Mix

Here's a mix I made of the stuff that I've been listening to lately.  http://www.mediafire.com/?145zdob4b9l1olw

There's a song from the brand new demo of a screamo band called ¡Silencio, Ahora, Silencio!

One track from Fred Squire's (he was part of Shotgun & Jaybird and has done lots of work with Julie Doiron)  new LP March 12

There's some melodic metal with some hardcore influences from Canadians Harbour and some sludgy southern metal from Howl.

From the International Screamo Compilation there's a track from I Not Dance and three La Dispute songs from their LP.

There's one track from an American metallic hardcore called Mother Of Mercy and two songs from Panthalassa's debut demo EP.

 
One track each from Shotgun Jimmie & World Burns To Death provide some really interesting contrast and three songs from Złodzieje Rowerów end things on a nice emoy punk feeling.

Julie Doiron & Little Scream Live at the Red Dog

Two ladies played the Red Dog last Wednesday, each with an accompanist. Little Scream from Montreal played some really interesting songs and Julie Doiron from Sackville New Brunswick played her unique version of rock and roll. 

Little Scream, which tonight was Laurel Sprengelmeyer on guitar and vocals and Jimmy Thompson on drums, took the stage at 10:30 and immediately launched into their post rock influenced attack.

Laurel's guitar had a really thick tone right from the start. To make up for the lack of a bassist her guitar had a much fuller, thicker sound with more of a bottom end than I've heard in awhile. It functioned as both a bass and a guitar, especially when she tuned it down for a couple of songs.

Even when the guitar is tuned down the songs have irrepressible melodies that reach out of the controlled chaos and jab at you. She multi-tracked both her guitar and voice live onstage creating the impression of a much bigger band the two piece. 

Julie took to the stage at 11:30 and played for an hour and a half. She brought William Kidman onstage with her to play drums and guitar solo's at various points. 

They started off with Kidman on the drum kit and they played two really up tempo rock songs one of which, Borrowed Mini Vans, was reworked for her latest album I Can Wonder What You Did With Your day. Then the drummer came out from behind the kit and they played a couple of covers in very intimate manner. The energy level dropped but the beauty of the songs became more easily apparent. 

They played Sam Cooke's Bring It On Home To Me then Merle Haggard's Reasons To Quit by way of Phosphorescent. They continued in this quieter vein through Doiron's Tailor. They way they played it was beautiful, very mellow with a nice picking pattern. But Kidman played a solo that came out of nowhere and was entirely to loud for the piece. It was out of place but only for a moment before the mellow mood returned. 

 

Julie's awesome voice came crystal clear out of the speakers and her guitar sounded crisp and clear except when it was noisy and angry. Some of these songs took some unexpected turns into noisy rock and roll territory. With Kidman alternating between the drums and guitars these songs change from the quiet, singer songwriter songs most of them were to begin with. He gives the songs a lot more energy and a bit of an edge. He provides a thumping energy or a usually interesting solo that comes out of nowhere and more power to the turn on a dime music Julie tends to write.

It's really hard to choose a favourite song because they're all so great but Consolation Prize was especially cool. When it was recorded Consolation Prize is a very fuzzy rock n roll tune. They played it unfuzzed and very loudly revealing some quirks and turns that hide beneath the fuzz. When played in such a different manner than how they usually are the songs take on a new power.

Julie remarked onstage how weird the gig felt. She said something about how it was good to get out your comfort zone every so often. They did a two song encore one of which Julie played drums for. If you get a chance to see this great Canadian treasure before she retreats to New Brunswick again do so, you won't regret it.

Two ladies played the Red Dog last Wednesday, each with an accompanist. Little Scream from Montreal played some really interesting songs and Julie Doiron from Sackville New Brunswick played her unique version of rock and roll. 

Little Scream, which tonight was Laurel Sprengelmeyer on guitar and vocals and Jimmy Thompson on drums, took the stage at 10:30 and immediately launched into their post rock influenced attack.

Laurel's guitar had a really thick tone right from the start. To make up for the lack of a bassist her guitar had a much fuller, thicker sound with more of a bottom end than I've heard in awhile. It functioned as both a bass and a guitar, especially when she tuned it down for a couple of songs.

Even when the guitar is tuned down the songs have irrepressible melodies that reach out of the controlled chaos and jab at you. She multi-tracked both her guitar and voice live onstage creating the impression of a much bigger band the two piece. 

Julie took to the stage at 11:30 and played for an hour and a half. She brought William Kidman onstage with her to play drums and guitar solo's at various points. 

They started off with Kidman on the drum kit and they played two really up tempo rock songs one of which, Borrowed Mini Vans, was reworked for her latest album I Can Wonder What You Did With Your day. Then the drummer came out from behind the kit and they played a couple of covers in very intimate manner. The energy level dropped but the beauty of the songs became more easily apparent. 

