Tuesday, July 7, 2009

New Icelandic label; Paradísarborgarplötur



Pradísarborgarplötur (PBP) is without a doubt the most exciting new thing going in Icelandic underground music right now. A much needed addition to the already vibrant culture. For far too long there have been too many punk bands that are only about the "goof around" and it got pretty hopeless at times. It seemed that an alarming ratio of artists just didn't give a shit about anything, not even about sounding reasonably good nor being known for putting forth something solid and stimulating. PBP's group of individuals wants nothing to do with this and that has been the case for years. It's only now that they are putting a lot of power and focus behind the idea of providing a prolific and loud alternative. This is taken from their website: "We are a record label/artist collective based in Reykjavík, Iceland. We are punks. We believe in D.I.Y. ethics and fully realize the politics behind artistic representation. Our art is a statement against rock star hipster attitudes and elitist bullshit." Now this is something Halifax Collect can get behind of 100%, so I got in touch with the collective and talked to Fannar.

You guys also started the not-so-prolific Bananatrash collective/label. Why start PBP, what is the difference and can we expect something new in terms of how you run your operation this time around?
Basically we wanted a fresh start. We had many different projects going on based around releasing or promoting music we liked, but things were getting more and more serious and we needed a more serious outlet. Our previous efforts hadn't been prolific, as you said, and we needed to be more focused. PBP to us, is more than just a label or a collective of artists, it's a work of art on it's own. Every release is and will be a part of this bigger picture, like a collective collage. That way I think we can express how we feel about society. We don't always say the words, we show people the problem by being a part of the solution. Which to me is the very foundation of D.I.Y. and anarchism.

Starting d.i.y. punk labels in Iceland usually leads to a quick and painless death. Why is that and how do you plan to avoid being just another flash in the pan?
Well, there's not a big scene and little as no interest. We plan on trying to get our music out to people around the world. Hopefully our name will be known amongst the nerdiest of punk nerds and maybe we might serve as a stepping stone for cool local bands. Anyway, it's not like our previous projects went bankrupt. We have a bunch of stuff coming up, so as long as we're doing bands and have stuff on the agenda, we'll keep doing this for sure.


Do you think your manifesto, aesthetics and the way you do things, will scare of the not-so-in-the-know crowd?
Maybe. I don't know. I kinda hope so. Punk rock music is overwhelming, so shouldn't punk rock labels be overwhelming as well?

How do you guys fit into the "harder" music scene in Iceland today and do you provide an alternative to the more entertainment aspect of it?
I don't know if we fit in at all. We definitely seem to have different views on how to approach music than most people in the Icelandic underground. Or so it seems to us anyway. Everything seems to always be about getting wasted or smoking pot and kicking out some sweet jams, dude. That's so fucking boring. I got into punk and hardcore, because it moved me and it seemed deeper than the bullshit every day culture I was being exposed to. I don't care what people do with their bodies, but why does music and art always have to be about partying? Is it not good enough on it's own?

Good Icelandic non PBP bands?
Definitely LOGN! They reign!! Bad ass grind core. Not too technical although they play around with instrumental technicalities, but it's always straight forward enough to keep your blood pressure up. Also FIST FOKKERS are really good. Chaotic noise rock with a lot of punkness to them. They write cool songs and use cool chords. ME THE SLUMBERING NAPOLEON are very good as well. Their first record is coming out on Kimi Records this fall. They have this Polvo worship thing going on, with a slight Minutemen-esque funkness. It's really cool. I like that they're getting some recognition. BENEATH are my favorite local metal band at the moment. Total Morbid Angel wannabes... as if that could be a bad thing. Also the black metal band SVARTIDAUÐI is amazing. Straight forward yet clever. Monotonous darkness, not drowning in melodies. Then there's BUXNASKJÓNAR which provide the north coast with premium pop punk. Fast, catchy and really fun. REYKJAVÍK! kind of flirt with punk rock with their party rock. They're a great band, their latest album is so fucking good. Lots of music nerdiness going on there. That's always good. There's tons of others. RETRÖN, SKÁTAR, KIMONO, SAKTMÓÐIGUR, MORÐINGJARNIR... to name but a few.


What do you have out and what is on the horizon?
We first released THE DEATHMETAL SUPERSQUAD's Dead Zeppelin, in may (this CDEP is incredibly good and on constant rotation in the Halifax Collect headquarters, also read this). Which was a CDEP, the first of two in a series. There's just a lot of Husker Du going on on that one. Our second release was also a CDEP but this time a melodic punk/post-punk band called TENTACLES OF DOOM and the EP was called Dansað við lík. It was released just last week. Anarcho punks, DYS (no, not D.Y.S.), also have a CD coming out soon on PBP. It's called Andspyrna and is a 6 song EP but it will also include a remastered version of their debut, Ísland Brennur. It's being made as we speak and hopefully it'll be ready at the end of the week. Also we've been meaning to release a full length album by MVNVMVNTS called (MI). That's a doom/drone/post-punk mix of some sort. Then there's a CDEP by BUMMER called Good Deeds + Guitar Leads. Garage/power pop/punk pop/whatever. Really catchy stuff. I'm totally hooked on it.

How do foreigners and locals alike, get their hands on your releases, hard-copies and not so hard copies?
Just send us an e-mail at pbppunk@gmail.com and tell us what you want. Also we'll try to have records for sale at as many local shows as possible.

Why Seinfeld? Why not King Of Queens or Myrkrahöfðinginn?
This would be an answer too long for this interview, sorry.
Not true And yeah, you are sorry. Who wouldn't want to elaborate on this?
Thanks for the interview Fannar and good luck with everything PBP.


To all you readers; stay focused on this dark horse and visit the following websites.

http://www.pbppunk.blogspot.com
http://www.myspace.com/pbppunk

Monday, July 6, 2009

Lets look at some videos


This is KILLSWITCH ENGAGE's latest video. One of the leaders in a metal sub-genre I coined CLEAN METAL. A band that is seemingly going into a balmy summer day direction, read: if you threw this music into a pond, the water wouldn't ripple. And that is no good. Harmless, predictable, pre-packaged and ready for mass consumption. Just wait for the un-distorted guitar picking part...oh so silent and dramatic. Wow. Woooow. I wasn't expecting that! Look at this video. You gotta love it. What the hell is going on? Who are these people. The singer dude wants to start again and I remember him saying something like "you mean so much more to me than blablabla". There's a stand-off on the side walk. OMG. What will happen? HOW DO THEY FEEL? The song will tell you. No it wont. Look at the lights rushing around the band that is floating in the air. The band is floating!! Lights!! They are getting hit by some powerful blast of sorts but still remain all sexy and horny in the face. I'm awe-struck. They are running now and it looks hard. It's hard for them to run because of the ghost-blast-storm... But they run regardless. And they jump and glide up into the street lights. I'm moved.I hope they high-five, in mid air. Oh. They didn't. This is rubbish. Band needs to quit.

