome. And this debut EP from this group from down under, does include some of that awesome-ness. What's odd is how they have a female singer and it does tend to work well enough. I suppose their style isn't purely space rock though, with some more traditional blues-based rock. But the trippy wah-wah-pedal guitar tones and even use of samples are what stand out most. There's even some saxophone on the epic last track "Ornamental Damages."

Another promising new band doing prog of a sort from down under, and one of the best EPs of 2011.

Suggested: "Era Vision" "Ornamental Damages"

53. The Cloak Ox - Prisen [EP]
Back in March I saw this band open for Menomena the lone concert I have seen at the University of Minnesota's Coffman Student Union. And while seeing Menomena was obviously the reason I went, I was sure glad to have seen these guys as well. It's kind of a supergroup or at least new collaboration from members of other Minnesota-based bands/projects. Namely Martin Dosh of Dosh, and Andrew Broder of Fog. And while I have never listened to either of those bands extensively, I have known and respected them.

That evening they kind of shocked me at the various styles of rock music they explored. From Post-Rock, to Power-Pop, to Prog, to blues-rock and more. I was pretty intrigued to not only see them live again, but hear what they came up with on record.

And this EP does feature some of that blending of genres, although overall it reminds me of a few bands at times, like the aforementioned Menomena and Broken Social Scene. Twin Cities radio loved the title track (with an "o," not an "e") and "Artist at the Door." But my favorites would easily be the changing dynamics of the opening track "AllahYouAkbar" and "Vacuum Cleaner."

Suggested: "AllahYouAkbar" and "Vaccum Cleaner" available on their Bandcamp page.

52. Oedipus - Holding Out for More [EP]
La La La La La La La-La-La, La La La La La La La-La-La, La La La La La La La-La-La. New EP from this band whose been working off and on since their debut album in 2004 Humbility. I kind of have seen them in a similar mold to the college-hard-prog-power-pop style of some others like Muse, Silverchair, Biffy Clyro and even Fair to Midland a bit. On this new EP of theirs, they have embraced the power-pop side of their sound more so. And the la-la-la's I refer to, are from "Tres Las" an incredibly catchy tune.

But beyond that track, the entire EP seems to work in their style of catchy, slightly experimental hard rock (and humorous/ironic lyrically). The title track, "Gimme a Chance" "Burn it Down" "Jack and Ginger" etc. And this EP is to the springboard for a full-length record expected to come in the Spring of 2012, after they announced signing to the hybrid record label THC.

51. False - Untitled [EP]
Pretty impressive debut EP that only includes 2 songs, but both clocking in over 12 minutes, from this Minnesota-based atmospheric black metal band. They impressed someone enough, they got written up on
National Public Radio's site.

Although, as great as that is, NPR, like Minnesota Public Radio, when they try and include various forms of Metal, namely extreme Metal, they come across as doing so, just to say they include some Metal, lol. Yeah, well, that's like me claiming I cover Hip-Hop in depth. Or even seeing Opeth, Mastodon, Agalloch and whatnot get publishing from P4K. Sorry, but there's an underlying hippocrasy to an extent about it, and I can't be fully on board until they really start including artists who they have no business ignoring.

But about this EP, impressive and moody at the same time. Black Metal that gets heavy, dark, therapeutic, and climactic. One of the best Metal bands in Minnesota. I met Andrew from the band outside after seeing Opeth a few months ago, and I was immediately impressed by the stream. What I don't get at this point is, how to find out when they play live (or if they do) given they have no facebook page. Only bandcamp and an email (and last.fm I suppose). But hopefully more of that stuff will come up in 2012 as one of the oddest things was seeing many votes for them on the 2011 Citypages "Picked to Click" poll. A poll, ironically, I did not get to vote for them or anyone (no thanks to/despite an email I sent to Andrea Swensson about it last year, lol).

Suggested: Go to False's Bandcamp page to hear it.

Kaddisfly - Demos & Rarities (2011)

2011-12-18T01:48:00.006-06:00

http://kaddisfly.bandcamp.com/

Demos & Rarities by Kaddisfly

1. Man On a String 3:49
2. Lately 4:12
3. Hourglass 2:58
4. It Has To Be This Way 3:34
5. Conan 3:04
6. You Are A Painter 4:11
7. Slow Motion 4:10

Holee Fuck.