They played Sam Cooke's Bring It On Home To Me then Merle Haggard's Reasons To Quit by way of Phosphorescent. They continued in this quieter vein through Doiron's Tailor. They way they played it was beautiful, very mellow with a nice picking pattern. But Kidman played a solo that came out of nowhere and was entirely to loud for the piece. It was out of place but only for a moment before the mellow mood returned. 

Julie's awesome voice came crystal clear out of the speakers and her guitar sounded crisp and clear except when it was noisy and angry. Some of these songs took some unexpected turns into noisy rock and roll territory. With Kidman alternating between the drums and guitars these songs change from the quiet, singer songwriter songs most of them were to begin with. He gives the songs a lot more energy and a bit of an edge. He provides a thumping energy or a usually interesting solo that comes out of nowhere and more power to the turn on a dime music Julie tends to write.

It's really hard to choose a favourite song because they're all so great but Consolation Prize was especially cool. When it was recorded Consolation Prize is a very fuzzy rock n roll tune. They played it unfuzzed and very loudly revealing some quirks and turns that hide beneath the fuzz. When played in such a different manner than how they usually are the songs take on a new power.

Julie remarked onstage how weird the gig felt. She said something about how it was good to get out your comfort zone every so often. They did a two song encore one of which Julie played drums for. If you get a chance to see this great Canadian treasure before she retreats to New Brunswick again do so, you won't regret it.

Julie Doiron Mix

She and Little Scream played at the Red Dog last night. It was an awesome show, only $12 and Julie played for like an hour and half. She had a drummer guy with her who also played guitar and sang a little. Awesome, in so many words. I've been listening to her albums in the lead up to the show and made a mix as I tend to.  There are 19 songs from 8 different albums from her 1996 solo debut Broken Girl to 2009's I Can Wonder What You Did With Your Day. Really good songs.

Gallagher Tweets Pt. 2

The twitter account that these are pulled from has been deleted from twitter. So, where should we start? Let's start in a relatively neutral position with a tweet that is decidedly a joke that will also position us politically.

 

Another joke perhaps? This one is even topical if a tad misguided

 A third joke rounds out the intro and sounds like something a grandpa who missed his nap would say.

From these jokes we turn to him grappling with some social issues

and trying to "reclaim" his country while in the twitterverse

Now we get a little anti semitic and angry at the character limit of twitter. The latter of which is semi understandable

And in conclusion my favourite Gallagher tweet. Regardless of the veracity of this tweet is nicely constructed. There are random references, fairies and Frank Zappa, the meaningless political slur of communist and a nicely created persecution complex fueling the whole thing. Enjoy.

Gallagher Pt. 1

edit: the twitter account is fake according to Punchline, but who knows....

Anyone remember Gallagher? In the 80's he was well known for smashing watermelons onstage and that's about it. There are a couple of interviews archived around the internet in which he calls out everyone from Bill Clinton & Katie Couric to Michale Keaton, Leno & Letterman. In these interviews and a review of a show published in the Stranger a portrait is painted of a racist, homophobic old man bitter about how show biz passed him by. He recently did Marc Maron's WTF interview and when Maron raised these issues with him Gallagher was defensive and angry and eventually walked out.

His tweets are more of the same. I read through and was amazed. It is full of homophobia and more than a little racism. There is sexism and even some nationalism though most would read it as patriotism. There is a ton of patriarchal thinking and the whole thing is a mess. That said, it's also hilarious.

Before we begin, I'll share Gallagher's warning with you. In order. (Which is not how they now they appear on his page.) These weren't even in the first handful of tweets. This will seem more relevant later.

 Off to a great start eh? What's even better is his first tweet ever.

 

He follows it up with some good old fashion stereotyping and homophobia. Who doesn't know San Francisco is filled with gays...

That is quickly followed by a nice insult at Tracy Morgan, currently one of the funnier bits of 30 Rock, one of my favourite shows. Maybe I'm being sensitive but at the very least Tracy is really funny

 You know what makes a great follow up to racism? Homophobia! It's the same hate feeling with more hate filled undertones!

which is defended a tweet later with this gem:

I love it when old men yell get off my lawn over the internet.

Well that's all for now. Believe it or not there's enough material here for another post so part 2 will be coming soon.

Julie Doiron

Here's an artist that is criminally underrated. She got her start playing bass in Eric's Trip a seminal Canadan indie rock noise band. They were signed to Subpop back in the 90's and made a bit of a name for themselves though it seems like they're forgotten now.

After the dissolution of that outfit she started writing and recording her own music, her first solo stuff being put out under the name of Broken Girl, which rather aptly describes the music. She has been doing her thing solo for 14 years now, having done albums with a couple of other groups along the way. She did an album with Wooden Stars in 1999, was a part of Shotgun & Jaybird till that died and is now part of Calm Down It's Monday with Fred Squire. In which she plays drums.

On her own she picks up her acoustic and writes beautiful, gentle songs about the little things that make up life. Her voice is high and fragile and she writes songs that match it. She's a singer songwriter who knows her strengths and plays to them.