NARROWS: GYPSY KIDS (2009) 872 x 480 from My Black Cat on Vimeo.


NARROWS have the personnel to become great. Read my review of their latest release here. This video is for the song 'Gypsy Kids'. It is one of the best tracks of the record. Band deserves you check them out. Anyway, regarding this video. I really like it. It is obviously taking some inspiration from the legendary cult phenomenon Begotten by E. Elias Merhige. Naturally this video is much cleaner and the motifs entirely different. A little bit of Aenima Tool era feel in the video as well. I dislike the poetic/reflexive text appearing on the screen. This video looks good and I enjoyed it. But it fails to move me as I think it ought to. I think the intention is to move the audience but it fails in doing so. Maybe it is because it feels somewhat familiar and the images don't make a engaging whole.


LIVING HELL's latest full length The Lost and the Damned, is out on Revelation records if I remember correctly. This song is pretty good, I'm head banging and it is a really really hard jam. Nothing new but this type of metalcore is coming back which is a good thing in this day and age were clean-metal and technical death pop is said to be metalcore. Fuck. Now lets us look at this video. On second though, lets not. This is disgusting. Fucking teeth, gums and drill. Damn it.

Still in Massachusetts - Refuse Resist

REFUSE RESIST recently unleashed this very amateurish and cheese video. And this is not a bad thing. It's kinda light hearten and fun to look at. The narrative fits the lyrics, the acting is horrible and probably done by some friends and the cinematography is that of a high school project. But fuck it, it does its job and was probably tons of fun to make. Rudimentary live shots of people singing along to the catchy, street-punk inspired chorus. Oi in my butt! I have a soft spot for hardcore videos like this. It's oh so charming. SOIA, Agnostic Front, H20 and who else has videos in this vain? Please name them 'cause I'm in the mood for some more!

That's it for now. No more video-talk today. Please get in touch if you know of any new or recent videos. They can be cheesy, shitty, incredible....I don't care.

Michael Jackson is dead


The ever so distinguished, crucial and dandy Grapevine magazine asked me to write something in the wake of Mr. Michael Jackson's death. I was told other musicians and music scribers would chip in to make this huge homage about the guy. Going into this I suspected that most of the submissions would be lofty and melodramatic - rightfully so. But I didn't know the guy like most of my colleagues apparently did. This is what I came up with.

I have little to add to all that has been written about the life and death of Michael Jackson. Well, sort of. I want to add the fact that the guy ruled pretty hard. Okay. If you have not enjoyed at least one song by the guy, odds are you are not into music. Lately I've been rocking out to Jackson 5. At that age he already had almost uncanny understanding of vocal technique. Listening to him kill it live with his brothers brings tears to my eyes. It did before he died, mind you. Anyway. I am a metalhead. I've been a metalhead since I was 8 months old. I was at war with weak ass pop music, all my childhood. I would crush any pop artist, safe for Michael Jackson. The 'Thriller' video had enough metal in it to win me over. Bad had hard moments and he looked pretty metal on the cover, so I listened to that record. Listened hard. 'Dirty Diana' rules. If you disagree, you are an idiot. Simple as that. The production values from 'Bad' and onwards are incredible. Listen to all these records with your best headphones on. It will blow your mind. It's wild. When thinking about his career and what I enjoy the most I reached a surprising conclusion. What I like most are studio report interviews with the guy and behind the scene type of stuff where one can see him try out different ideas for his records. The shit he came up with is a mindfuck of the tallest order. And when he was telling the interviewers what some song sounded like he would break into some killer beat boxing that was even better than the recorded song. Shit you not. Youtube that shit and be blown away. No doubt this is the most insightful obituary you have read about Michael Jackson yet and you appreciate the fact I wrote this. M.J. was a giant - one of a kind. He owned our asses and I'm thankful for all the entertainment he provided us with. Too bad his life was so tragic. I often wanted him to just come visit, relax and eat vöflur with me and tell him "Hey, big guy. You've done amazing things and enriched people's lives. It's time to let go off the game and just chill because as we speak, your work is busy being legendary and no one can take that away from you. Lets watch The Wire and kick back for a while". In next live, brother.


An edited version of my prestige Michael Jackson obituary was featured in Grapevine's 9th. (2009) issue. Pick up your free issue of Grapevine whenever you see it or read it online at www.grapevine.is

Saturday, June 27, 2009

CHINO announces debut CD, The Clockwork Sabotage




An up-and-coming Icelandic band with an unfortunate name, have just finished their debut release slated to hit the street in July. CHINO is one of the most promising and surprising acts in Icelandic extreme music these days. Hailing from isolated no-scene village of Egilsstaðir, I keep shaking my head at the fact this type of band thrives in that sort of environment. I tip my hat. Expect loud and crashing melting pot of current sounding European "screamo" meets later day Poison The Well with some metalcore leanings from the left. Performed with conviction, these guys obviously practice hard and have come a long way in the playing department. The studio performance is air-tight. I'm baffled by this band's existence and progression.

Check out the youtube promo below for snippets from The Clockwork Sabotage CD.


Go to their myspace for more further listening.

Friday, June 19, 2009

MYRA's debut release / interview


If you are into any artist or genre closely or loosely associated with doom, drawn out and noisy compositions and post-metal or whatever you want to call it, you might want to get familiar with the ever-so-loose and seemingly fragmented MYRA(Iceland). The band just released their self titled - four (lengthy) song debut, out on Molestin records, who according to Orri (drums) saved the project from it's imminent fate to be doomed into neverreleasedness.
Halifax Collect did not sit down with singer Siffi, and this is what he had to write.


How long has it really been, since you started conceptualizing, writing and rehearsing for this record?
I guess the process of writing took about one and a half year, but to be honest, I'm not really able to remember nor make any solid statements about how the whole thing came to be.


Various folk lore's have surfaced about you guys in connection of the long process of making this record and the almost Spinal Tap'esque wait and build-up to its release. What are the reasons for this delayed birth and how has it effected the band?
This period of creating and finalizing the record, was very strange. The band members were in different places in their lives and their situations varied in terms of wholesomeness and shape. Haukur (bass) went to Africa to make a film, Tratti (guitar) traveled in India and Europe. Half of my face got paralyzed while I should have been recording vocals, so the whole thing got delayed even more, plus mentally I wasn't doing so hot and in no shape to commit to the process.

Notorious for not rushing anything and being quite a disorganized band, one wonders if it isn't just a crucial element that gives the band an edge. Your thoughts on this?
Sure, one could say that this sort of chaos takes its toll. But I too think it gives us our specific edge and the fact that the band includes strong individuals, also contributes to said edge. I doubt any of us has a complete comprehension on what was going on.


Do you wish the band would work more consistently and be more prolific or do you guys not give a shit? Is this chaos that follows you and difference between members something that will turn into a glorious death of the band or fuel it's existence?
Of course all of us want to make this band more consistent and us not giving a shit isn't the case at all. But for a guy like me, maintaining a routine is not an option, 'cause like I said earlier these were strange times (wasted time in a wasted town). I was driven by a powerful urge for self-destruction and this could easily have been the death of the band but it ended up being a fuel on the fire instead.