Seriously, these are TREMENDOUS. I dig Water & Bodies, but these are just, so fucking good. So big, dynamic, epic, powerful.

Most fans, including those who are very into W&B still stand by the belief K-Fly are more or less done. But if you do hear it from some that know the guys (Dan Fury and some others namely), they'll still stick with Kaddisfly is not ultimately done, and someday Horses Galloping on Sailboats will be fully written and recorded.

edit: This is a collection of demos and rarities recorded between 2007- 2008. There is no timeline for when Horses Galloping on Sailboats will be recorded. These songs are for all the fans that have stuck with us and shown their love. This marks our 10 year anniversary. Thank you.

credits
released 17 December 2011
Tracks 1-3 recorded at Rain City Studios (Portland, OR). Produced by Ryan Furlott.

Tracks 4-6 recorded at Interlace Audio (Portland, OR). Produced by Kris Crummett.

Track 7 recorded at East Lake Recording (Springfield, MA). Produced by Enoch Jenson.

Original Artwork by: Ryan Case
Cover Design by: Christopher Ruff

The last thing I heard in regards to Kaddisfly, was some talk of doing a reunion show, I want to say the hope was this fall, but I don't believe it ever happened.

Anyway, as far as this release, they sound awesome, and you know what? I am going to likely include these in my 2011 Index, as silly as it sounds. These songs I'll probably go back to, at least a few times in the coming weeks, to believe this collection, even just as demos (and what sounds like pretty damn well produced demos, at that), they are as good if not better than many records from earlier this year.

Also the fact, I fucking love Kaddisfly doesn't hurt.

Along with last year, while at least it was in November, those The River Empires Demos/Rarities were somewhat in a similar in coming-in-at-the-last-minute-but-still-too-good-not-to-forget.

I dunno, maybe putting these up may spark something new from Kaddisfly camp in 2012? Water & Bodies have done their thing, 2 EPs and a full-length. If Kile and Beau are both available in some capacity, maybe those guys could find the time next year. I know a ton of fans would be totally overjoyed. In the mean time, I and those fans are going to love the fuck out of these tunes.

And to think, some moron at Atlantic Records chose Circa Survive over hearing these? lol. So typical, yet still incredibly pathetic.

oh and one other note, I likely would have been on these earlier, but I just saw The Book of Right On headline at The Cedar Cultural Center. Incredible show (from them namely). But to say that along with a cold and stuff with the gf may make the near impossible, just that (impossible) given net hours to write 50 some blurbs. My best guess will be I'll email and call-in to Used Bin Radio on Tuesday night, and at least by the time said show is aired the next week on purerockradio.com along with the podcast shared, a great amount if not all 50 + blurbs will be available.

But for now, tomorrow, maybe Monday, I will only get done what I can, and publish what makes sense. All of it by Tuesday's call-in? if I get in-the-zone, perhaps. But pulling that off would be one of those miracle-jobs of mine.

It also is probably worth mentioning, the 5-year anniversary of this blog came on December 4th, 2011, but I didn't write anything officially until December 21st. So this Wednesday is sort in-effect my 5-year anniversary. What may I do for it? I honestly don't know right now; perhaps something along the lines of sharing 1 or 2 memories/entries or something, lol. Or maybe nothing more than writing "Happy 5 years. Now it's time for me to quit..or maybe my goal now is to see if I can waste more of my life away in the next 5 years, so by December 21st, 2016 I'll know."

The Book of Right On - How Many Ways Can You Say That You're Speaking (2012)

2011-12-18T01:42:00.000-06:00

They just shared one of the songs from this they played last night "You'll Get Nothing and Like it" (and you can hear me utter "The World Needs Ditchdiggers too" hehe)

This is the title of their upcoming 2nd full-length record, that David, their singer mentioned last night at the show at The Cedar Cultural Center. I'd love to write an extensive review of the show right now, but I also have 50 blurbs to write for the Index. I will say, it was awesome to see them at a venue like The Cedar, and the new music that is expected to be included on this upcoming record of theirs sounds rather promising. Some instrumental songs, at least one being rather funky/groove-oriented. When this gets released? well, they have 1 more show scheduled for February 11th at Cause Spirits and Wine Bar, but more or less what David and maybe some of the others I was able to chat with said, they are going to focus on finishing this record after that point.

