Riot On Broadway

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

2010-06-29T16:48:00.000-07:00

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

2010-03-14T00:07:00.000-08:00

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

2010-03-08T18:28:00.000-08:00

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.

Review: Neverwonder - Let It Out

2010-03-01T18:22:00.000-08:00

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

2010-03-01T17:45:00.000-08:00

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

2010-02-23T16:16:00.000-08:00

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

2010-02-12T12:14:00.001-08:00

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...

Review: Sunstorm - House of Dreams

2010-02-05T19:43:00.001-08:00

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

2010-01-30T09:41:00.000-08:00

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

2010-01-27T18:29:00.000-08:00

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

2010-01-23T23:26:00.000-08:00

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

2010-01-19T08:14:00.000-08:00

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

2010-01-15T18:45:00.000-08:00

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

2010-01-07T18:09:00.000-08:00

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

2010-01-03T12:02:00.000-08:00

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

2010-01-02T15:42:00.000-08:00

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!

Review: The Fringes - The Fringes

2009-12-23T15:54:00.000-08:00

By now it's obvious that certain styles of music are making a pretty strong comeback. In rock, classic influences, like Led Zeppelin and Hendrix, are currently running rampant, however subtle or obvious they may be. L.A. native band The Fringes, with their recent self-titled debut, successfully manage to relay their own take on both retro and modern styles without coming off as a rip off.

The album kicks off with “The Spot”, a track seemingly straight out of the 70's funk scene. It's got a nicely catchy hook, but never skimps on the instrumental talent. The wah guitar and saxophone create an unmistakable attitude for this incredible danceable track...

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Review: Super 400 - Sweet Fist

2009-12-19T15:13:00.000-08:00

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.

Super 400’s music can be described as blues-rock with a distinct, hard edge. And with influences like Led Zeppelin and Cream, you shouldn’t expect anything less. “Sweet Fist” is an excellent cut of tracks that clearly establish what this band is all about, literally from the word go, with the opening track “Needle Down”...

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Review: Rush - Working Men

2009-12-09T17:34:00.000-08:00

I love Rush. I really do. They're the only band of their distinct brand of progressive rock. Unique in their own right, it would seem, up until now, that any release by Rush would at least hold some merit. But upon listening to Working Men, the new live release from the trio, I'm not so sure.

Musically speaking, every recording featured on Working Men is absolutely on point. From the excellent opening with “Limelight” to the incredible closing “YYZ”, not a lot can be said other than Rush know exactly what they're doing. Geddy Lee never falters in any respect, Neil Peart continues to prove exactly why he is one of the most revered drummers on the planet, and Alex Lifeson's work still gives me a reason to believe that he is one of the most underrated guitarists today. It would seem that they actually improve as they age, a characteristic only few bands can really claim.

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Review: The Arkitecht - Hyperstructure

2009-12-08T12:47:00.000-08:00

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.

The term “one man band” used in this context is misleading, however. It would be difficult for one person to take all the responsibilities of creating an album, and even then, you wouldn't be able to guarantee its quality. In Hyperstructure, Ochoa did, in fact, write and produce all songs on the albums, as well as play rhythm guitars, keyboards, some guitar solos, bass, and do the drum programming. He was also in charge of art direction for the album, which I might add is some of the most abstract, fascinating album art I’ve ever seen. But, understandably, even one with the best ideas may not have the technical ability to make those ideas happen...

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Review: Ruder Than You - Creation Sounds

2009-12-04T12:00:00.000-08:00

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.

Creation Sounds begins with the instrumental “pRaise HaVoC.” I found this to be an interesting placement for an instrumental track, as they normally come later in an album. It’s actually a clever move, considering instrumentals placed later are more likely to be overlooked, or even passed off as filler...

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Review: The Flaming Lips - Embryonic

2009-12-01T17:22:00.000-08:00

The Flaming Lips have never been conventional. They've always been doing something different or unusual, and besides a phenomenal live show, they're known best for their experimental approach to modern rock. With Embryonic, their most recent release, they continue to deliver new and eccentric sounds that are sure to surprise even the most fanatical of fans.

Embryonic is the twelfth studio release, and the first double album, by the The Flaming Lips. It features some already relatively well known guest musicians, and tends to differ from the most recent previous efforts, in the respect that it's much less polished, and features a much grittier, raw sound, production-wise...