Are you content with the way your debut turned out? What is it that gives it its identity?
I'm content but you can always do a better. But that is the issue everyone has after releasing something, right? I'm sincerely grateful to everybody that helped this project come together. The number 313 is this record's identity.

How would you articulate the musical development of the music found on your record while working towards its fruition?
We grew up.

Myra's debut includes the following tracks:
1.Seprandilje
2.The Beating Hearts
3.End of the world : Room 313
.. the fourth track being a hidden track (oh so 90's)

If you want to acquire your copy get in touch with the boys via myspace.

Thursday, June 18, 2009

REIGN SUPREME - Testing The Limits Of Infinite


REIGN SUPREME
Testing The Limits Of Infinite
Deathwish Inc.

REIGN SUPREME made a mighty splash with last year's American Violence seven inch/EP release. Did it offer anything new? Not really. But it had an immense presence and an air of confidence that was hard to ignore. Therein were easy-to-digest, easy-to-dance-to and easy-to-sing-along-to bangers. And it was as violent, as groovy metallic hardcore with two-speed beats, gets. Half the tunes were impressive, the other half not so much. But the fact remained that a lot of people took notice and felt the surge created by the band and even a cynical bastard like yours truly couldn't help but to anticipate what they would do next, 'cause for a band of a similar ilk like REIGN SUPREME, I'm always skeptical that they cannot manage to write a self-supporting full length that at the same time adds a little something not found on their previous work.

Although heavy on the beat downs and tough guy sounding(nevertheless, they are not that big on the tough guy factor though - the lyrics and stage "mannerism" cancel that factor out as such), REIGN SUPREME smartly avoid being a one trick pony.
In all honesty, I wasn't expecting much as the band seemed to be running out of ideas already on American Violence and although I don't think they are ready to deliver a commanding and fully realized full length yet, Testing The Limits Of Infinite threatens to do just that.

The vocals are way more interesting this time around. Surely they were really powerful and engaging in the past but this time around vocalist Jay Pepito has added something more to his delivery. It's still raspy and on the verge of breaking (something I really like), but he's added more dimension into his delivery, more notes in the singing that actually fit the riffs, as apposed to being just anywhere on the note-scale, regardless of what notes the riffs are hitting (a current trend in hardcore I'm tired off). His delivery is also audible and the timing is perfect. Impressive.
The drumming has also leveled up in a big way. Tasteful and imaginative, never over-doing it. When you think Joe Vergara (drums) will stick with the mundane, he adds a little something to give most of the tracks his mark of individuality.
One of the things that hold the band back is the area the riffs reside in. The main riffs rarely venture away from the same few frets already used on American Violence and re-emerge one too many times here as well. The strumming could use some spicing up too. Comfortable in the lower regions on the neck, I find my self wanting some more traveling up and down the neck. When the guitars break out of the weight-lifting cage, those certain songs peak. Listen to "Apostle", "Waiting" (moody, dark and simply great), "And Come What May", "To Live And Die (In Vain)" for proof.

On the whole, this stuff is instantly catchy, just like the more bare boned and anthemic Pantera and Machine Head is, much like the simplicity of Terror and Hatebreed and ...The Beat Goes On era Blacklisted. And when they step in to a slightly more modern areas they remind me of Comeback Kid at their most recent and heaviest. And to make it clear, this record might be instantly accessible but at the same time REIGN SUPREME is at their most metal yet. Look to "Apostle", "In Absentia", "Failure", to name but few.
Although they have added some flair and ventured away from the confines of conventionality on an occasion, the whole affair still feels too predictable. Just enough to hold them back - keep them from standing outside the pack.

The over-all sound of Testing The Limits Of Infinite is humongous. It feels very open and manages to breathe enough and let out as much air as possible, and the result is devastatingly punchy. Now if Always The Hard Way, would have had this sound instead of the sterile dead-fart it had, it would have been listenable. Here REIGN SUPREME made all the right choices as far as easy-to-get-into-but-you-will-be-crushed sound gets. It is clean (but not too clean to doom itself boring) and crisp enough yet, so that everything is on the table and the crunchiness adds the needed bite that makes your parent cover their ears.
The layout and artwork is wonderful. I like how the band pays homage to all the artists that inspire their lyrics to be what they are. Speaking of which. I was dreading some horrible revenge and "you will be beat" lyrics over the whole thing but it is not entirely the case at all. Many of the lyrics are gloomy, bitter and angry but insightful and some are constructive and inspiring. For the most part they are well written, simple and without any pretentiousness. Fitting the music perfectly but like I said, they are surprisingly sensitive and thoughtful, considering the violence and thuddery that is the music behind it. Also worth mentioning is John Helmuth's brilliant guest vocals on "To Live And Die (In Vain)". Very tasteful, surprising and adds a lot of dynamics to the song. Well done.

Although I'm more prone to the more artistically minded side of hardcore as well as the more raw and dirty one, REIGN SUPREME manages to convince me that they are not merely here for the mosh and flat caps, but that they do wanna build on and surpass conventionality of the genre they currently belong to. At this rate they certainly will, sooner than later. And for that I admire them. That being said, this record is pure mosh fest and weight lifting extravaganza. And I found myself headbanging way more to it than I expected. I cannot predict how well this record will age in my ears but I've been playing the songs in my head at work (no iPod involved). I cannot ignore that fact. When all is said and done this is the best record I've heard in this style all year and probably last year too, coming from the US.

Wednesday, June 17, 2009

NARROWS - New Distances


NARROWS
New Distances
Deathwish Inc


It's the darnedest thing - super groups are. Expectations upon expectations. A curse or a blessing? When powerhouse players with an influential and respectful past come together to create a new band, the results may vary. The reasons for this are as manifold as the possible explanations for what went wrong or where the magic came from. Surely a worthy topic of discussion but I'll save it for another day.

I try my best not to refer to bands that are made up by well known players that have grouped together for a side-project or a full time band, as super groups. It might take away from the perception and experience of hearing their new work for the first time. But fuck it, NARROWS is a band that includes a collection of seasoned players that have made some super-material in their time and when said artists got together, my expectations soared high. And here's the thing; bands with this type of predicament either fail miserably or indeed tap into something that is wonderful. The in-between is just that, an aural meh, for a lack of a better expression. A meh is doomed to be forgotten, turd and gold will be remembered and talked about. Expectations for these type of bands are unreasonably high, but it's hard to avoid. It's just the guys coming together, but to the audience familiar with their recorded history and well documented accomplishments, the jury is in. So, I don't envy NARROWS' exposure or any band in a similar position but I would like to believe I've managed to devour them in as non-biased fashion as possible. To my ears they are just another new band, out to carve a niche for themselves.