If you like singer songwriter stuff, this will scratch that itch. If you like deeply emotional music that proudly wears it's hearts on it's sleeve you'll definitely like this. And if you like Canadian folk music you'll hopefully like this.

She will be at the Red Dog on Wednesday February 2nd with Little Scream. Tickets are only $10, come down see an awesome canadian artist

Touché Amoré - 2009 - ...to the Beat of a Dead Horse

Touché Amoré is a mostly hardcore based punk rock band from Los Angeles California. One of the reasons I say they're a punk rock band is that their songs average a minute and a half. Jeremy shouts a lot. The guitars are usually raging and the drums sound like the guy is pounding down your door. They released their debut LP  in 2009 and after releasing 3 Ep's this year, two splits and live disc, signed to Death Wish records to record "Parting The Sea Between The Brightness And Me" with Ed Rose. Really looking forward to that.  But this long piece is focusing on their LP "...to the Beat of a Dead Horse".

   ....to the Beat of a Dead Horse grabbed me from the instant it started playing and never let up. It plays with the line between hardcore and screamo the best I've ever heard. There can be clear differences between the two or the lines can be blurred somewhat. Here they seemed to be blurred just a tad with melody and disquiet direct-able  at the society around Jeremy as much as himself

As much as I love hardcore punk there seems to me to be a lack of singers capable of writing lines like "I've got my own brand of patriotism. It comes with nights of emptiness, where I show my true colors. The real meaning of independence" and delivering it like his life depends on it like Jeremy does. The whole band plays like that, like a demon is on their trail. But if you read Jeremy's lyrics the demons seem to be inside us and the battle is somewhat pointless but we'll keep marching anyway.


One of the drawing points for people who care about things like this is the appearance of Thursday's Geoff Rickly and Modern Life Is War's Jeffrey Eaton. Geoff adds a really cool melody to "History Reshits Itself" and kicks into hyperdrive while Jeffrey Eaton doesn't do anything but add a gravelly voiced shout to the end of "Always Running Never Looking Back". 

This started off as a discography post then I started listening to LP again I have to devote more time to this album. It requires it. The emotional investment Jeremy puts in his lyrics picks up your head and connect. I could do nothing but quote his lyrics. Lines like "I've gotten good at hiding, when I feel like hiding. My mouth is great at running, when I feel like running. Now I'm biting the hairs on my arm like I do when I don't know where I am or what I should do. I've been blessed with these eyes that come with innocent questions like where I'm from." and the entire awesome piece that is Adieux really captivate me with cryptic poetic realness. There are layers to his lyrics. They can be read as literally personal but that limits them a little though the obviously romantic songs like Broken Records are among the best on the album. I am more interested in the  social and political implications of what he is screaming and shouting about.

The lyrics are full of disconnection and rage not necessarily aimed at anything in general. As Cadence clearly points out "I am marching to the beat of a dead horse" and like it or not he is a general leading his troops into battle. This touches on another interest of mine that is very understudied and not talked about, men displaying emotion. In order for a man to display emotion like this in a song he has to scream. But that's probably beside the point.

I do have a bit of a bone to pick  because the production completely kills one song. Maybe it's me but I've yet to hear a version of Cadence that's not from this album in which the spoken word piece in the middle is audible. It was not until the "Live At WERS" 7" that I was able to understand the lyrics. It's just too muddy which works for a lot of it but absolutely kills the song. Also, Jeremy does a little suffer from the same problem as the guy from La Dispute. He has a bit of a tendency to have the same tone of shout the entire time which can be a little flavourless. The amount of hooks make up for that though.

the differences between the this and Live At WERS are worth pointing out at least tangentially. What a difference production makes. On the LP the band sounds like a lumbering beast about to crush you with Jeremy darting around in front screaming about how the world is ending and we all carry on. But on the Live At WERS ep the production turns the band into a whiplash inducing hyper hardcore punk band. Their emotion and youth reigns supreme and the sound explodes constantly. You can hear the spoken word piece on Cadence and the turn on a dime nature of the music really becomes apparent. It sounds like someone shoved them into a small room and they have to explode it to get out.

So as you can probably tell I really like this album. To say that it has captivated me would not be an understatement. The replay value and investigation potential make this an awesome release. The emotional investment and the cryptic nature of the lyrics give it the ability to be obsessed over which I may or may not be guilty of. Anyway, listen and have your ass kicked.

Super Hero Hipsters

From College Humor

You'll Live - Things Would Change If You Heard This

I really wish emo wasn't a slur. That if you wanted to describe a band's music as emo it's because they deal with other emotions than the anger of hardcore and the out and out sleazy sexuality of rock n roll. But instead of awesome bands like Fugazi, Jawbreaker or Rites of Spring the term emo conjures up shitty mall punk post-hardcore bands like MCR or The Used. (Don't get me wrong I actually like some post-hardcore, early Alexisonfire and At The Drive-In are astounding)

If emo wasn't a slur then describing bands like You'll Live would be a whole lot easier. It's the kind of emo that usually stays in a rather calm, melodic moments though the singer never does anything close to singing. His voice is too rough for that, he sounds a lot like Gabe from Monument (who are an rough paralel to this band though Monument are a good ways ahead) but able to launch into a hair raising scream chaotic feeling scream.

