An Explanation. And Review: The Grumpy - The Throes of Contemplation

Before I start I should probably explain myself, to anyone who has followed my blog in the past few months, it's been forever since I've done any reviews. That's not without reason, but I do feel like I've been slacking. Since about March, I've been involved in opening a guitar shop, which pretty much meant no time for writing for way too long. But now, for a while, I've started again, and without further ado, I'd like to introduce to you, the reader, a little three piece out of Sacramento: The Grumpy.

Citing influences from Rush, to Tool, to Death, to even Miles Davis, My Chemical Romance, and Mr. Bungle, I had no idea what to expect, as my introduction to the band was literally The Throes of Contemplation EP. Which I might add is the band's fifth release to date. Anything this band could create would be likely to surprise me, and that's exactly what they managed to do.

It starts out with "Change", a very riffy, stylistically aggressive track. I won't lie, initially I was a little afraid in the opening seconds, due to the slightly rough sounding distortion tone, but that was completely turned around when the song really started going. I ended up being rather impressed, mostly due to the perfection of the instrumental work for the sound trying to be created. The vocals also fit for the style, although I will admit, the vocal rhythm very occasionally catches the listener by surprise.

The second track, "Tastic", takes a completely different turn. The intro, with only vocals and percussion, creates this kind of intensity. Unfortunately what it is met with is fairly anticlimactic. What a listener will notice, however is the very Rush-styled influence that is noticeable after the intro. Again, my favorite aspect is the instrumental work, with is pretty much flawless. In this track, the vocals are far less suiting, unfortunately, as it seems to come across as a second-rate Rob Halford at first listen.

Now I'll only touch upon one more track on The Throes of Contemplation because, as a 6 track EP, I feel the need to leave something to the imagination. The last one I'll look at is my favorite from the release, "Fuzz." The amount of contrasting influence in this track is actually quite astounding, starting out like a typical slower Pearl Jam track, spot on even down to the vocals. Very 90s, nice throwback sound. Then suddenly there's a break into the chorus that musically bridges a gap between 90s alternative in the vocals and.... thrash metal riffs? Yeah, that's exactly what it is, and as odd as it may sound, but it works perfectly.

I'm torn about this release. Some of it is excellent, and those tracks really stood out. Some, on the other hand just fall short, coming across as average or in some cases, slightly less so. The instrumentation was consistently on point, which is a plus -- there's no mistaking the talent in this band. The vocals... anywhere from "eh, not too bad" to near perfection. Overall, this band is full of surprises. In my opinion, it's occasionally to a fault, but I'll let the listener ultimately decide that for themselves.

Review: Feisty Piranhas - Live in SoCal

Since their sophomore, and best known, album Shocked in 2005, Feisty Piranhas have been making a splash (forgive me for the pun) in their local Southern California music scene. The band has earned their share of awards, and have opened for acts such as Blue Oyster Cult and The Misfits, it’s a wonder that they’re not getting nearly s much recognition as deserved. It would seem that, for most bands this early in the game, that a live release would be a bit unusual. But for these guys, Live in SoCal is just an example of the amount of talent present on stage, and not just in studio.

Upon first listen to Live in SoCal, other than some crowd noise that was present in the intro track and in transitions, I could barely tell it was live. “Blind,” which makes it’s debut on The End, contains just as much, if not more energy as the studio release.

For me, this was an interesting way to be introduced to a band. In the same breath, I can admit that it’s probably the best way to be introduced to the band. It features selections from the last few releases, giving a new listener a well rounded taste of what Feisty Piranha’s are about. I mean, you get a touch of the band’s hip-hop side in “24,” which has a rapped verse over a nicely dirty, although dark, guitar backing, with a much more punk chorus and second chorus. You also get a touch of the band’s softer side in tracks like “A Better Day” and “Alone,” although the latter features a touch of what might sound to some like a little bit of ska punk.

The first song that literally blew me away was “Do You Know.” From the opening chords, to the later solo work (which, even I’ll admit, is incredible), to the overall style of the song, I could’ve sworn it could’ve been by the likes of the Bad Religion. Which is by all means a compliment.

If there’s one thing I’ve got to point out on the album, it’s gotta be the punk-reggae cover of “3 Little Birds” originally by Bob Marley. I absolutely loved this inclusion in the set. Not only does it fit into the set musically, but the song’s message is already perfect with the vibe Feisty Piranhas seem to give off.

The longest song in the set is “The End,” clocking in at over eleven minutes. And at first I wasn’t really sure what to expect. What I heard was more or less NOFX’s The Decline meets a certain Floyd-like psychedelia. The song is literally a musical journey of sorts. It makes a number of changes that me writing about it can’t describe exactly, and that it’s something listeners would have to hear for themselves. It also impresses me that this was also performed live, which for a song of that length, is commendable.