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Major Label Notables - Fall/Winter 2009 (and a 2010 preview)

2009-11-28T20:48:00.000-08:00

So, there are some decent recent and upcoming releases that I think are probably worth mentioning. So here goes.

A couple interesting releases...

DethAlbum II (Dethklok) - Admittedly this album went relatively unnoticed, despite the fact that the "band" is currently on tour with Mastodon in support of their March release of Crack the Skye. Brandon Small (or should I say Nathan Explosion), has taken a turn for the better in terms of vocal style, and musically Dethklok remains on point. Impressive for a cartoon band. 4/5 Stars. Released September, on the same date as Alice in Chains new release, Black Gives Way to Blue. This is an interesting release. It's good music, and a decent debut for William Duvall, their new vocalist. But you just can't replace Layne. 3.5/5 Stars

Liebe Ist Für Alle Da (Rammstein) - Despite, admittedly disturbing, album artwork, Rammstein continues to make solid music, with an equal dose of industrial and hard hitting metal. This is guaranteed to bother you if you have a thing against profanity, though, given the first single that was released, Pussy. Leave nothing for the imagination, will you? At the same time, the album features Bückstabü, or B********, a word that is meant for the listener to determine their own meaning. Excellent. 4/5 stars. Released October

The Great Misdirect (Between the Buried and Me) - There's honestly very little I can say about this album. It lives up to the hype, which is something very few bands can say. Technical ability is exceptional as always. Some were skeptical given the first single, but I assure you. This album is also excellent. 4.5/5 Stars. Released October.

Raditude (Weezer) - This album had high points. It also had it's very low points (see: Can't Stop Partying). But damn it all if I can stop singing the single, (If You're Wondering if I Want You To) I Want You To. Weezer has perfected the art of the catchy pop-rock song, and I don't see a thing wrong with that. Sure, we'd all like to see a return to the old days, but I'll give 'em the benefit of the doubt here. 3/5 Stars. Released November.

Them Crooked Vultures Selftitled - Don't think I've ever absolutely adored an album like this in a long, long time. The collective efforts of Josh Homme, John Paul Jones, and Dave Grohl have come together in an sometimes unfairly criticized masterpiece. It's admittedly very strongly Queens of the Stone Age influenced (see: Interlude With Ludes), with an added Led Zeppelin vibe. I've been blasting it since I got it, and I still am in love with it. I rarely do this, but I rarely enjoy an album this much. 5/5 Stars. Released November.

Coming Soon...

Honestly, December 2009 doesn't look to good for rock, but I've always enjoyed the Bravery, so I figure I might mention Stir the Blood, to be released on December 1st.

Next year...

Expect new work from OK Go, Motion City Soundtrack, Eels, Godsmack, Alter Bridge, Coheed and Cambria, Suicidal Tendencies, Disturbed, Sum 41, Red Hot Chili Peppers, Against Me!, As I Lay Dying, Bad Religion, Blink-182, Candlebox, Crossfade, Dropkick Murphys, Evanescence, Iron Maiden, Judas Priest, Kings of Leon, Korn, Linkin Park, Motorhead, Nevermore, The Offspring, Pennywise (With a new vocalist?), Rush, Saving Abel, Scorpions, Social Distortion, Stone Sour, Stone Temple Pilots, Testament, Tool, and Van Halen. Given bands habits of supporting new albums, I think it's safe to say 2010 will be an excellent year for concerts.

Also look for Priestess's new release, which was already released in Canada, but due to label restrictions it has been put of in the U.S. for at least a few months.

Smashing Pumpkins is also coming out with a 44 song concept album, to be released for free online over the course of the year.

Them Crooked Vultures and The Dead Weather are also said to already be working on their next efforts.

Slash's solo album is said to be already completed, and just awaiting the released date. God only hopes it's better than the work he did with Rihanna in Rockstar 101, given the lack of actual guitar in the song.

That's all from me. Look for some old concert reviews that I'm just getting around to writing, in the near future.

Review: The Company Band - The Company Band

2009-11-25T16:01:00.001-08:00

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.

The Company Band is a distinct, hard driving release, from the opening riffs of “Zombie Barricades” onward.This song is literally driven by the instrumentation, taking the listener straight into a surprisingly catchy chorus. It's the kind of song that is uniquely intense throughout, and the hooks have the tendency to take a listener by surprise...

