Ask most modern rock fans if they've heard of Super 400, and most likely, unless they’re fairly knowledgeable about bands local to the state of New York, they’ll say no. Which is a shame, actually, because they’re a band deserving of recognition. Recognition that they may have received, had they not been dropped when Island Records was bought out. They continued to thrive, in any case, and with their fourth studio “Sweet Fist”, they’re active now more than ever.
The Arkitecht is an interesting take on metal music. A “one man band” type project, put together by Genaro Ochoa, it was created to prove that musicians do not have to be dependent upon other musicians, to create the typical “band” sound and feel. A difficult undertaking in itself, The Arkitecht has released one album to date, Hyperstructure. With this release, does he achieve the desired effect? In a word-absolutely. 
Ruder Than You is the unsung epitome of modern ska. Although a popular the most popular subgenre of third wave ska is ska-punk, Ruder Than You has avoided this kind of exclusivity. Obviously taking some influence from punk, they also have derived their sound from the more traditional dancehall, rocksteady, and even hip hop, funk, and jazz, although they are most known for their unique cover of Black Sabbath’s “Paranoid.” And with Creation Sounds, their most recent, admittedly off the radar, release, all these elements are as prevalent as ever.
So, there are some decent recent and upcoming releases that I think are probably worth mentioning. So here goes.
A couple interesting releases...
This past year was one for rock collaborations. The year of the supergroup if you will, what with bands like Chickenfoot, The Dead Weather, and most recently, Them Crooked Vultures, all gaining popularity. It's likely however, that one supergroup will go relatively unnoticed. With their self-titled full length debut, The Company Band, featuring members from Clutch, CKY, Fu Manchu, and Fireball Ministry, deserve some recognition.
Rarely do you find a band that can be compared to other artists, with being called a rip-off or copycat. Obvious influences, because of this, can be a either a blessing or a curse. Psychedelic rock band Dr. Dog, however, manages to pull it off. Fate, the band's most recent release, is a perfect example of music that obviously draws from other musicians' styles, but still maintains a certain uniqueness. 
When I heard the story of Underwater Pilots, I won't lie, I was initially confused, and a bit fascinated. A German duet that creates solely electronic music, despite both members having a classical musical education – I could only imagine what this influence might bring to the table. The product of this project's work is their debut album, Tranquil Places.
Music is an outlet. We all know that. Much like writing or painting in the sense that it is an art form, a musician will pour equally as much heart and soul into the music they create as a writer or painter in their respective arts. Music provides a platform upon which a person can recreate feelings and experiences, and relay them to the world. Pianovagando, the solo piano album from Beppe Crovella, is the perfect display of this ideology of music. 
Typical pop music, these days, is all about effects, preprocessed beats, and lyrics that, admittedly, don't have the most thought put into them. At the same time, an advent of sorts is taking place with a sudden popularity of female singer/songwriters, what with artists like Feist, Corinne Bailey Rae, Yael Naïm, and arguably the most universally recognizable, Regina Spektor. 
It could be said that Harley Flanagan is an under-appreciated icon of music. Considered the youngest punk rock star, he got his start at age 12 as the drummer of The Stimulators. Several years later, he founded The Cro-Mags, an influential hardcore punk band turned thrash, which since 2002 has not included him in the constantly changing lineup.
Self-produced albums are the hidden gems of the music industry. That's why I absolutely love independent music so much, because oftentimes, without the availability or desire to use higher end production tools (I'm looking at you, auto-tune), bands actually have to be talented in order to make a name for themselves.
Rarely does a band come along that manages to completely sell out their very fist show. But upon listening to Automatic Fire's Summer 2009 Demos, I can understand why. An effort of members that have made their names known in other bands already established in the Philadelphia local scene, fans already had a good idea of what they were getting into.
When a band or artist decides that they want to create their own sound, like every good, or at least unique band does, they often break a few rules and cross that dreaded genre line. This has the potential for either being a huge success, like the thrash metal movement of the 1980s, which combined the speed of hardcore punk and metal sensibilities, literally changing the face of music. It also has the potential for fleeting popularity and eventual ridicule in some circles, much like the fate of nu-metal, which had its basis in the already iffy combination of rap and rock music.
Where? JPJ Arena / Charlottesville, VA
When? October 17, 2009
After having seen Iron Maiden, Tool, and a number of my favorite bands in the past, this left one major concert-going goal: my favorite band, Metallica. I had already missed the opportunity for the pit in DC, and eventually the show sold out as it was. So upon hearing they would be coming, at least within the distance of a long drive, I was determined to get there. So obviously I did.
We got to the show late, midway through Lamb of God's set. Admittedly, I wouldn't have minded to see their full set, and Gojira as well, but I was there for 'tallica. And that's all that mattered, really. I will say however, that the little bit of Lamb of God that I DID see, that they are excellent live. Nothing too flashy or anything, BUT the musicianship was on point.
Lamb of God got offstage, and the lights went up. As the minutes counted down, the excited tension of the place increased. And then, the lights went out. Completely. And all one could hear, at least beyond the crowd, was Ennio Morricone's chilling The Ecstasy of Gold. It led straight into the heartbeats the began That Was Just Your Life. A dark blue light lit the place, and then, as soon as the distorted guitar kicked in, there were lasers. Oh my God, there were lasers. They changed colors with each chord struck, and changed motion with the tempo. It was both ridiculous in the best way possible, and just plain amazing. Metallica sounded on point, as expected, and I was blown away. By the first song.