When news surfaced that members of Unbroken, Botch, These Arms Are Snakes (and more) had just got together to form a new band, I was ecstatic. Their self titled seven inch was really really good and I was relieved. The wait for a full-length would now be less stressful because I knew the guys gelled together and could write proper songs.
To many, the following full length, New Distances, is a breath of fresh air, excitement, originality and quality. I won't refute all these points but I'm a bit hesitant about the quality of this, their debut full length. The record is by and large good and full of confidence and conviction and it has the air of experience about it, but I'm not totally impressed.

The album's beginning is nothing short of great. "Chambered" possesses the spirit of later day Botch with killer "extra" vocals, clever arrangements and the song structure is perfect, loaded with tension and excitement. This song towers, so much in fact that the consecutive "Sea Witch" gets belittled by it. Quite frankly, the song progression and it's components come off a bit short and uninspired. I cannot really put my finger on it in "pro terms" but I feel the same way about a couple of other tracks and moments on the record. To sum up my complaints, it is that there are more great moments to be found on the record than there are great songs. That being said, there are no bad songs. Lets just leave it there and move on to more peaks.

Things get pretty exciting with the back to back whammy that is "A Restoration Effort" and "I Give you Six Months". The former is haunting and has the feel of perversity - modest, hushed and knifing. How it compliments the latter perfectly, is very impressive. This little number comes crashing down with an impressive bombast and heavy accents, simple and effective, with an outro that marries the beginning of this double whammy, very very nicely.

"Changing Clothes" is one of the songs with the biggest appeal, I would say, as it is pretty straight forward compared to the rest and has a very prominent rocky feel to it. "Newly Restored" is appealing in a different way. It is slower but instantly catchy, the killer bass lead is spot on, the whole song is dark, simple and carries a unique mood that is produced with a great non-distorted guitar-picking part. And the brief mid song breakdown/change over is a pleasant, atmospheric surprise. Pretty cold.

So the middle of New Distance is very strong. "Newly Restored" is a good example of the bands imaginative dynamics but featuring parts that don't contemplate each other. I don't like the rock in it but I like the drama which is in it as well.
The otherwise live and warm feel of the guitar tone proves a bit too thin in the slow paced and power-chord heavy "Gypsy Kids". A song I was excited about at first but it got a bit old. A simply song that relies on the strength of the few parts it has - parts that get treated with variations, but these variations cannot reel me in.
The over-all sound of the recordings is great. I was anticipating something a bit more unusual but it is raw enough to give the songs an unfriendly bite.
The art work is phenomenal and a joy to behold I just wish my copy had come with lyrics.

So going back to my statement that to me they are just another band to me. I lied. My past with their former bands brought out the anal critic in me. New Distances is impressive; the performance is flawless, there is experimentation going on, there are moments of pure artistry and there is a tangible intent to shake the listener, but as a whole it is not as memorable and engaging as I hoped it would be. I wanted to be thinking about it while at work, but I do not. To sum up my complaints, it is that there are more great moments to be found on the record than there are great songs. That being said, there are no bad songs.
As you can see, I'm having a hard time articulating my feelings and opinion about this record, which is a good thing - a challenge, so by all means, familiarize yourself with New Distances.

Tuesday, June 16, 2009

Allan King, one of the greatest and influential film makers of all time, dies at 79



Mr. King lost his battle with brain cancer last Monday, in his home in Toronto.
I'm no expert on King's work but I've seen some of his films, read interviews and articles which resulted in me wanting to look more deeply into his body of work. That being said, I could easily understand and feel the great importance and influence of his passionate film making. He was a film maker like no other, as caring as he was trailblazing. A film maker that appreciated the power of film and aware of the fact that it could be more than just film and thus impact the world and influence the audience to ask questions and engage in important discussion.

"There are few filmmakers whose impact has been central to the medium but Allan King is unquestionably one of them," Piers Handling, director of the Toronto International Film Festival, said of King's work.

Read CBC's coverage about this unique artist.
Read my take on King's ground breaking and shocking Warrendale.

Monday, June 15, 2009

New DINOSAUR JR. video



My love for Dinosaur Jr. will not falter. My brother got me into them in the mid 90's and since then I've been hooked and nerdy. I have not yet heard Farm (the band's most recent full length) in it's entirety but judging by the songs that have surfaced here and there, most of them have proved to be stellar. I have no doubt in my mind about this record; Farm will rule. The songs I've heard sound like the band is reaching a bit back in time, as it sounds a lot like early and mid period Dinosaur Jr. And after everything that J. and the boys have produced through the years - yes they are allowed to look back a bit and bring out old magic. I cannot wait to get my hands on this one. Plus, Murph is one of my favorite drummers and and influenced me a lot. Buy this fucking record, go to their shows, sing along like it was 1993.

Wednesday, June 3, 2009

Shook Ones support same sex couples and then some




Nothing against Seattle's SHOOK ONES musical history, as I've enjoyed the band and its lyrics in the past, but it is nice for a change to see a band that is highly heralded in today's shoe collecting, message board shit-talking hardcore scene, indeed being more than music, hence giving said scene a content that matters and has a purpose beyond sick stage dives and merch talk. I applaud the band for joining the action but at the same time I'm a little sad that so few bands today stand up and join this fight and any other fight for that matter that has something to do with making the world a better place. I hope the Shook Ones effort will influence more young bands to use their music as a vehicle for social improvement and the fight for equal rights.


Read below:

Melodic hardcore outfit Shook Ones have teamed up with their label, Paper + Plastick, to offer a brand new song available for download for $1. You can pick it up here. All proceeds from sales of "Breakfast For Dinner" will benefit organizations fighting on behalf of same-sex couples. The song will soon be released on a limited edition, one-sided 5-inch vinyl single. Shook Ones frontman Scott Freeman made this statement:


"The song is a sort of follow up to 'Order Form' and deals with the passage of Proposition 8. More specifically, it deals with how many minority groups in California voted in much higher percentages to support the proposition, and how I was completely disappointed that these minorities who supported it were failing to draw comparisons between this bill and the struggles of minorities in this country.

In light of the recent Supreme Court decision in California we wanted to make the song available as soon as possible... thus the digital download. But wait, there is more!!!

As soon as humanly possible, "Breakfast for Dinner" will appear by itself on a one sided, limited edition 5" vinyl. It will have etching on the B side and will have a hand-screened jacket that will be filled to the brim with literature from all the groups who are involved in making Proposition 8 and other bills like it a thing of the past. These should be ready in about a month and a half and all the proceeds from this will also be donated to the groups mentioned before with the addition of the ACLU of Washington who will be fighting Referendum 71."