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Review : Dr. Dog - Fate

2009-11-20T15:05:00.000-08:00

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.

For a band that's been around ten years, they haven't really achieved the recognition that they've deserved. Fate really shows the band's progress, opting for a more polished sound than previous releases...

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Review: Underwater Pilots - Tranquil Places

2009-11-16T18:06:00.000-08:00

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.

The opening track “Loud And Clear,” admittedly is very catchy, once you get past the spastic intro. Following the common “verse, chorus, repeat” song structure, and with the fast electronic basis, it's easy to see why some make the initial connection to Depeche Mode....

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Review: Holdsworth Pasqua Haslip Wackerman - Blues for Tony

2009-11-15T18:15:00.001-08:00

In 2006, guitarist Allan Holdsworth, keyboardist Alan Pasqua, bassist Jimmy Haslip, and drummer Chad Wackerman came together to pay tribute to the New Tony Williams Lifetime. This collaboration, appropriately entitled Holdworth Pasqua Haslip Wackerman, took a tour in 2007, and the best cuts were compiled into Blues for Tony, the only official CD release to come from the collaboration.

A two disc selection, it perfectly showcases the talents of four musical geniuses throughout. Although classified as jazz, there are other prominent influences within the music. Opening with the obviously progressive title track, each musician has their place in the spotlight. Although there is no specific focus of the song instrumentally, I would have to say it includes some of the most ridiculous jazz guitar work I've ever heard in my life...

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Review: Beppe Crovella - Pianovagando

2009-11-11T20:50:00.000-08:00

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.

Beppe Crovella is already an established successful musician, known best for his work in Italian progressive jazz rock fusion band Arti + Mestieri. On Pianovagando, however, his work takes a much different form. Praised for his talent on the Hammond Organ, Mellotron, and synthesizer, he instead sets these aside for a piano, and nothing more. He then manages to take the listener on a journey, through 57 self-written compositions, each conveying their own short story.

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Review: Phil Ranelin & Tribe Renaissance - Reminiscence

2009-11-07T18:07:00.001-08:00

Esteemed jazz trombonist Phil Ranelin has been hard at work for the past few years. Although no official recordings of his own work have been released since 2004, he has compiled a range of recordings from live performances with his band Tribe Renaissance, that took place between 2002 and 2005. These recordings take the shape of the appropriately titled album Reminiscence.

Tribe Renaissance, not to be confused with the Tribe, Ranelin's avante-garde jazz group from the early to mid 1970's, is, in essence, the Tribe of the 2000s, as they are both similar in instrumentation and composition. They are known for their influences from traditional African music, some direct aspects making their way into these more modern pieces.

Beginning with a somewhat disorganized intro of “A Tear in Elmina”, it leads into a much more traditional sounding piece. The song features a natural sounding call-and-response section between the saxophone and and trombone...

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Review: Shannon Corey - Overdue

2009-11-06T11:50:00.000-08:00

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.

Following suit is emerging artist, Shannon Corey, who has been featured by several magazines and even on MTV's The Real World: Cancun. And with her release of Overdue, the EP to follow up Unsaid, it's not difficult to see where all the hype comes from.

A five-song EP, it includes two versions of the title track (full length, and radio edit). It opens with the full length version, which remains both musically interesting and catchy...

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Review: Doug Deming and the Jewel Tones - Falling Through The Cracks

2009-11-01T12:33:00.000-08:00

Blues. A genre that, in contemporary terms, is a fading art in its traditional form. A genre that despite it's influences within other genres, such as hip-hop and rock and roll, it's nearly nowhere to be found in today's music .It would seem however, that it's experiencing a re-manifestation of sorts, as more recent artists are exploring all aspects of the genre. From the blues-rock of the White Stripes, the Black Keys and guitar virtuoso Joe Bonamassa, to the less pop oriented endeavors of John Mayer and even the occasional blues-infused hip-hop of Everlast.

Despite these efforts, traditional blues has nearly been lost. That is what I believed, until I had listened to Falling Through The Cracks, the newest release from Doug Deming and the Jewel Tones. Over an hour of pure blues, it completely restored my faith in the genre.