The music is an interesting combination of that twinkly style of emo guitar mixed with melodic punk feel that owes an obvious debt to the post-punk school of songwriting, in terms of feel anyway. The material here can seem a little simplistic and that's probably because it's their debut ep but there is still quite an intriguing sound here. There is lots of melody in the guitar and almost always a cute little melodic riff nipping at the singer's ragged voice.

I'm not really sure why this grabs me but it does. There are lots of obvious touchstones here that  if I were better versed in this genre I would be more adept at picking. Suffice it to say this is a good coalescing of influences, now we wait and see if they can add some more personality.

found at Carried Out To Sea which is a really cool blog

Mother Of Mercy - IV: Symptoms Of Existence

A little while ago some people fused hardcore with metal, creating metalcore. Now there are varying degrees of the combination, they range from a little metal in your hardcore and a little hardcore in your metal to the two balancing equally. Coming at it from a metal perspective I've mostly listened to the stuff that's really metal with some hardcore thrown for flavouring. Which is why bands like Mother Of Mercy still tend to knock me upside the head. They play what would be some basic hardcore if it were not for the metal elements. That is not to say the metal elements are incredibly obvious but they are crucial to the sound

It's heavy and aggressive but not usually super fast. It's mid tempo without being boring as there are actual riffs. The guitars rip and destroy but always with a riff in hand, never just aimless heaviness. For the most part the riffs on IV: Symptons Of Existence are interesting and varied enough to actually be riffs. While there is still the insistence on rhythmic punishment hardcore brings to the table the riffs are strong and varied enough to not need to rely on simple aggression. I find myself comparing them to Touche Amore in terms of bands that are doing interesting new things with hardcore

This album seems like a good response to something I find myself saying about a lot of hardcore I heard lately. I find myself thinking "Great, you can play hardcore. Now what?" All the bands and songs sound the same. This album on the other hand takes the basic trappings of hardcore and ties them onto metal riffs that work better at mid tempo than a full on blast.

Aggression, speed and volume are all good and necessary but it is so much nicer when a band that has those bases covered can stretch out into some actual songs with interesting riffs that function as more than just anger releases. Thrashy hardcore tends to hit that sweet spot and this fits just right.

Blues

Over the few days I've been listening to nothing but blues. Mostly down  on the plantation delta blues and Howlin' Wolf & Muddy Waters. A little bit of the legend that is  Robert Johnson, a little bit of Willie "Big Eyes" Smith former drummer for Howlin'  Wolf now singer and harp player and a little bit of B.B. King's cousin Bukka White. There's a  little bit of Willie Dixon and a nice dose Big Bill Broonzy. Their folky country blues is quite amazing and impressing still. Speaking of impressive there's Blind Blake and Lonnie Johnson. Blind Blake, of whom there is only one picture plays ragtime guitar. Lonnie Johnson invented sing string solo's and his playing is jaw dropping. He's inventive and clever and his stuff was recorded in the 20's. If Bessie Smith's Graveyard Dream Blues doesn't bring tears to your eyes you have no soul. She's the empress of the blues for a reason. There is only a little bit of Son House but it is incredibly powerful. His a Capella version of John The Revelator is a spiritual revelation unto itself


http://www.mediafire.com/?h3ljjevfnwlkqv4

Howlin' Wolf

If there is one king of the Chicago blues I think the crown could easily be given to Howlin' Wolf. Cub Koda wrote that Cub Koda declared, "no one could match Howlin' Wolf for the singular ability to rock the house down to the foundation while simultaneously scaring its patrons out of its wits." For all of Muddy Waters talents he lacks an growl, a roar to his music that makes everything jump. Wolf's voice has grit to it, enough to drag you out of your chair and onto the floor while he's bellowing at you. Here's just a taste

Moanin' In The Moonlight - 1962  - his first two albums which have most of the songs he's known for, not quite so electric pure chicago blues
More Real Folk Blues - 1965 - more of that pure Chicago blues, lots of guitar, some piano and tons of harp

Howlin' Wolf - This is the New Howlin' Wolf Album - 1968  - psychedelic blues that foreshadows what would come with the london sessions a few years later. Has some weaker spots where the psychedelia outshines the blues but Spoonful comes alive with some ultra blistering guitar and Moanin At Midnight is awesome as a  stripped down minimalist electric song
London Sessions - 1971 - Recorded with Eric Clapton, Steve Winwood, Bill Wyman & Charlie Watts. Nuff said

Muddy Waters - Hard Again

Electrified Chicago blues. The legendary Muddy Waters on guitar and vocals. The legendary Pinetop Perkins on piano and the legendary James Cotton on harmonica. Need I say more?