In other words, if all goes planned, the record could be done the 1st half of 2012, and come out sometime in the Summer or possibly earlier.

The Book of Right On are probably my favorite local band now (no disrespect to Between Two Skies, but I rarely see them, and their album may never come out ala Bubblemath) after seeing them last night.

one or two other opinions to add;

-I guess their name is taken from a Joanna Newsom song. Not a big deal to me, even though I'm not a fan of Joanna Newsom. I would be curious if Joanna Newsom has ever heard of them. Maybe she could play some harp with them sometime. Just as long as she keeps her voice off the mic.

-Some descriptions are calling them "punk" well, I guess having heard their music enough, including 2 shows and their previous/debut album All These Songs About Music, I'd say they have very-little to no punk rock in their sound. The bombastic nature I guess might fit, but they are so meticulous and busy with many layers, parts, etc punk really seems almost the last thing I hear in their music. Now "prog" on the other hand, without question is apparent. But it'll be interesting when this record comes out, what some of the other bloggers and media sources say. Prog, punk, jazz, funk or whatever. I really hope they could become a lot more visible with its release, especially if they have just 1 tune that 89.3 and Radio K is interested in playing.

The Book of Right On Facebook
The Book of Right On Reverbnation Page

Annuals - Born Raised (2012)

2011-12-16T12:11:00.000-06:00

facebook post

one piece of the puzzle that is the forthcoming annuals record titled 'Born Raised'

the song in that post "Mark Beatle" I believe is playing now.
link to "Mark Beatle" on Soundcloud

pretty excited for this album.

Steven Wilson interview (including a bit about Storm Corrosion)

2011-12-15T19:48:00.001-06:00

interesting point he makes about length of albums. 40-45 minutes being the length of most "classic" records, and how the listener's attention span begins to drop off. It's a generalization, but one I wouldn't disagree with.

As far as Storm Corrosion, the "trilogy" idea (with Grace for Drowning and Heritage0 kind of makes me more skeptical about it, mostly in how the songs or extensively long and share a lot in common with those 2 albums.

I'm not sure if it'll ever happen, but whether he tries to or not, his work always seems to carry a certain element that isn't too far of a departure. In other words, his style remains the same.

But, often times it's good to not expect tons, as being pleasantly surprised can happen.

Another thing he mentioned about writing music and thinking of Cinema. It may never happen, unless Casey Crescenzo brings it up, but I would be curious what his thoughts would be about The River Empires, for various reasons, but one being the fact it is music that is actually being written for Cinema (or television).

2012 Golden Globes

2011-12-15T09:22:00.002-06:00

a few names nice to see like Johnny Galecki for The Big Bang Theory, but as it always happens, far too many omissions like Psych. I have yet to see a number of the movies nominated, namely Moneyball. But I'm starting to wonder if this year could end up being an even worse year for movies than last year.

Ricky Gervais is hosting again, which should be worth watching these alone for.

I'll try and find the time soon around or after the 2011 Album Index is done to dissect these as I like to do.