With Live in SoCal comes the live DVD The End, not to be confused with the studio effort of the same name. Which is best suited for those who just simply can’t get enough of this band’s excellent live chemistry throughout, so much so that you really have to see it as well as hear it. Obviously you can’t replace being at a gig, but this is the next best thing.

The Feisty Piranhas are, without a doubt, deserving of every award they’ve received. From the ability to sound as good live as in studio, to the commendable amount of chemistry this band has, not least of which is because of the father-son involvement. In any case, this is an excellent release for anyone who appreciates this type of music. Perfect for anyone who wants to experience this band in any way. Really good stuff here.

Review: Arise - The Reckoning

At the end of 2005, and three albums in, Swedish thrash/death band Arise were forced to make a lineup changed due to musical differences within the band. With The Reckoning, Arise makes their return to the scene, debuting Patrik Johansson on vocals, Sternberg on guitar and Kaj on bass. One can only imagine that with such major changes, comes a change in sound. To a certain degree, this is true.

 

The Reckoning begins with what might initially fool someone to be a simple filler intro. Give it time, though, “Adrenaline Rush”, although short, is anything but. A quiet intro, for dramatic effect, leads into a heavy, machine-gun-esque riff. It’s incredibly aggressive throughout, and includes a well-executed harmonized guitar solo. Pretty standard sounding for the genre, but nevertheless a good way to start the album. 

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Review: Neverwonder - Let It Out

I’ve made it a point to familiarize myself with a lot of female fronted rock acts. I have a tendency to take an interest in these bands, only to find that, no matter the subgenre, many of them are defined entirely by the “chick vocalist.” Then I heard Los Angeles band Neverwonder’s most recent release, Let it Out. Not only do they break out of the stereotype, they manage to create their own unique sound, blending rock, pop, soul, and R&B, defined not only vocally, but instrumentally, as it should.

Opening with the riff heavy “Help Me,” Neverwonder don’t hold back. What’s immediately interesting about this track, and subsequently several others, is the use of both electric and acoustic instrumentation. I will say, however, this is a characteristic, even more prevalent in later track “Superior.” And if these excellent vocals sound familiar, you may have heard them before. I refer back to Season 5 of American Idol, where Neverwonder’s Megan Bobo first got her start, making it to the top 25. But if I’m being honest, her work in Neverwonder is by far the best display of her full potential. An entirely acoustic version of “Help Me” is also featured on this album, which is equally as good.

The next track, “Wild Out” is much more driving in style, while still remaining very listener friendly. There’s a rapped interlude from Blow Staxx could pass for a reggae or ska-influenced backing, defined by the guitar tone and playing style. Some fans that might have more of a rock preference might be put off by the direction the song seems to take, but it’s easily overlooked, as it suits the song perfectly.

As I mentioned earlier, the track “Superior” features some interesting acoustic instrumentation, from the apparent addition of the cello, to the acoustic guitar, to the non-kit percussion in addition to the typical rock setup. But one thing that deserves mentioning is the lyrical progression. At first, it comes off as surprising self-praising and indulgence. But by the end of it, a close listener will come to appreciate that this is blatantly tongue-in-cheek, taking a cynical approach to the so called superiority of celebrities.

From “Superior” to the end of the album, there are some reworkings of songs already heard, like two new versions of “Help Me”, a remix of “Wild Out” and a nice lounge version of Spinning. It closes with some consistently great tracks, but for length reasons, I’d like to finally mention the very last track, which doesn’t actually feature music. Instead, it’s a direct, light hearted thank you from the band to the fans. This seems like an unusual thing to look at in a music review, I realize, but you really get an idea of the band’s appreciation for those that support them, which I feel is necessary for a band’s credibility, and as such is a nice inclusion and closer.

Let It Out is a long album, with 17 total tracks. I could continue going on about each track individually, but I’d rather just finish up with some overall points. First off, I’ve got to say that this was an impressive release. Megan Bobo is consistently at the top of her game, and the rest of the band are equally as qualified. It’s a great mix of different genres, although I wouldn’t mind seeing this band lean towards some harder rock. I only say this because I believe they have tons of potential in that kind of field. But what they’re doing is great, and can’t wait to hear more of their work in the future.

Review: Jimi Hendrix - Valleys of Neptune

Even in death, Jimi Hendrix continues to amaze and impress listeners everywhere. An innovator of his own generation, he manages to inspire and influence the musicians of every new generation. With his most recent posthumous release “Valleys of Neptune,” his legacy through music continues, introducing tracks that have never been heard before, as well as revisiting some that fans already know and love.