Equality California
http://www.eqca.org/

Lambda Legal
http://www.lambdalegal.org/

ACLU of Northern California
http://www.aclunc.org/

ACLU of Washington
http://www.aclu-wa.org/



http://www.myspace.com/shookones
http://www.audiblediversiongroup.com/PaperandPlastick/design/2603

read the lyrics and more here
http://reybee.com/shookones/prop8/

AT DODGE CITY reveal a new song



After a rather dodgy beginning shrouded in uninspired current sounding, melodic young men's metal that had little to add and little to look forward to, AT DODGE CITY strike back with way more confidence and refinement - introducing the listener to more punchy, heavy and inviting current sounding young men's metal. Catchier and less cheesy than before, the awkwardness seems to be gone. The band is honing a sound they clearly like and want to pursue. Regarding the boys finding their niche, I'm tempted to discribe the song in question as mid period Every Time I Die meets Nora. Although Halifax Collect rarely pays mind to music akin to what these lads are blossoming in these days, I appreciate the band's progression. A lot of beer rollin' folks in nice shoes will like this. Good luck fellows.

Saturday, May 30, 2009

HRYÐJUVERK interview

Hryðjuverk (Acts OF Terrorism) is a dysfunctional crust/hardcore/metal band trio from Iceland made out of members from I Adapt/Gavin Portland/Fighting Shit/Bölvun and more. I do not remember who conducted this interview, for what zine it was and what year it happened. But it got published and I found it on my mom's PC last night. Enjoy.


Hello!What's it like to live in Iceland? I imagine that you have a really short summer, that it's cold most of the time and that the winter days are really short. Am I right?
Villi: well living in Iceland is just like living everywhere else I guess except that it’s an island which makes traveling to other countries expensive. It’s actually not as cold as most people think but never really that warm either. Winter days are very short though, the shortest day has sunlight for like 3 or 4 hours so yeah, it’s darkness a lot of the time.
Birkir: Living in Iceland is pretty sweet when it boils down to it. Life here is pretty fast so it’s easy to get caught up in store-bought depression and shit. Summer is short, wish it was longer. Winters are ok. I’m used to them so I’m not complaining like my man Villi who likes sun, heat and everything sticky.

Your country is really small. How many cities do you have in Iceland? I just know about Rekjavik. Are there others? I also don't know anything about your punk scene. Can you tell us about it? What was the first punk band in Iceland?
Villi: There is only one “proper” city, Reykjavik with about 200.000 people in it’s metropolitan area, the rest is just small towns scattered here and there throughout the country. The largest is Akureyri in the north with about 20.000 people. I was born and raised in a small town up north that has less than 700 people.
The first punk band was Fræbblarnir (Fraebblarnir) who started around 1978 and have been going on and off since then. They aren’t a part of the scene today but just play boring rock music in pubs. They were on some bloodstains and killed by death comps back in the day though. Shortly after they started punk became a trend here like in most other countries with loads of bands, most of them playing the arty new wave style and/or inspired by Crass. The most famous of those would be K.u.k.l. that released some records on Crass Records but personally I think they are boring art wank. There were some good bands in those days though like Purrkur Pilnikk and Vonbrigði.
The punk scene here isn’t a punk scene. It’s just a loosely tied group of people that like to hang out (but then again, maybe that’s all a punk scene is anyway) and go to shows. Relatively few people actually get deeply involved in punk or d.i.y. but just come to shows and listen to boring metal. There are quite a few good bands though that are thoroughly inbred with the same people popping up all over the place, that being the people that actually “get” the idea of punk and are interested in being a part of it.
Birkir: Villi is pretty spot on with the old bands. Many of the bands playing punk rock back then where overrated in my opinion... shitty rock bands with no attitude. More of the new wave bands made way more sense. There are a couple of bands, not linked to the first wave of Iceland “punk” like Sogblettir and S.H. Draumur who deserve To be mentioned and praised.


You also have those hot springs in Iceland. Are they being used or are they just a tourist attraction? Talking about tourists: are there lots of them coming to your country and what are they looking for?
Villi: Some of ‘em are used, others are a tourist attraction (which is a type of usage anyway). It’s actually a very good and environmentally friendly way to provide cheap heating for houses and in some cases even electricity so I wish we would use them even more. As for tourists, yes tourism is the second biggest industry in the country and we get quite a lot of them. I guess they are looking for something different because Iceland certainly looks a lot different than your standard european country and also there is a lot of beautiful nature here and then they want to experience stuff like seeing the northern lights or walk onto a glacier.
Birkir: There’s also a new wave of tourists looking for party’s, crazy night outs and men and women that are easy to fuck. Seriously. I’m not being a dick about this. Strange times.

I remember that there were some animal rights activists who were telling people not to visit Iceland because its government still haunts seals. Is that true? If yes, are there any people in Iceland who try to stop this slaughter? What problems do they have to deal with?
Villi: The government does not hunt seals. Some people do though, mostly small time fishermen and farmers but it’s not being done that much. It’s definately not an active industry. There is nobody doing anything about it so obviously nobody is facing any problems for it.


Staying with the animal rights issue: I read that you support the vegetarian/vegan lifestyle. Is it difficult to be vegan/vegetarian in Iceland? Are there many people within the punk scene who embrace the
vegan/vegetarian lifestyle? How have you become vegetarian/vegan?

Villi: It’s not that difficult to be a vegetarian but being vegan is a bit more difficult but still very much possible. It is quite expensive though because the government taxes soy products as a luxury product (a higher tax class than normal foodstuffs). There are a few veggies in the punk scene but not that many I think but then I’m probably not the right person to ask because I don’t really know that many of those kids personally. As for why I became a vegetarian, well I have always since I was a tiny kid had much sympathy for animals and cruelty to animals was the worst thing I could think of. That feeling became so intense for me for a while that I began to be afraid of animals because I was sure that they resented all humans because of their treatment and would use any opportunity to take revenge but that was when I was a little kid. I eventually found out that there were a lot of vegetarians in the world and that it was easy to live that way so one day after having read some information on the internet I just decided to quit eating meat and haven’t done it since. That was almost five years ago. I’m not completely vegan but I aspire to be and try to shop as much vegan as I can.
Birkir: A couple of years ago a healthy number of young people did get concerned about consumption and went vegetarian/vegan as it is one of many ways to step out of line with normal conditioned consumption but most of them dropped it because their mom’s were not buying enough free food for them or something. These days there are some people going vegetarian and getting equipped for that kind of diet. For me it was quite logical for me to take dead animals of my plate after educating me about nutrition. It made sense. I’d been questioning this stuff since I was a kid cause I loved animals but I was told I’d fall to pieces if I didn’t eat them but as soon as I met a “cool” vegetarian that prooved to be alive and kicking, I started to take steps towards vegetarianism. And look and behold, I’m not dead. I’m actually a fucking buff!