BEST MOTION PICTURE -- DRAMA

THE DESCENDANTS

THE HELP

HUGO

THE IDES OF MARCH

MONEYBALL

WAR HORSE

BEST PERFORMANCE BY AN ACTRESS IN A MOTION PICTURE -- DRAMA

GLENN CLOSE, ALBERT NOBBS

VIOLA DAVIS, THE HELP

ROONEY MARA, THE GIRL WITH THE DRAGON TATTOO

MERYL STREEP, THE IRON LADY

TILDA SWINTON, WE NEED TO TALK ABOUT KEVIN

BEST PERFORMANCE BY AN ACTOR IN A MOTION PICTURE -- DRAMA

GEORGE CLOONEY, THE DESCENDANTS

LEONARDO DICAPRIO, J. EDGAR

MICHAEL FASSBENDER, SHAME

RYAN GOSLING, THE IDES OF MARCH

BRAD PITT, MONEYBALL

BEST MOTION PICTURE -- COMEDY OR MUSICAL

50/50

THE ARTIST

BRIDESMAIDS

MIDNIGHT IN PARIS

MY WEEK WITH MARILYN

BEST PERFORMANCE BY AN ACTRESS IN A MOTION PICTURE -- COMEDY ORMUSICAL

JODIE FOSTER, CARNAGE

CHARLIZE THERON, YOUNG ADULT

KRISTEN WIIG, BRIDESMAIDS

MICHELLE WILLIAMS, MY WEEK WITH MARILYN

KATE WINSLET, CARNAGE

BEST PERFORMANCE BY AN ACTOR IN A MOTION PICTURE -- COMEDY OR MUSICAL

JEAN DUJARDIN, THE ARTIST

BRENDAN GLEESON, THE GUARD

JOSEPH GORDON-LEVITT, 50/50

RYAN GOSLING, CRAZY, STUPID, LOVE.

OWEN WILSON, MIDNIGHT IN PARIS

BEST ANIMATED FEATURE FILM

THE ADVENTURES OF TINTIN

ARTHUR CHRISTMAS

CARS 2

PUSS IN BOOTS

RANGO

BEST FOREIGN LANGUAGE FILM

THE FLOWERS OF WAR (CHINA)

IN THE LAND OF BLOOD AND HONEY (USA)

THE KID WITH A BIKE (BELGIUM)

A SEPARATION (IRAN)

THE SKIN I LIVE IN (SPAIN)

BEST PERFORMANCE BY AN ACTRESS IN A SUPPORTING ROLE IN A MOTION PICTURE

BERENICE BEJO, THE ARTIST

JESSICA CHASTAIN, THE HELP

JANET MCTEER, ALBERT NOBBS

OCTAVIA SPENCER, THE HELP

SHAILENE WOODLEY, THE DESCENDANTS

BEST PERFORMANCE BY AN ACTOR IN A SUPPORTING ROLE IN A MOTION PICTURE

KENNETH BRANAGH, MY WEEK WITH MARILYN

ALBERT BROOKS, DRIVE

JONAH HILL, MONEYBALL

VIGGO MORTENSEN, A DANGEROUS METHOD

CHRISTOPHER PLUMMER, BEGINNERS

BEST DIRECTOR -- MOTION PICTURE

WOODY ALLEN, MIDNIGHT IN PARIS

GEORGE CLOONEY, THE IDES OF MARCH

MICHEL HAZANAVICIUS, THE ARTIST

ALEXANDER PAYNE, THE DESCENDANTS

MARTIN SCORSESE, HUGO

BEST SCREENPLAY -- MOTION PICTURE

WOODY ALLEN MIDNIGHT IN PARIS

GEORGE CLOONEY, GRANT HESLOV, BEAU WILLIMON - THE IDES OF MARCH

MICHEL HAZANAVICIUS - THE ARTIST

ALEXANDER PAYNE, NAT FAXON, JIM RASH - THE DESCENDANTS

STEVEN ZAILLIAN, AARON SORKIN - MONEYBALL

BEST ORIGINAL SCORE -- MOTION PICTURE

LUDOVIC BOURCE - THE ARTIST

ABEL KORZENIOWSKI - W.E.

TRENT REZNOR, ATTICUS ROSS - THE GIRL WITH THE DRAGON TATTOO

HOWARD SHORE - HUGO

JOHN WILLIAMS - WAR HORSE

BEST ORIGINAL SONG -- MOTION PICTURE

"HELLO HELLO" -- GNOMEO & JULIET

Music by: Elton John

Lyrics by: Bernie Taupin

"THE KEEPER" -- MACHINE GUN PREACHER

Music & Lyrics by: Chris Cornell

"LAY YOUR HEAD DOWN" -- ALBERT NOBBS

Music by: Brian Byrne

Lyrics by: Glenn Close

"THE LIVING PROOF" -- THE HELP

Music by: Mary J. Blige, Thomas Newman, Harvey Mason, Jr.