Valleys of Neptune opens with a new take on a popular Experience favorite, “Stone Free.” It features a new arrangement of the song with, at the time new bassist Billy Cox. The main difference here is the guitar arrangement, which, although it continues to drive the song, it takes a noticeably different approach, but by no means does it lose the essence of the original version...

 

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Review: David Bowie - A Reality Tour

Six and a half years ago, glam rock musician David Bowie went on the road in support of his most recent studio album, 2003’s Reality. A tour that was anticipated to take place in 24 countries, it was not only rearranged due to postponements, but cut short due to the icon’s health problems. But now, over six years after the tour took place, any listener can have a piece of the tour, with appropriately named A Reality Tour.

 

Now as I write this, it’s probably safe to assume that that this review will be shorter than most of what I write, as it tends to be the case with live releases. Because some musicians just have got it together, both live and in studio. And David Bowie, now at age 63, manages to uphold his iconic status with this release. So, in these cases, the biggest thing that will either make or break the release is sound quality...

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Review: The Murder of My Sweet - Divanity

Upon hearing the name The Murder of My Sweet, my initial thought was that it was, forgive me, a typically long-winded name of a newer metalcore band. So, I approached Divanity, the band’s upcoming debut release with a little bit of skepticism. Yet, here we have is another example of an inaccurate assumption.

 

With the first tracks, I was pleasantly surprised to be greeted by the beautiful vocals of Angelica Rylin, coupled nicely with symphonic keyboards and heavily distorted guitars. This combination, while present throughout is absolutely chilling, in the second “Follow the Rain.” The dark riffs, combined with the haunting synths and soaring vocals, are not only very well put together, but make for a surprisingly ear-catching hook for something of this magnitude...

 

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Review: Sunstorm - House of Dreams

When I first listened to House of Dreams, the second album by the hard rock band Sunstorm, I, for the life of me, could not place the vocals. I could recognize them like anything, but where did I hear them? A quick trip to Google, and I was informed that it was Joe Lynn Turner, whom I knew for his work with Yngwie Malmsteen, and is somewhat less known for his work with Deep Purple but gained more notoriety with DP guitarist Ritchie Blackmore in previous years with Blackmore’s Rainbow. Which now seems fairly obvious to me, but I digress.

Sunstorm, I noticed, within the first track of House of Dreams, has a certain 80’s rock meets modern power metal feel to their music. Divided, an excellent opening track to the album, starts out with some dark synths and some very strong riffs.

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Review: Steve Hackett - Out of the Tunnel's Mouth

Out of the Tunnel’s Mouth, the most recent solo release from ex-Genesis guitarist Steve Hackett, is a prime example of something being “worth the wait.” An album that had to be put on hold due to some legal troubles, fans eagerly awaited Mr. Hackett’s return to progressive music since 2006’s Wild Orchids. And while Tunnel’s Mouth isn’t usually regarded as his best work to date, it still manages to hold its own.

 

The album opens, pretty slowly, with “Fire on the Moon.” The interesting thing about this track is the absolutely contrasting changes it makes. While it starts off, much like a lullaby, with bells, very light, clean guitar, and soft vocals, it breaks into a much more intense chorus section, and eventually by the end, the two sounds are blended to create something rather chilling.

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Review: Osada Vida - Uninvited Dreams

I had high expectations for Osada Vida’s third full length album Uninvited Dreams. A progressive rock act from Poland, their career is already well established, with their first release, Critical Moment, back in 2000. But how does Uninvited Dreams hold up on its own?

 

Opening with its title track, a more musically inclined listener might notice some unusual note rhythms in places, most often in the intro. I wouldn’t call this a mistake, but at the same time, it can come across as one, because it sounds like the timing was milliseconds off. Other than that, it’s pretty together. I’ll admit, lyrically, I don’t feel as Osada Vida is living up to their full potential here. I do like the addition of the female vocals in the chorus, although the balance could be better, and the very interesting funk-like after-chorus is very cool.

 

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Review: Black Bonzo - Guillotine Drama

Upon hearing Black Bonzo, a progressive hard rock act from Sweden, listeners tend to draw similarities between their music and bands we now know to be classic rock. And with Operations Manual: The Guillotine Model Drama, their third release, there is no exception.