During the last two/three years the fur industry has found a new way to sell their bloody products here in Switzerland and many other european countries: they simply added fur parts to normal coats. They had (and sadly still have) a great success and are selling lots of these coats. Do you think it's because the people who buy these products (mostly very young people) are not informed about the issue or because many of them don't care if they are wearing something that once was alive? What do you think is really important to get people to realize what kind of hell the animals have to go through only so that you can wear their skin? What's the situation like in Iceland, are there many people wearing fur coats? Is there a big fur industry? Any campaigns against it going on?
Villi:
I think most people don’t care because most people are fucking idiots and I don’t think informing them will make any difference. The fur industry is huge in Iceland, possibly the largest fur industry in europe, fur is popular among trendy fashion assholes and especially among the rich elite. There are at least 3 fur shops in Reykjavik and loads of fur farms scattered across the country. It’s fucking disgusting and I try to spit on these assholes whenever I can. There are no campaigns going on against it because the animal rights people in this country are so few that I could count them on the fingers of one hand and they don’t all agree with methods and ideologies.
Birkir: It’s not until these same people are able to observe what these animals go through in order to decorate their stupid fucking clothes. I don’t know. I don’t want to be too cynical about this because I’m “people” too and got fed up with this shit. I don’t think I’m anything special. If people personalized animals, like, you care for your own animals, and think the same about other animals, maybe that would change their vision. I don’t know. It still baffles me that people go out and wear this. I don’t know. We should all be shot one day... It would be a nice change.

Do you consider yourself a political band? Is it important for you to spread your ideas/messages with your music, trying to reach as many people as you can? Who writes the lyrics? Do you discuss them as a band or is there no need to do so because you all think the same? Do you try to explain the lyrics of the songs when you play a gig or do you prepare a lyric sheet which the people can pick up and read if they want to know what you're singing about?
Villi:
It depends on how you define a political band. We sing about political issues yes but were not trying to make any difference in the world, we’re just releasing frustrations. If we wanted to make a change we would form a pop band because that would reach a lot more people. When we formed the band it was very important for me to spread the message but I’ve lost all faith in humans so I don’t really care about it anymore. I just want to scream about what makes me angry. I have written all the lyrics except one so far, I’m still waiting for the others to contribute more material. I always show them the lyrics to make sure they don’t object with what I’m singing about, everything in this band is done by consensus. I used to explain the songs when we played but we haven’t played live for almost a year now so I don’t know what it will be like next time we play.
Birkir: I would like to write lyrics but as Villi lost faith in humans the lyrics came out great so I’m always waiting for more shit from him. He’s a great writer. My writing goes for my other band, I Adapt. If we had a political agenda we would be a political band. But we don’t have an agenda. We’re just pissed. But to people that only sing about partying, drugs and flying mountains and purple spirits in the spiral of the kangaroo we are way political.

Which bands have influenced you, lyrically and musically? Ten records you will never give away?
Villi
: oh no, the desert island question! Let’s start with the influences. I’m not ashamed to admit that the largest influence on us has been Tragedy. I know it’s really trendy and people are getting fed up with it but I just can’t help it, their music and lyrics simply changed my life. Another big influence are Artimus Pyle, they played here just a few months before we started Hryðjuverk (our drummer was doing the shows) and got to know them and they were some of the nicest guys I’ve ever met yet played this incredibly furious music full of anger and desperation. But this is hard to answer because we are all musical perverts, we like everything from classical music to radio pop to grindcore and everything in between. Lyrically we aren’t really influenced by anybody, I just write about whatever makes me angry or what I am feeling at a certain moment. Recently I’ve become much more dedicated to writing good poetry instead of just writing plain language so I try to be innovative in my writing. As for the ten records I would never give away, you see, I’m what Poison Idea called a pretentious asshole (a record collector) and I have thousands of titles in my collection so picking just ten is almost impossible but I’ll try: 1. Tragedy – vengeance, 2. Tragedy – can we call this life 7”, 3. Tragedy – s/t,4. Section 8 – make ends meet, 5. Neurosis – the eye of every storm, 6. Grand Funk Railroad – on time,7. Wipers – over the edge, 8. Misfits – walk among us, 9. Purrkur Pilnikk – ekki enn, 10. Botch – we are the romans.
Birkir: About the influences...I agree with Villi. And just the lack of hc/punk in Iceland is always an inspiration for me. Portland, Finland and Sweden has always something cooking so it makes me want to step up my game. I’m not gonna list those 10 records. I’m bad at that. I fucking hate it. No I don’t hate it, just saying.


Have you ever played outside Iceland? If so, where? Which place do you want to visit? Do you think there are many kids in the world who don't know that there are punk bands coming from Iceland? And what would you like to tell them?
Villi:
Birkir (our drummer) is in, and I used to be in, I Adapt which is a hardcore band that has done two european tours and two UK tours so we have been all over with them and Hrydjuverk played some shows on one of the UK tours. Þórir (Thorir) is in a thrash hardcore band called Fighting Shit and has toured the UK with them and has been all over Europe and I think to the USA as well with his solo project that is a type of singer/songwriter indie type stuff. We really want to tour with Hrydjuverk, anywhere in the world but we’ll see whether that happens or not since I will be moving abroad after about a year to go to university. I’d like to tell people to check out bands from other countries than just sweden and the usa, there’s plenty of awesome music all over the world that doesn’t get the recognition it deserves.
Birkir: Yeah, Ingi from I Adapt filled in for Thorir and played some shows with I Adapt in the U.K. It was interesting. I personally want to play any kitchen and toilet anywhere. The word about Icelandic hc/punk is spreading but still, hardly anybody knows. I would tell them that some bands rule and other suck. Well, there are so few hc/punk bands here and 70% of them are damn good. It’s easy to document current Iceland hc/punk so I say, get in touch with us and we’ll get you in touch with other bands, most of them are friends of ours anyway.

What's your opinion about gun regulation? Do you think everybody should carry as many guns as he wants as long as he's not shooting at other people or should there be restrictions? Are there any regulations in Iceland or do all of you have lots of guns at home like the Swiss?
Villi:
Hmm, tough one. Iceland doesn’t really have a problem with guns because you have to get a special license to be able to legally buy a gun and only people that are into hunting and gun enthusiasts go through that process. There are very strict gun regulations in Iceland and you can’t buy handguns/pistols in Iceland, only shotguns and rifles. I’m not sure about where I stand about gun regulation because I haven’t really had to think about it. I’m not very keen on the government regulating anything at all but on the other hand guns are very dangerous tools so they shouldn’t be owned by any yahoo that wants one so I’m just not sure where I stand on this.
Birkir: Me neither. I’m just not sure about this issue. It’s not like the police is gonna protect you. And at the same time, guns fall into the hands of people that are gonna hurt others. I for one don’t like guns.

What do you think about violent movies? Do you think they influence the people's attitude towards violence or are they just as harmless as any love story since violence is already a big part of our daily lives?
Villi:
I think you have to be a bit disturbed to begin with if violence in movies is to affect you or influence you but then again violence is getting rougher in Iceland and that might be a result of violence in movies, I’m not sure. In general I feel that most people are inconsiderate, violent, braindead assholes anyway so I don’t think violent movies has much of an effect on that.
Birkir: I think they influence people’s attitude a little but I don’t think it influence them to go out and get violent, it’s not that simple. There are many factors, like environment and upbringing as well as mental health. I would never put the blame on video games and movies, it’s a fucking cop out. I think love stories can be just as affective as a super violent movie, but then again, there’s more to it than just being exposed to vision.

