While Marianne Keith acknowledged during the CD release party for her sophomore album, Cathartic, that the people who help her “schlep” gear probably prefer her solo acoustic sets, seeing the So Cal singer-songwriter with a full band was well worth the effort required by the additional equipment. Easy for me to say, right? Well, had I been approached, I would have gladly contributed to the cause and carried an amp or two in exchange for the full band experience. Or at least a couple of mic stands (I’m a bit of a weakling). The point is, I’m sure I wasn’t the only person in the audience grateful to Keith’s roadies for their efforts Thursday night.
When I think of Italy, I usually think of vineyards, wineries, delicious pasta, beautiful countrysides, futbol tournaments, and beautiful indigenous people who are always happy and always smiling; at least, until they get iced by the Mafia. Okay, so I freely admit that my knowledge of Italy is very much influenced by television and movies. Regardless of that fact, Italy is one of the last countries I would expect to produce a band like N.A.M.B. Mixing elements of Electronica, Psychedelia, Industrial, and Alternative Rock, N.A.M.B. is an interesting experimental band, even if only on paper. So then, how is the final product? The short answer (for all you ADD kids out there) is AWESOME.
I’ve been excited for the release of the new Gorillaz album Plastic Beach for quite some time, so when I finally got my copy for review, I couldn’t wait to hear it, but after the first listen, I was a little frustrated. I didn’t know where the album was going or why Damon had decided to take the band’s sound in a bit of a different direction. This is partially because Demon Days is still in heavy rotation on my iTunes and I know it so well, but also because I have been awaiting this release for the last 3 years. I was expecting to just get the album immediately, and this was not the case. It took me a few listens to fully understand it and get where the album was going, but once I did, I was floored.
First I must say this is probably one of the most cohesive albums I have heard in years. There isn’t a single song on this album that doesn’t belong. The first track, “Orchestral Intro,” perfectly sets up the vibe of the album and then it quickly moves into “Welcome to the World of the Plastic Beach,” featuring the one and only Snoop. Once I had time to take in everything that was hidden underneath the lyrics, I realized that this song does exactly what the title says: welcomes listeners to Plastic Beach.
The collective counterparts that form SHRINEBUILDER can be described as the musical elite of their respective genres. Each of these four men is renowned in their own right; Scott Kelly of NEUROSIS, “Wino” Weinrich of THE OBSESSED, Al Cisneros of SLEEP, and Dale Crover of MELVINS.
To say that I was anticipating this show is an understatement. Years ago, when rumors started circulating of the new Wino project with Al Cisneros on board, I could barely contain my excitement. I grew up listening to these guys, but as Wino said in his SAINT VITUS years, I was “born too late” and most of the groups had disbanded before I was old enough to leave the house.
Photo by: Julie Patterson
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It’s a truly rare occasion for me to not know where to start in reviewing an album. I can usually ramble for hours about any new music I’ve been listening to as long as I can find a listening ear on a patient, nonviolent person. With Field Music’s (Measure) though, there is so much to be said, and I’m struggling with where to start and how much to cover since I feel saying too much would ruin the wonderful experience provided on this album.
I wasn’t sure what to expect when I picked up (Measure) on recommendation from Amazon, but I saw potential, and after a few listens I discovered that these guys are like those friends you have who are so musically trained and gifted that it’s disgusting. The kind who can pick up a blade of grass, hold it between their clasped hands, and play the entire works of Bach in perfect key. OK, maybe I’m exaggerating a tad, but the songs are catchy, dramatic, and intelligent.
Swedish metal trio, KONGH, are preparing for the official US release of their progressive doom-metal masterpiece, Shadows of the Shapeless. Presented via Seventh Rule Recordings, Shadows of the Shapeless originally saw a European issue date in early 2009 through Trust No One Recordings (Isis, Cult of Luna).
While many bands do heavy well, KONGH pull it off better than most. Incorporating styles that mimic everything from Neurosis’ Souls at Zero to Opeth’s Deliverance, Shadows of the Shapeless offers listeners an opportunity to experience the best elements of doom, sludge, progressive, and atmospheric metal, all within the disc’s 57-minute run.
For nearly a decade, I’ve been convinced that traditional music has been tapped out and that the only amazing or unique albums would be found in the experimental scene. Lately though, with the emergence of breakout bands like Vampire Weekend, MGMT, Kaiser Chiefs, etc., my interest in Alternative Rock has been completely rejuvenated.
Case in point: the band Surfer Blood caught my eye recently. I initially picked up their new album, Astro Coast, from a recommendation on Amazon, not only because the sample clips showed great potential, but also because I don’t have a single album in my collection with a shark on the cover, much less a mixed up, mosaic of one. 
After repeated listens, I’ve developed quite a love for this album. It’s an addiction that goes far beyond the maritime cover. The album has a lighthearted charm throughout every song despite the stylistic fusion taking place. At first I didn’t know how to define their style since every song has a unique feel to it. I constantly found myself wondering, “Is this New Wave/Lo-Fi/surf punk? Is it Dance Pop/Ambient/Alt rock?” Honestly, I still can’t narrow it down, but it may be their desire to experiment with sound, as well as their brilliant execution of it, that makes Astro Coast that much more quirky, addictive, and harder to stop listening to.
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Coming home from my night job in Los Angeles is good for a number of reasons. There’s less traffic on the commute and a wide variety of nocturnal eye candy. There’s Micro-Miniskirt Girls shivering in 40-degree Fahrenheit weather in front of the clubs, and the Shambling Undead leaping in front of my car. It’s like a drive-thru safari all along Hollywood Blvd. Once I park in the city garage and slink past our resident homeless guy as he sings lullabies to the soda cans in the trash, I pretty much sprint to my apartment. Unfortunately, it’s 3:30 AM and I’m so wired from panic and adrenaline that the only thing I can really do to calm down is watch TV- and at 3:30 in the morning, unless you want Enzyte ads, the only thing that’s watchable is VH1’s aptly-titled Insomniac. What sets this program apart from all other music-video shows is that it actually plays music videos- and this, boys and girls, is how I discovered Owl City.