 

Most prominent of these comparisons are bands like Uriah Heep and Deep Purple. But to say their entirely retro in sound isn't entirely true. The immediate hard hitting rock of “Because I Love You” and even more “Guillotine Drama” both also brought to mind a more progressively styled Priestess. They both featured a nice, distinctly dirty guitar tone and recognizable riffs that perfectly blend hard rock and progressive. I'd also point out that the guitar work in Guillotine Drama is very cool, with a nicely harmonized dual guitar solo. 

 

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Review: Glass Delirium - Thanks to a Monster's Many Heads

Glass Delirium is one of the most unique bands I’ve heard in a long time. Debuting with Thanks to a Monster’s Many Heads, they’ve executed their classically tinged progressive hard rock with near perfection.

 

Immediately noticeable in the intro track “Seeing Double”, among other things, is the dual lead vocals. The thing about this track that from the word go, it’s compelling, even for a short intro track such as this. The chemistry between the vocalists is apparent, creating something absolutely haunting with the electronic backing and chilling piano. It leads right into “Beside Myself”, which starts out as something like a lullaby. Don’t be fooled though, after ten seconds, the listener is hit with a quick heavy riff that might surprise someone who didn’t know what they were in for. I’d like to point out that despite the dark, mostly heavy nature of the song, even the clean guitar work fits perfectly. The female vocals are dominant in this track, but even still, the offset male vocals continue to work well.

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Review: Distant Lights - Simulacrum

I've always found progressive music to maintain certain exclusivity. Often, I find people who believe it's pretentious in nature, which at times may be understandable, given its tendency to push limits. But when I heard Simulacrum, the debut release from Distant Lights, I found no reason for anyone to continue with these misconceptions.

 

Simulacrum is the kind of album that a listener really needs to allow to sink in. Multiple listens are actually best, given that this is incredibly multidimensional, and would be near impossible to for one to take in on first listen...

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Review: St. Madness - Saintanic

Upon first glance at the members in St. Madness, to assume they're a Norwegian black metal act wouldn't be that far off. Adorning what looks like the typical corpse paint of said genre, this band has branded themselves “carnimetal.” Kind of gimmicky, it would seem, but after listening to Saintanic, the band's most recent release, I've come to the conclusion, they know what they're doing.

 

To be honest, I was expecting a campy kind of “fun but only the first time” release. Opening with the audio of, what sounds like an old war movie in “The Art of Terror,” leading straight into a distinct chugging riff, my assumptions were immediately swept aside...

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FYI: Obviously the date in the original article is a typo, that was meant to say 2010. Still adjusting :P

Review: Engineers - Three Fact Fader

Engineers managed to build an impressive fan-base, given the success of their self-titled debut album. Do they continue to live up to it in the followup Three Fact Fader, or was it just beginners luck?

 

The music can be classified as part of the newly revived shoegaze movement. With their spacey characteristics and odd, droning riffs, they seem to be making less of an album, and instead creating a whole new atmosphere for the listener. “Clean Colored Wire” is a prime example: the dreamy vocals paired with futuristic instrumental work create an alien-like quality, which is sure to catch the attention of a listener.

 

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News: Soundgarden Reunion CONFIRMED

Chris Cornell... I can now forgive you for Scream. Just please never do that again.

As a big fan of, well, the vast majority of Chris Cornell's work, especially his earliest work, rumors of a Soundgarden reunion would always strike me with a certain amount of excitement, as well as an equal amount of skepticism. Between Cornell's statements of a reunion being unlikely as of June, possible as of July, and given that they have all been seen together as of October, it's slowly edging toward imminent. But it's the internet, and you should always believe what you read. Including the short-lived Wikipedia edit I made about Tomas Kalnoky being a god.

But it would seem that, as the ball dropped in Times Square, marking not only a New Year, but a new decade, Mr. Cornell had his own new era to start. A simultaneous Twitter and Facebook post, for fans, read as follows:

"The 12 year break is over & school is back in session. Sign up now. Knights of the Soundtable ride again!"

There was then a link to the apparently new www.soundgardenworld.com with the same short message, a place for name, email address, and optional mobile number, for future updates and additional information.

Upon reading this for myself, I really couldn't believe it. I mean, Cornell himself said it wasn't likely it would ever happen. But there it was, in plain sight, and being the Facebook addict I am, I was one of the first to know about it.  Shows how I spend "major" events, but that's neither here nor there.

No details have been released new music or potential upcoming tours, but I"m pretty sure it's safe to say that anyone who never had the chance to see them live, will finally have that opportunity. Between this, and the announcement of the Warped Tour bands (although not nearly as good as last year, but include one of my favorite third wave ska bands), among lots of releases rumored and confirmed for this year, I think it's safe to say 2010 is going to be a good year in music.

Happy New Year Everyone!