Would you ever use violence to resolve a problem? Do you think there are situations where violence is necessary? Is direct action a form of violence for you or do you consider an act only as violent if somebody gets hurt physically?
Villi: I don’t think direct action is violence at all. I think violence is only if you mentally or physically hurt someone else, human or non-human. I wouldn’t necessarily call myself a strict pacifist, I would defend myself with violence if I was forced to (that includes against cops at demonstrations/protests) but in general I detest violence and avoid it at all cost.
Birkir: I avoid violence at any cost and have been fortunate enough to not have engaged in serious violence. But I would use it without hesitation in some situations that I can picture in my head. Direct action is not a form of violence to me, but violent direct action is. There’s a difference. What a shitty answer this was.


What is your view on religion? Do you believe that there is any kind of life we don't know abou out in the universe? What's the predominant religion in Iceland?
Villi:
The predominant religion in Iceland is protestant Christianity but I have to say that most Icelanders aren’t that bothered with religion and don’t practice it at all. All Icelanders are registered into the protestant church at birth (unless their parents insist otherwise) but I (and probably the rest of the band) unregistered when I got older because I don’t want to be registered in a religion that I don’t follow or practice. I’m certain that there is some kind of life somewhere in the universe, and perhaps even on earth, that we humans don’t know about. I think the knowledge of humans is overrated and that we are not as smart and aware as we pretend to be. As for religion, I am an agnostic which means that I don’t believe in god (especially not the religious god that is found in the bible or the quaran (koran)) but I don’t believe that there is nothing either. You can’t prove either theory so it’s up to each individual to decide what he/she believes in and I’m not in a position to say that they are right or wrong. There might be some form of god (whether you want to call it the spirit of nature, Allah or Jehovah doesn’t matter) and there might not be. We’ll all find out when we die won’t we so why worry about it now. Just keep organized religion away from me and then I don’t care.
Birkir: Organized religion worries me. What people do believe in within the confines of their own personal lives in none of my fucking business. I’m not religious. I think there’s other kind of life in the universe. I'm a scientist.

Is racism and homophobia something that is very common in Iceland's society or are the Icelanders more open toward people who have a different skin colour or who feel attracted by people of the same sex?
Villi:
Yes, racism and homophobia are rampant here, just like in most other societies. People are idiots in Iceland, just like everywhere else.
Birkir: I can see a change for the better here with a new generation but working with teenagers I’m amazed by the homophobia and racism here. But it’s very superficial. Fucking ignorance. I kinda agree with Villi, but I’m more posi than he is. Shoot me.

Do you have any plans for the future, an album, a tour...?
Villi:
I have no idea. We get together and do something when we all have time and/or feel we need to but don’t make any plans besides that. I’d like to make at least one more recording before I move abroad but that depends on the other guys.
Birkir: What I love about this band is that we don’t plan. We are just interested in making this band a band of guys that have a musical connection. We are all quite good at what we do. We just get together and write good songs. When we get together next I don’t know. We’re all fucked up in one way or another. It happens when it happens. We’ll release something good.

Thanx for the interview! Do you have you anything else to add?
Villi:
Question everything! Thank you for giving us an opportunity to express ourselves in your zine and if anyone reading this wants to get in touch with us then feel free to drop us a line at: hrydjuverk, po box 18, 121 Reykjavik, Iceland or hrydjuverk@yahoo.com . If you want to hear what we sound like we have a myspace page like most other nerds in the world at www.myspace.com/hrydjuverk
Birkir: “You won’t live forever – You’ve got tombstones in your eyes”. Question this interview. Thank you for being interested in us. Get in touch with Villi about Hrydjuverk, you can also get in touch with me about whats going on around here and shit thru this email, birkirAS@yahoo.com I’m gonna try to put some songs of the 7” on our myspace site.

Friday, May 15, 2009

DEATH METAL SUPERSQUAD announces a new record



It is no secret that DEATH METAL SUPERSQUAD has been one of my favorite locals bands since its inception. They stand out in the Icelandic scene with their raw, warm, energetic and somewhat melancholic take on mid tempo driven punk rock. Their ability to incorporate different influences and at the same time pay homage to some of their favorite bands while delivering all that with their own minimalistic yet gut-wrenching twist. The trio has in the past reminded me of acts like Leatherface, Small Brown Bike, No Hope For The Kids, The Observers, Small Brown Bike, Manifesto Jukebox to name but few, so there is no wonder why I hold them in such a high regard. With sincere and relatable lyrics - pretty much every song hits close to home.
I'm always anxious when these guys come out with something new and their newest outing, Dead Zeppelin is one of this year's releases I'm looking most forward listening to. All this being said, one can rarely say to have these guys figured out, because they like to experiment too. If you've followed their myspace in the past, you'll know what I mean.



I got in touch with singer/guitarist Þórir Georg and asked him some questions and he had this to say:

The whole thing was recorded in ten hours by Jói of Beneath.
Known mostly for his death metal actions it might come as a surprise to many but the guy knows his punk and had an understanding with the trio.

Dead Zeppelin will hit the streets this week in a CD format but we aim to release it as a 12" vinyl later this year. Both will be released by recently founded PBP records (which stands for Paradisar Borgar Plotur). The new label is a conglomeration of Banana Thrash and SSR records. More releases are in the pipelines.

When asked about the over-all sound of Dead Zeppelin, Þórir replied
It sounds sweet. Naturally, the bulk of our influences comes from 80's era hardcore and punk, Husker Du, Wipers, Minutemen, Black Flag etc. but also later day and current acts such as Observers, Fucked Up and No Hope for the Kids. One of our goals as a band is simply to make good, exciting and sincere punk, like in the old days - experimental yet void of pretentiousness. There is no pretense of macho or coolness in our music. We are not interested in that. We're trying to create something that sounds powerful but at the same time making it interesting and musical.
Basically, we are trying to take heed of the atmosphere created by the 80's SST and late 80's Dischord bands and put that into a modern context, if that makes any sense.

Well, it certainly makes sense in an Icelandic context, because never has a band sounded remotely close to what these guys are doing and I doubt there ever will. Musical history nerdary is one of the key ingredients in their potent mix, thus setting them even more apart from the rest of the scene.


The name of the record immediately catches your attentions as entails one of rock music's holiest of cows. Knowing these guys, it has to have specific meaning.
For me it's a another reference to the attitude surrounding old punk bands. I feel like in today's underground/alternative music climate, hero worship and hipsterism is increasing. Which is something that we feel should have died at the end of the 70's. This something we willingly associate with rock and roll but not punk, for example. We think it is boring and we are not interested in participating, which results in us losing interest in a lot of things that are happening these days.
In the late 70's the punks tried to bury the star worship but it still sticks firmly to rock music and even punk. We feel that many of today's punk/hardcore/d.i.y. need to realize that it is not 1971 - that they are not Led Zeppelin. You know, theoretically speaking. These bands are just a part of a large whole. We are all doing something. Just the fact that you wrote a song doesn't make you any more important or cool than other people.