Most people, upon hearing music by Doug Deming and the Jewel Tones, recognize them as a band that returns to the roots of blues as opposed to a continuation of modern adaptations of the style. Within the first thirty seconds or so of the opening track, “Tonight Is The Night,” this is apparent to anyone. The quick clean opening riff sounds like something straight out of the 50s early rock'n'roll scene...

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Please Read: Close to Home.

2009-10-31T20:55:00.000-07:00

A few weeks ago I attended a phenomenal Metallica show with some friends. After a four hour drive to the show, I expected nothing less, and my expectations were surpassed. I left the show, pleased, and made it home safely. But unfortunately, one member of the audience didn't.

From www.nydailynews.com:

"Police are looking for a Virginia Tech student who got separated from her friends at a Metallica concert Saturday and hasn't been seen since. Police are looking for 20-year-old Morgan Dana Harrington, who was last seen near the John Paul Jones Arena in Charlottesville [Virginia]... Police say Harrington was wearing a black T-shirt with "Pantera" across the front in tan letters, a black mini skirt, black tights and black knee-high boots.She has long blonde hair, blue eyes, is 5-foot-6 and weighs about 120 pounds."

The concert took place on October 17th. Although some information has been submitted, she has yet to be found. It has been two weeks to the day now, and she still hasn't turned up. Metallica themselves have put up an additional $50,000 reward for any information leading to her being found.

This is a frightening story that is has such a sobering effect: a young fan going missing during a show, with no indication as to her whereabouts or safety. It could've been anyone.

If you or anyone you know have any information whatsoever, or wish to support the cause, please visit http://www.findmorgan.com/. I have no relation or affiliation whatsoever to her or her family, just a fellow fan that hopes for the best for them in such a difficult time.

Review: Harley's War - Hardcore All-Stars

2009-10-29T12:03:00.000-07:00

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.

Along with these, he also has a thriving “solo” project under the name Harley's War. This project consists of music he has created through collaborations with other big names in the hardcore scene. The highlights of these collaborations are featured on Hardcore All-Stars, the first release (which includes both a CD and DVD) under the name Harley's War.

The CD portion of the release comes in three parts: the studio album itself, Harley Flanagan's 1982 solo demo, and live CBGB recordings. The first few tracks, up to “Hardcore 'nyhc-og'”, feature ex-Cro-Mags Ryan Krieger and Gabby Abularach, on drums and guitar, respectively. These are easily the heaviest songs on the album, much different than any music the Cro-Mags produced. From the powerful blast beats of “Hardcore L.A.M.F.” leading seamlessly into the appropriately haunting “Nightmare”...

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Review: Loda Dimes - 10 Cent Instant Rebate

2009-10-26T13:08:00.000-07:00

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.

Alas, as seen in Loda Dimes 10 Cent Instant Rebate, there is a fine line between the little quirks that come from self-producing an album and flawed, even rushed, production that unintentionally takes a listener's attention away from the music itself.

The album starts out less-than-promising, in “I Got Some Drinkin' to Do,” a song that takes it's inspiration, it seems, from classic country, with a slight classic rock edge...

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Review: Automatic Fire - Summer 2009 Demos

2009-10-25T13:05:00.000-07:00

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.

The Summer 2009 Demos include only three songs, which would become three of the four songs featured on The EP. Even when limited to three songs, a listener can still get an absolutely clear picture of what this band is all about.

Opening with “What Are You Made Of?” the listener is treated to some very “old Guns'n'Roses-esque” instrumental work, with some classic wah guitar that sets the mood for the song....

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Review: Moraine - Manifest Density

2009-10-25T13:03:00.000-07:00

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.

With Manifest Density, the instrumental debut release from Moraine, the band completely destroys the boundaries of several hugely differing genres to create something totally unique. With influences including progressive rock, jazz, and world music, listeners are treated to new blend of refreshing, albeit nearly unclassifiable, music.

Moraine, thanks to their innovative choices instrumentally, has successfully created a sound that is both very modern yet classical in tone...

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Review: The Del McCoury Band - Family Circle

2009-10-18T13:02:00.000-07:00

Having already been established in the music business for about fifty years, it's safe to say that Del McCoury has some idea of what he's doing. Between his solo career and his band that also features his two sons Robbie and Ronnie, as well as Alan Bartram and Jason Carter, he has won 31 International Bluegrass Music Association awards. And with his most recent release with The Del McCoury Band, Family Circle, he's sure to be at least nominated for yet another.