To go through song by song and just talk about how amazing it was, would... well, take forever. So I'll give a summary of the highlights:
I have always enjoyed garage rock. The gritty imperfections, the fun, loud riffs, and the overall atmosphere created by a band whose main focus is pure music. So when asked to review Ashes of Bridges, the newest release from The Hit & Mrs, I had high hopes, knowing that their previous release Buried in the Backyard of My Heart completely embodied all that is garage rock.
In the music business, big names often allude to big expectations from fans and critics alike. So, upon discovering that Sylvia Massy had considerable involvement in the mixing process in Clandestine's The Invalid, I had high hopes. After all, Massy had involvement with quite a few, now widely known artists. These include, most notably, Tool and System of a Down, with which she had worked on each of their full length debut albums. 
Anyone that knows me knows I'm a huge concert-goer. I really enjoy live music, preferably good live music.
So, a couple Januaries ago, a friend told me about a concert, four bands, five bucks, and the closer was Egypt Central. Not a hugely known band, but I'd always really enjoyed their music. And hell yes, I can afford that.
So, day of the show rolls around. We go, it's at the Ottobar in Baltimore. Now, I had never been there before that time, but I wasn't surprised to find that it's basically a stage, a bar, and a thick layer of haze.
We got there early, because... well... that's what we do. Get there early, almost guaranteed a place against the stage. Not like it was really difficult, because the crowd wasn't huge.
First band was a local band called... hell... I don't remember their name. They were alright for what they did, but I wasn't really feelin' it at the time. Next band was Lennex, another local band. Highly entertaining. Good music. Third band was a Baltimore based band, Forty Acres. This was actually my favorite of the night. Egypt Central was good, but Forty Acres really stood out to me. Maybe it's because I'm a huge fan of the "throwback" style of rock: something reminiscent of the 70's or 80's. But they put on a damn good show. High energy, kept the crowd moving, including that drunk chick behind me, shakily holding her drink above my head, only to let it fall, dousing me with whatever alcohol she may have been consuming.
But that's neither here nor there. After the show, I felt compelled to buy the album they had on sale: Broken Promise, a self-produced album. A purchase I was glad I made, worth way more then the... $10? $5? Something.
All I know now is that I have kept up with this band since I saw them. And it's amazing to see how far they've made it.
They started out in vocalist/guitarist John Allen's basement. He already had a lot of useful experience in both songwriting and touring before, as the drummer for SR-71, a Baltimore local alternative rock band. This time around, however, Mr. Allen stepped up to the mic, and anyone like me, who's a fan of the band is glad he did. His voice is perfectly suited for the old-school rock'n'roll sound that they produce, and the instrumental aspect is equally well suited.
They played shows around the Baltimore area for a while, until they were "discovered." Discovered, I say, by Mr. Nikki Sixx himself, bassist for Motley Crue and president of Eleven/Seven Records.
After several name changes, going from Forty Acres to Chosen Son, and then from Chosen Son to what we now know as Charm City Devils, a tribute to the city they have emerged from, they were signed to Eleven Seven, among big names like Crue themselves, Drowning Pool, and Buckcherry.
Now what is it about Charm City Devils that make them unique?
Maybe it's the fact that unlike many so-called rock bands of today, they truly represent the whole, no holds barred, dangerous, raw sound of what rock once was. No frills, nothing too complex, just pure sex, drugs, and rock'n'roll.
Charm City Devils released their breakout Eleven Seven debut, Let's Rock-n-Roll, earlier this year. A fun release, preferred when played loudly, it still features that raw sound that was loved about Broken Promise.
They have just ended their run opening for Cruefest 2, and are now on the second leg of their tour, so if you get the chance, go see them.
So, if you like bands like Buckcherry or Jet, or simply like the idea of a band reviving the old school rock sound, I recommend you check out Charm City Devils.
You saw it first on The Pulse
Hawaii.
Warm sun. Beautiful beaches. Volcanoes. That obnoxious guy in the brightly colored floral tee, a rainbow-colored lei, a straw "nest" hat on his head, and the biggest camera that they make for public use strapped around his neck.
But when it comes to Hawaii's music, what comes to mind?
Ukelele around the campfire, anyone?
Not anymore.
I'd like to introduce to you one of my favorite accidental music discoveries: Upstanding Youth.
Upstanding Youth is a six-piece ska-punk (with a touch of reggae) band from O'ahu, Hawaii. Six very different people, pursuing very different goals in each of their respective lives. One goal that unifies them, however, is to share their music. Whether it's used as an outlet, a universal language, or is just simply everything, these guys came together, began performing locally in Hawaii in 2001 and have been playing together as a band ever since.
And with prominent influences such as Reel Big Fish, Less Than Jake, NOFX, The Mighty Mighty BossTones, Bob Marley, and Sublime, among others, where can they go wrong? Apparently they can't, because each of their four albums have won Best Ska/Punk Album in each of their respective years at the Hawaiian Music Awards, which are said to be the Grammys of Hawaii.
Seems like what they've been doing is working. And their newest award winner, A Sense of Urgency, is no exception whatsoever. An somewhat edgier release, in the rock sense, than earlier albums Trying to Stand, Kam Highway Catharsis, and Still, the album totally delivers. This new edge can be seen in tracks throughout an album, from Bigger than You and Me, Flying V, which, I might add, displays the band's flawless ability to build up a song. Songs like Detonate, a tune questioning the eventual fate of the band, Empty Pockets, and Electric Fence, my personal favorite of the album, reinstates the band's identity as a SKA band, but it's not as if anyone was questioning it. It still continues to be the most prominent aspect of the album.
You saw it first on The Pulse