Alternativ Newcombers 2011

Do you like screamo, hardcore and punk pop? Do you like jumping between those genres quickly without warning? Even if you don't you should check out this free compilation. If you like pop punk and melodic hardcore stick with the first half but if you prefer angry, somewhat chaotic music you'll probably gravitate towards the second half.

Things start off well with Caravels and Make Do And Mend. Neither songs are new or unique but they are a good intro to the compilation. Unfortunately things takes an immediate dive right there. Aside from a hardcore song or two and some quite intense screamo this comp is front loaded with pop punk. Bands like Hostage Calm and maybe Daytrader and perhaps even Dear Landlord are able to distinguish themselves but a lot of the bands playing either pop punk or melodic hardcore seem to blur together namelessly. The lack of distinction between those two genres on this album is a large part of why this portion blurs together.

The Pianos Become The Teeth song is a nice change and signals that there is more screamo to come. Things get quite  awesome for awhile. Tigers Jaw keep it at medium speed but manage to brighten things up quite a bit. Castavet do their shiny, shouty thing and Plebeian Grandstand absolutely destroy.

Ordo Ab Chao by Plebeian Granstand really should not be allowed to exist. The song is frantic and sludgy at the same time. It's mathy like Meshugga but a lot more limber and constantly turning on randomly thrown dimes. The vocalist sounds completely tortured and the music is not far from insanity itself. Quite intense. The Republic Of Wolves Greek Fire is also a really intense song but following such chaos it seems rather diminished.

The second half is much better than the first for someone who doesn't care so much for pop punk or melodic hardcore. There is much more hardcore (DANGERS), a nice dose of french screamo (Who Needs Maps) a bit of post rock and screamo (As We Draw) and even some dark screamo (Exhaustion). If you like angry music played faster than it should be, filled with bile and hatred usually played by bands that get described as unreasonably pissed off then the second half will bring many rewards.

There is only a little bit of pop punk on this end of the album and both RIVR and Stay Ahead Of The Weather are great, innovative punk pop bands.

If you're like me the first half of this album will leave you thinking "Ok, you can write a pop punk song. Good for you. Maybe do something unique and true to you?" But that is nicely balanced out by the inclusion of a bunch of screamo and other more original bands that play with different song structures and the like.

Optimus Prime

Their second (?) ep. The post rock influences are a lot more obvious and so the songs are longer. There are more twinkly bits in the middle separating the explosions of chaos. There are also more quick subtle build ups instead of just exploding into screamed insanity. The twinkly, supposedly melodic bits in the middle didn't grab me at first but slowly those bits are growing on me. I have no idea what these songs are about even in the slightest but that doesn't lessen my enjoyment of this intense music at all

No Talk - Leather Discipline

I get mixed singles from this band. Usually hardcore is not particularly open to sexual deviancy and this album has that in spades. The artwork is eye catchingly homo erotic and the gang vocals all throughout do nothing to dissuade that aura. The guitars are nice and thick, the riffs are smooth and catchy and the powerful growl of the lead singer offset by just a tiny bit of clean singing. Hardcore usually isn't this catchy either, the focus tends to be on simply pounding your head in. These songs hold back just slightly so there's room to dance and sing along and for the songs to worm their way into your head. The whole thing's done in just over 22 minutes, way too short for songs this catchy.

Monument - Goes Canoeing

Not every band is going to create something new and innovative. Sometimes it's enough to bring together disparate influences and create something heartfelt and personal. Which is exactly what Monument have done on their debut full length album Goes Canoeing. They gracefully combine twinkly emo, mathy indie rock and both Dischord style hardcore and post-hardcore.

The intro is the only waste of time on this album; thankfully it's over in a minute. It's also the longest you have to wait for a change on the entire album. If you don't like a song wait at most 30 seconds and it will change. Each song is filled to the brim with constantly changing parts that mutate into something that seems barely related to the previous part but is always a logical progression onwards. There is very little repetition on this album, with so many parts to get to that's expected and it makes the occasional repetition that much more powerful.

The first actual song sets the template somewhat for the rest of the album. Roots Run Deep shifts three times within the first minute. It starts off in a very post-hardcore, or if you prefer, post-punk vein. Both guitars are going full tilt, one picking out a twinkly melody over top some nice distortion while Gabe, the lead singer, shouts without forgetting about melody. After 30 seconds of that the guitar lines merge, the backup singers start and Gabe joins them in actually singing. This continues for another 30 seconds and then some horns come in. They blow chaotically for awhile, not really following a pattern or melody and then it's back to the energetic post-hardcore with all the melody in the guitar. This constantly changing style continues for the rest of the album. The songs never sit still which creates a real sense that these songs are crafted with care and attention, not just slapped together quickly without really thinking about it.