Beginning with “Sweet Appalachia”, fans will immediately take notice to the familiar Del McCoury sound. True to the attitude of the original version, although a slightly different take, it still keeps the essence while adding the McCoury touch that is so beloved by fans.

The next track, “Barbaric Splendor”, was a surprise to me. The song, whose title suggests a much different genre...

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Concert Review: Metallica

2009-10-17T19:21:00.000-07:00

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:

Creeping Death - Definitely glad the old stuff showed up so early. It was heavy as hell. A lot of people say that James' vocals have gone for the worse when doing old stuff, but seriously, he was on point that night. No wah abuse :D Great stuff. First time the coffin light fixtures were lowered, everyone was kinda surprised. This and Fuel, I'm pretty sure they played faster than the studio versions. It was insane.
Fade to Black - This was literally perfect. Better than the studio version. Low lighting, perfect solos. Everything was just... amazing. I can't say that enough.
One - I'm just going to come right out and say it, the pyro gives Iron Maiden a run for their money. The multicolored flames, the floor fires during the intro. Awesome.
Nothing Else Matters/ Enter Sandman - Nothing Else Matters was played absolutely beautifully, exactly as it should be. But as soon as that last note of that powerful solo was played, it led right into the distinct opening riff of Enter Sandman, a song every fan in the audience seemed to go nuts over.
Encore -- Started with an absolutely on point cover of Stone Cold Crazy, originally done by Queen. Then, a huge surprise for the fans of the old days, they played Trapped Under Ice, the first time in.... a long time, if I'm not mistaken. Really good. And then there was Seek and Destroy. Throughout the song, the Metallica beach balls fell from the ceiling to the fans below, as they played, and the audience screamed every word. It's their usual last song for them, but is still an amazing closer to an amazing concert.

It was awesome, I don't know what else to say. I guarantee you I'll see them again. Epic.
Setlist:

That Was Just Your Life
The End Of The Line
Creeping Death
Fuel
Fade To Black
Broken, Beat And Scarred
Cyanide
Sad But True
One
My Apocalypse
The Day That Never Comes
Master Of Puppets
Blackened
Nothing Else Matters
Enter Sandman

Encore:

Stone Cold Crazy (Queen cover)
Trapped Under Ice
Seek & Destroy

Featured Artist: Scouting For Girls

2009-10-10T13:49:00.000-07:00

Well, since The Pulse has gone British, I think now would be a wonderful time to introduce a recent "outta the UK" favorite of mine: Scouting For Girls

SFG is a London-based indie pop band comprised of Roy Stride (vocals/keyboards), Greg Churchouse (bass guitar), and Peter Ellard (percussion). This phenomenal three piece manages to maintain the ability to write a song that is, quite frankly, catchy as hell, but don't come off as too mainstream or poppy. Their songs range in subject matter from crushes and love to... spies? Yes, ladies and gentlemen, spies. The song "I Wish I was James Bond," easily the most recognized track thanks to YouTube, states the speaker's wistful desires to "kiss all the girls and blow the bad guys away," much in the fashion of his idol, James Bond himself.

SFG takes a different approach to alternative musicianship as well. Instead of opting for the typical guitar-bass-drums style of many indie bands, SFG takes advantage of the versatility of the piano instead of the "standard" guitar. Some might find themselves initially skeptical on this front, but I assure you it actually produces a refreshing sound. I mean, I'm saying this, and as a guitarist, I'm automatically biased, and I'm saying good things about it. Come on now.

Despite the UK's adoration for SFG, I've noticed that the only real US recognition they've received is one of their songs in a Vonage commercial. Unfortunately, unless something's changed, the album is not available in the US iTunes store, but they have an EP available on their official website for free download so I recommend you check them out.

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Review: The Hit & Mrs. - Ashes of Bridges

2009-10-10T12:59:00.000-07:00

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.

I soon realized to let go of my expectations, however, discovering, not even thirty seconds into the first song, “Cold, Cold Days” which begins with simple acoustic guitar and harmonica, that this was going to consist of music portraying a much different side to the band.