Lyrics by: Mary J. Blige, Harvey Mason, Jr., Damon Thomas

"MASTERPIECE" -- W.E.

Music & Lyrics by: Madonna, Julie Frost, Jimmy Harry

BEST TELEVISION SERIES -- DRAMA

AMERICAN HORROR STORY

BOARDWALK EMPIRE

BOSS

GAME OF THRONES

HOMELAND

BEST PERFORMANCE BY AN ACTRESS IN A TELEVISION SERIES -- DRAMA

CLAIRE DANES, HOMELAND

MIREILLE ENOS, THE KILLING

JULIANNA MARGULIES, THE GOOD WIFE

MADELEINE STOWE, REVENGE

CALLIE THORNE, NECESSARY ROUGHNESS

BEST PERFORMANCE BY AN ACTOR IN A TELEVISION SERIES -- DRAMA

STEVE BUSCEMI, BOARDWALK EMPIRE

BRYAN CRANSTON, BREAKING BAD

KELSEY GRAMMER, BOSS

JEREMY IRONS, THE BORGIAS

DAMIAN LEWIS, HOMELAND

BEST TELEVISION SERIES -- COMEDY OR MUSICAL

ENLIGHTENED

EPISODES

GLEE

MODERN FAMILY

NEW GIRL

BEST PERFORMANCE BY AN ACTRESS IN A TELEVISION SERIES -- COMEDY OR MUSICAL

LAURA DERN, ENLIGHTENED

ZOOEY DESCHANEL, NEW GIRL

TINA FEY, 30 ROCK

LAURA LINNEY, THE BIG C

AMY POEHLER, PARKS AND RECREATION

BEST PERFORMANCE BY AN ACTOR IN A TELEVISION SERIES -- COMEDY OR MUSICAL

ALEC BALDWIN, 30 ROCK

DAVID DUCHOVNY, CALIFORNICATION

JOHNNY GALECKI, THE BIG BANG THEORY

THOMAS JANE, HUNG

MATT LEBLANC EPISODES

BEST MINI-SERIES OR MOTION PICTURE MADE FOR TELEVISION CINEMA VERITE

DOWNTON ABBEY

THE HOUR

MILDRED PIERCE

TOO BIG TO FAIL

BEST PERFORMANCE BY AN ACTRESS IN A MINI-SERIES OR MOTION PICTURE MADE FOR TELEVISION

ROMOLA GARAI, THE HOUR

DIANE LANE, CINEMA VERITE

ELIZABETH MCGOVERN, DOWNTON ABBEY (MASTERPIECE)

EMILY WATSON, APPROPRIATE ADULT

KATE WINSLET, MILDRED PIERCE

BEST PERFORMANCE BY AN ACTOR IN A MINI-SERIES OR MOTION PICTURE MADE FOR TELEVISION

HUGH BONNEVILLE, DOWNTON ABBEY (MASTERPIECE)

IDRIS ELBA, LUTHER

WILLIAM HURT, TOO BIG TO FAIL

BILL NIGHY, PAGE EIGHT (MASTERPIECE)

DOMINIC WEST, THE HOUR

BEST PERFORMANCE BY AN ACTRESS IN A SUPPORTING ROLE IN A SERIES, MINI-SERIES OR MOTION PICTURE MADE FOR TELEVISION

JESSICA LANGE, AMERICAN HORROR STORY

KELLY MACDONALD, BOARDWALK EMPIRE

MAGGIE SMITH, DOWNTON ABBEY (MASTERPIECE)

SOFIA VERGARA, MODERN FAMILY

EVAN RACHEL WOOD, MILDRED PIERCE

BEST PERFORMANCE BY AN ACTOR IN A SUPPORTING ROLE IN A SERIES, MINI-SERIES OR MOTION PICTURE MADE FOR TELEVISION

PETER DINKLAGE, GAME OF THRONES

PAUL GIAMATTI, TOO BIG TO FAIL

GUY PEARCE, MILDRED PIERCE

TIM ROBBINS, CINEMA VERITE

ERIC STONESTREET, MODERN FAMILY