The next song Glass House has fewer distinct parts but is none the weaker for it. It's one of the best songs on an album full of great songs. The focus is clearly on the chorus; it is beautiful with alternating vocals between Gabe and the rest of the band. The energy put into it creates a very nice contrast with the chilled out verses where Gabe relates a story of playing in the winter. It's really hard to clearly define a genre for this band because of the constant changes. In just one song they go from soft ballad to epic rock chorus back down with lots of sparkling guitars all around. Most of the songs follow the standard verse/chorus/verse/chorus structure but playing musical cut and paste with their influences makes the songs interesting.

Gabe's singing is clearly one of the highlights of this band. The others include the supremely catchy melodies and the great gang singalongs. Gabe's voice is really versatile. He can go from whiskey soaked semi shout to soaring elegant singing on a dime and even when he shouts there is still a large amount of melody. He tends not to clean sing a lot, leaving most of it to the rest of the band, and when he does he has a slight whine to his voice. It's enough to put a sad tint on the music but never overbearing or obnoxious.

Generally speaking they combine twinkly emo, post-hardcore/post-punk, indie rock and no small portion of math rock. The guitars usually alternate between bright bursts of flickering guitar patterns and forceful, driving progressions that create a sense of constant evolution.

It should not be a surprise that this is a great album. Members of Monument have put time in with legendary bands like The Summer We Went West, Dawntreader and The Tasty Habits. This album is not so much a merging or melding of styles but a mixing of all these guys know and love into a unique, tasty new thing.

Cheers, Mate! - Owl EP

This is probably the best album you've never heard by a band you'll probably never see live. Coming out of Ukraine it's Cheers, Mate! with their debut ep called the Owl EP. It is filled to overflowing with conflicting moments happening at the same time. Throughout this all too short album there is beauty is jammed up against ugliness and total devastation rubbing shoulders with moments of epic beauty.

This is most definitely screamo music. The emotional style of the clean singing and the piano add heaping doses of emotion to what would normally be just hardcore or perhaps post-hardcore rage. The constant shifting between beauty and aggression, not to mention when they manage to coexist, turns the sheer aggression hardcore punk is known for on its head allowing for much more textured music. If you don't like multiple vocalists with multiple styles both clean and not turn away now. If you like heavy guitars that quickly transform into melodic moments then this is probably for you.

Throughout this whole album the singers are constantly trading off. It's hard to understand without hearing it how powerful it is to go from a beautiful clean melody straight into a tortured scream on a dime. The only thing more powerful is when the one vocalist echoes the other. As often as the screamer is howling alone a lot of the time the screaming is relegated to backing vocals stretching out what the clean singer started.

The Intro starts off with a drum counting off four beats and we're off to the races. The guitars are already at full blast riffing away and in the background you can hear a piano tinkling. The screaming comes in towards the end and is aggressive and noisy but it never becomes unintelligible. 

The first song, And Nobody Wants To Stop has two breakdowns in it, surprise surprise. The interesting thing is that the second breakdown is lead back up by the piano and some clean singing. The Devil Drives Lada will surprise you because there is actually a catchy melody in the clean singing. That melody is only accented when the scream takes over and the piano drops out. There is just enough repetition to almost make it stick in your head but not so that it becomes overplayed. 

Your Eyes Turn To Widescreen is the fourth song and the most straight up screamo song on here. Right out of the gate there is a raging riff and a high pitch scream going at full tilt. The piano doesn't make an appearance until after the first breakdown at which point it replaces the guitar and a spoken voice comes in with just a tinge of aggression. The piano vanishes as quickly as it came and doesn't show up again till halfway through when everything goes completely chaotic. The instruments take over and wreak havoc.

The middle of this fourth song is the most interesting part on an album full of fascinating riffs and sections. The guitars rage along like they usually do until out of nowhere comes a piano. Instead of creating a melody and forcing a progression the piano bangs out unresolved chords that sound awkward yet completely awesome. Everything calms down suddenly and the clean voice emerges leading the melody with the screaming in the background eventually taking over.

The guitar usually stays in over-driven thrashy mode and the riffs are always tasty and constantly changing with more than their fair share of melody. The use of piano helps with shoving melody into places where there would normally only be brutality. The use of multiple singing styles really helps to make this music unique. There is melodious clean singing, just a little bit of speaking and both high pitched and guttural screams.

There are few hooks on this album so there aren't really any bits that get stuck in your head. Instead of walking away with bits of these songs stuck in my head I walk away astounded at the brutality and emotional content of this music. This is music coming straight from the musicians hearts aimed straight at your guts.

Cattle Drums - The Boy Kisser Sessions

The best description I've heard of this album is that it sounds like if At The Drive In if they played punk-pop instead of post-hardcore. The debut ep by Cattle Drums The Boy Kisser Session is filled to the brim with nonsensically obscure poetic lyrics, constantly changing songs and guitars that go from raging to melodic and back on a dime.