For a three-piece band I was pleasantly surprised to hear the different facets that make up this bands music. Instead of the usual guitar-bass-drums combination seen in most bands that brand themselves garage rock, most of the album's songs stray away from this formula, such as the keyboard-heavy title track and the banjo laden “Time is Running Out” (which I might add is not a Muse cover, if that is what you were thinking).

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Review: Clandestine - The Invalid

2009-10-04T12:53:00.000-07:00

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.

However, it would be wrong to start out expecting to be able to compare Clandestine to Tool or System of a Down, which would be an unreasonable assumption in and of itself. A four piece progressive hard rock band from Los Angeles, Clandestine draws their sound from ideas that aren't always necessarily new, but combine them to create something unique.

One common characteristic I found as I listened to The Invalid was Clandestine's ability to build up a song, instilling an expectant feeling into the listener....

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Review: Secrets of the Moon - Priveligivm

2009-09-28T12:50:00.000-07:00

Upon glancing at the album artwork Priveligivm, the new release by German black-metal band Secrets of the Moon, the only pre-conceived judgment I decided to make was that, without a doubt, the music contained would be dark in nature. But that goes without saying, both given the genre, and the fact that Secrets of the Moon, despite the fact no original members remain in the band, have always deeply rooted their music in occultism.

Priveligivm begins with the short intro title-track (that I will admit I will avoid trying to spell as much as possible throughout this review). The track I found to be surprisingly similar in nature, although longer and more intricate, to the intro to “Raining Blood” by Slayer. It leads seamlessly into “Sulphur”, a track noted by its, long, but intense, instrumental buildup into the verses.

For this type of music, the mixing and production tend to be very hit or miss. It has to be perfect, with just enough effect to enhance the music, but not to mask the original sound that the band intended to create. Priveligivm boasts exceptional production, as seen in all tracks, my favorite example being “I Maldoror...”

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Featured Artist: Deathalizer

2009-09-26T13:51:00.000-07:00

So I've recently made a MySpace page. For bands and stuff.

In the few weeks I've had it, I've had indie bands add me, some exceptional, some much less so. I posted a blog asking if a band would like to be featured in The Pulse, to please contact me.
About a day later, I received a message from a band, known as Deathalizer, asking to be featured.
I always go into MySpace band sites with a high amount of skepticism. Usually they're either teenage bands that only have about a month's worth of experience working together and a GarageBand recording of themselves doing Smells Like Teen Spirit, or a label run page that has no personal affiliation with the band. But naturally I give it a shot. I've got nothing but time, and hell, it might be worth it.

Now would I be sitting here writing about it if it wasn't? Didn't think so.

Deathalizer is a four-piece unsigned metal band from New York. Adopting their unmistakably thrash style from the likes of Metallica, Slayer, and Pantera, they blend the best of what these bands showcase to create great, in-your-face metal.

Starting with The Angel's Fall, the first track from Deathalizer's album, It Dwells Within, kicks off with slow dark sounding acoustic guitars, breaking into similarly paced harmonized riffs, leading, finally, into the Metallica-esque "theme" of the song, in a sense.

Review: Anata Wa Sukkari Tsukarete Shimai - Sweetness and Light EP

2009-09-17T12:36:00.000-07:00

What do you get when you combine efforts of a Japanese singer-songwriter, an English rock musician, and a Scottish “ground dweller”, who go by the names _, Gnomefoam, and Bunny, respectively? Anata Wa Sukkari Tsukarete Shimai, which, I am told means “You are completely tired.” in Japanese. But from here on, I will refer to this collaboration as simply Anata Wa.

The members of Anata Wa, the most recent signing onto Bearsuit Records, met while working on their own individual projects for Rack & Ruins records. It was then they decided to work on a collaborative effort. The Sweetness and Light EP, released earlier this summer is what the effort has produced.

As someone who is partial to rock and metal music, I was a bit skeptical when asked to review something labeled experimental pop. But naturally, I gave it a shot. Nothing wrong with expanding my horizons-I will admit, I was a stranger to the genre, but upon listening I was fascinated.

The EP started with the track “Forsake”. There was a certain peacefulness...

Featured Artist: Charm City Devils

2009-09-08T13:54:00.000-07:00

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.

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Featured artist: Upstanding Youth

2009-08-31T13:54:00.000-07:00

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.

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