It's absolutely impossible for me to choose a favourite song because they all show a different side of the band and are almost all uniformly awesome. New Furniture And Wigs starts out with just a riff and drums that grab you and make you pay attention while the last third of Who Punched Pat Moore's Face has obscure lyrics over top of shifting guitars that focus on alternating between aggression and melody. Borvg The Nag kicks your ass for barely two minutes and is followed by Two Pigeons an acoustic song with both shouting and a xylophone. There's a video of the band on you tube doing Two Pigeons on someone's back step that is as close to a literal definition of awesome as I've seen.

Most of the time I have no idea what the lead singer is going on about. But that is most certainly not a bad thing. He is constantly shouting nonsensical things like “I got a bone to pick with you bout Stacy's bloodline, it's cutting out, what's that about, what's that about” which only add to the energy being created by the band behind him. He creates such a sense of urgency that it doesn't matter we have no idea what he's singing about.

The only bad song comes exactly in the middle and the only reason it's bad is because it's so slow. The lead singers shouting loses its urgency and comes close to being a whine. Usually the choruses come out of nowhere, smack you in the face and spin you around but on Sluts And Coconuts you can see it coming a mile away.

Musically speaking this album is fairly standard. There are bits that are very punk pop with lots of energy that make you want to jump up and down while singing along at the top of your lungs. Other parts make you want to start a pit and smash everything and then there are also parts of incredible beauty. The combination of these three disparate parts and the ease with which they shift between them is one of the things that makes this album so interesting. The ability to do any one of those things with any skill would be enough for a great album. The ability to do all three and combine them into a coherent piece is one of the things that really grabs me.

Starting off with nothing but a drum beat then a simple bluesy riff New Furniture And Wigs is bound to grab your attention. After about a half minute the piece escalates with an all over the place melody being chased by the guitar that continues 'til the guitar drops out the and the lead singer starts shouting. Eventually the guitars come back in and the song ends as a post-hardcore rager that never really forgets the melody.

If you're not into energetic, emotional and interesting music that refuses to give up or reveal its secrets then you won't like this. But if music with cryptic lyrics, songs with unorthodox structures that are written with obvious care for the art form then hopefully you'll find this as addictive as I do. Easily one of the top 5 ep's of 2010, I await new material with bated breath.

Mount Kimbie - Crooks & Lovers

The melody is always getting lost. Sounds come and go, showing off for a moment but no longer. Quickly swept aside for the next flashy turn to come round. Maybe the drum will kick back in. Maybe the vocal sample will loop back round. Maybe the DJ will breath really loudly into the mike. Perhaps it's just me but it seems like the best glitchy ambient dub step has a lot in common with the best hardcore crust punk. The music is always changing, finding some new angle, no matter how similar, everything gets ground together into an interesting mash of sounds.


Mount Kimbie have managed to do roughly that on their debut Crooks & Lovers. Most of the songs reach into the 4 minute range, which for this kind of glitchy music I find quite surprising. By glitchy I mean that everything is always changing. Every single sound of the song, and in any one of these songs there may be any number of different sounds, has been altered and screwed around with. The pitch may have been altered, may have been run through a filter, whatever needed to be done to flip it around into a variation that fit into the theme but is still weird enough to make you scratch your head consistently. And consistency is hard.


The songs are all so different which should not be a surprise anymore. The only thing they have in common is the fact that they are all constantly changing. I don't think a song stays the same for more than a 3 seconds at a time, if that. And that's what's fascinating. There isn't a lyricist to listen to, but that's about it. You can't say there's no beat because there is one obvious bangin' but it's constantly being morphed too. You can't say there are no solo's to enjoy because the whole piece is one large solo. Sometimes it gets a little quiet and subtle like in the middle of Before I Move Off before those chopped up voices come in but there's always layers of texture.


This is music that demands your attention. The amount of effort it would take to put this music together really comes together in a way that makes you sit up and take notice. It's not going to sit there nicely for you throbbing away to one beat all night long. It's going to mutate. It's going to get up off the floor and change into something completely new that you didn't see coming but seems perfectly right. The fluidity will draw you back in at the same time as the variety of the samples will make you pay attention. You may feel like your flying through space. Space is much more normal than this music.

Linkin Park - A Thousand Suns

What new major label  album features a half dozen minute long interludes, quotes from both Martin Luther King Jr. and Mario Savio, not to mention a distinct lack of guitars? Why the new Linkin Park album, A Thousand Suns

    If you approach this from the perspective that Linkin Park is a metal band with some rap and industrial influences then you will hate this album. There are virtually no heavy elements and those that exist come from techno and electronic music. But if you approach them as a group of people bringing their talents together to make something greater than they do individually there is something to this album. It moves them in a significant new direction. They have left behind the anger and guitars of their previous albums for a somewhat more subdued, electronic based, individualized music.

    This album doesn't feel like nearly as much like a group effort as their previous albums have. In the past the mixing of different sensibilities and tastes seemed seamless. The move between Mike Shinoda's rapping and Chester Bennington's singing was fluid and the music they built around that interplay worked very well. But the songs on this new album seem like single people. The seams have become obvious, the new songs don't fit together nearly as well. Songs like Wretches And Kings and When They Come For Me are basically hip hop songs with very little input from Chester. On the flip side there's opener Burning In The Skies and mid album skipper Robot Boy are all Chester with nothing from Mike. It's a problem that won't go away and doesn't allow the album to gel.

    It opens very strangely with two intro tracks and then the first song. It sounds like Chester's solo record but without the big chunky guitars. And most of the record sounds like that. They've traded in the majority of their anger and angst for lots of piano and really big synth sounds. The songs they write and the instrumentation has always lent itself to the grandiosity of stadiums and this music is no exception.

    There are some links back to what they've done before but they are few and far between. The opening song Burning In The Skies a somewhat typical Linkin Park feel but stripped of all aggression and bite. The only really angry song on the album is Blackout but even it is mostly devoid of guitars. Chester's angry vocals are  backed by several layers of highly distorted synths. Both the anger and distortion are under cut by a constant high piano plinking away. One of the best songs on the album Wretches And Kings is a straight up hip hop song and has the aforementioned Mario Savio quote. The only place a guitar shows up is for 3 beats on the chorus and Chester is relegated to the chorus and the bridge.

    If you listened to Linkin Park for the cathartic moments or for a shared experience of rage you will be sadly disappointed. But if you listen to hear what happens when six talented musicians get together and express their current reality you will be intrigued. If you've ever wondered what Linkin Park would sound like doing a  reggae song this is the album for you. This is a different side of Linkin Park, one that I'm not particularly fond of.

Downchild Blues Band Live At Showplace

    What can one say about the legendary Downchild Blues Band that hasn't already been said in their 40 year career? Their current lineup is a six piece and they are very tight. The energy and obvious joy behind the music makes you wonder if it's blues at all. Then Chuck Jackson sings something about being in love with two women at the same time and you're right back in the delta.
    They broke their two hour show into two sets with an intermission in the middle. After the intermission Donny Walsh, Mike Fitzpatrick the drummer, Gary Kendal on bass and Michael Fonfara on keyboard returned to the stage. Donny sang a few songs himself while wailing on the harmonica. The fact that the band works as a 6 piece or a 4 piece makes the fact that Donny can't sing rather irrelevant. These guys know how to play their style of music better than anyone whether they've got a full band or are stripped right down.
    They played a nice mix of old and new songs. They played some songs off their new album such as I Need A Hat, Somebody Lied and Down In The Delta. While there's nothing wrong with those songs, they don't have many miles on them. Because they are new songs they lacked the crowd response that pushes classics like Jump Right Up, Flip Flop & Fly and the singalong (I Got Everything I Need) Almost into high energy songs that you can't sit still to.
    Purists or traditionalists would not call this blues. This is blues with an obvious urban influence - a very strong, pounding beat that is missing from most traditional blues. The saxophone and keyboard add elements of rock and roll and even jazz into the mix. The way Donny plays guitar there isn't anything particularly bluesy about it unless it's slide so it's up to Chuck's voice to bring it all home, which he does every time.  Try sitting still when they blast through Jump Through Right Up, I guarantee you'll be on your feet by the end of the song.
    They all really get into the high energy music they make. Gary the bass player had a grin on his face for most of the show. Everyone is constantly moving around the stage talking to each other, making each other laugh as the song grooves. Chuck really gets into the music, jumping up and down and moving all over the stage releasing energy. If he wasn't singing he was playing the harmonica. Every so often Donny would put his guitar down and pull out another harmonica. When Chuck & Donny went at it on the double harmonica things really started to heat up. There are few things better than two older blues men just going at it on duelling harmonicas, the energy and skill required to really cook on a harmonica make for a great show.
    The dynamic range of the band is really quite remarkable. In Tell Your Mama they go from barn burning energy of all 6 pieces going at once down to just Donny softly playing his harmonica and then right back up. Everything revolves around Mr. Downchild: when he nods people solo, or a piece drops out or they all kick back in at high speed. Though he spent most of the show looking at his guitar and just shredding he was clearly in command of the stage.
    Donny Walsh has been leading Downchild for more than 40 years now. And it shows. They are truly a tight, together combo that knows the ins and outs of the music they play. The music is high energy; it's a fun show and both the audience and the band knows it. You don't go to a Downchild show to sit in the back and nod your head to the overwhelming beat. You have to get up and dance until the last song has faded from the amps.  These guys know how to put on a strong, entertaining show and they did just that.

two pictures

I stumbled across some random persons blog. Their writing is ok, didn't really grab me but there's nothing wrong with it. What did grab my attention where these two pictures. And i am not lying

a basic story

xxxxx------+++++xxxxxx+++++------xxxxxx-------xxxxx

purity structures

purity structures can not hold
they will tear us apart
in a relentess search
for what was once gold

puritanical beliefs
will tear us apart
leave us holding
a bloody child's heart


i wrote it while doing dishes