Dead Zeppelin it is then. The record includes the following songs:
1. Search for Spock
2. Pickup Trucks and Dogs
3. Perfect Posture
4. My Teeth Hurt all the Time but I Just Think About Motorcycles
5. 330

That's almost 21 minutes of DEATH METAL SUPERSQUAD goodness. I urge you to check out their myspace and get your hands on this release.

Wednesday, May 13, 2009

CRIMINAL INTENT - s/t


CRIMINAL INTENT
s/t 7"
Sewercide

What is there to say about a band that is on one hand, conventional and on the other unoriginal? Quite a lot, actually.

I sincerely believe that every small and up-and-coming scene needs a band like CRIMINAL INTENT. Why? It is because withing such scenes I normally have a huge melting pot of ideas and musical style. At least one band has to bring the crucial elements of hardcore and punk to the table and sound like that and do it well. CRIMINAL INTENT is that kind of band. I'm just glad that there are young kids exposed to a band like this. Kids that might believe that Aiden and Silverstein play hardcore music after reading it in some glossy magazine. It has to start somewhere.
Of all the bands I saw while living in Halifax, CRIMINAL INTENT was one of the few that had this quality of rage and fury in their music. And they manage to translate just that, perfectly on this seven inch. The sound is vibrant, raw and in your face.

This conversation took place when I was listening to the record:
Megababe: "this sounds horrible. The guitar player keeps playing the same three notes".
Me: "and the bass player too. Welcome to punk rock".

Again, there's nothing new going on this record. It is familiar enough that names of current and old bands start to pop up in my head instantly. Old Career Suicide, Bones Brigade without the solo's and the ironic metal parts, Urban Waste, the recklessness of Jerry's Kids and early 80's east coast hardcore but sped up to the point it is borderline "thrashcore" (how I hate that term). "Suicide" is the only song that for the most part is played in somewhat mid-tempo. But naturally, it ends with a raging fast part! It is also the best song on the seven inch.
This seven inch doesn't need repeated listens in order to be appreciated. This is because of the familiarity and air of tradition and convention that buzzes through-out. It goes without saying that the structure of these songs are really simple. Fast verse, fast chorus, repeat, and maybe a "dance part" with a different beat/tempo, or maybe not!
The recordings are great. Special mention goes to the back to the future style drum sound. They sound so old, it's wonderful. One of the things that set these guys apart though are the vocals. They sound so careless, like a voice of a pissed off trouble maker. No, he does not sound a guy that is getting a bunch of live scorpions injected into his asshole. No he does not sound like some knucklehead rallying up a gang of equally dumb friends to give you a beatdown. A reason enough to celebrate his performance. Lyrics topic range from being pissed off to being pissed off: society's expectations are a drag, the police sucks, when life is bollocks skateboarding and eating asphalt shit is the cure, girlfriends are as tangible as ghosts and the Lochness monster when you are a punk rocker, the importance of shaking of the boredom of normal life, thoughts ofhanging yourself when your are down and out and out of luck...

So if you like this style of music you can easily rage to this slap of vinyl. How many times can you get a hard copy of this kind of music, played by an currently active band from Halifax, Nova Scotia?

CONTAGIUM's N-American tour



Halifax's hardest working and one of the hardest sounding, are already touring the longest tours of their lives right now. CONTAGIUM plays blistering metallic crust with a devastating three-way vocal attack. Make sure you see them on this tour. Keep checking their myspace for more details and news if there are any additional show information cancellations. These things tend to happen on long d.i.y. tours.

Monday, May 11, 2009

GONE POSTAL - new track (Icelandic death metal)



Iceland's up and coming death metal act, GONE POSTAL just released a new song on the internet. A band that is growing and growing with every recording demands your attention, seeing as these guys are young as balls, which makes following their developments quite exciting indeed.
I particularly like how short this song is, which gives them an edge in a climate of technical new-school death metal bands that have a tendencies of not knowing when to stop. According to the band members, this is a rough mix that still needs some tweaking.


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Quantcast


Make sure you check out their latest release, In The Depths Of Despair, released by Molestin records, late last year. A surprisingly commendable effort from such a young band. Get in touch with the label or the band to get your hand on this release.

ADDRESS CHANGE


My time in Canada is soon coming to an end, this time around at least and I'll set my sails for Iceland yet again in the coming weeks.
I urge you to keep submitting material for continuously thorough reviews. No submission will be ignored - everything will be covered.

Here's my new address:
Birkir Vidarsson
Kristnibraut 4
113 Reykjavik
Iceland

HELLHOLE - Uppers/Downers


HELLHOLE
Uppers/Downers
Don Giovanni

New Jersey's, mysterious HELLHOLE packs a punch on this seven inch that is over before you know it. Reminding me of the 98-2002 no-bullshit, fast and thrashing wave of hardcore punk bands that obviously were sick of how polished, produced and virtuoso "hardcore" had become. So is there anything that sets these guys apart from said bands?

It's been a while since I reviewed a release where I have to check if a song ended and another one began, such is the fast pace these guys are working on. The songs are short. So short in fact that they don't allow for almost any chorus repetitions or even some verse recurrences. It is refreshing and makes a lot current hardcore I'm listening to, seem lazy and stiff.
Seeing as my copy of Uppers/Downers has no credits to speak of, nor lyrics and unfortunately no label contact, I cannot elaborate on the lyrics nor name which song is which.
First song wastes no time by hitting you over the head with a nasty slap of intrusive and aggressive hardcore. This fast ditty makes me think of Tear It Up, Last In Line and even Panic but with more stop-and-go feel to it. But it soon becomes a bit darker than the aforementioned bands. The darkness comes with the single string riff/lead and burly bass lines which makes the song end on a ringy note.
They don't venture far from this game plan on side A, and the three songs adorning it fit each other nicely as they sound similar - making a cohesive whole. It is a smart move 'cause few bands can toy with dynamics when a release is this short.
Side B features one "long" song that fills the whole side. This song is entirely different. It sticks to the same slow sludgy tempo through out. The same riff is repeated and discordance and guitar feedback is piled on top of that, while the crashing drums, increasingly progress into a careless abandon.
As with anything else on this record, there is nothing nice about this song. The drawn out screams of the singer - now with a reverb on the vocals - make for an degenerate and ugly listening. Speaking of which. The vocals fit nicely in the territory of Haymaker, Self Defense and Bury The Living. So pissed off. Gets me all the fucking time.

HELLHOLE, although not offering anything ground breaking in terms of style and aesthetics on this release, manage to threaten us with just that: hints in the music, production and visuals. Tightly executed and packing a punch, this seven inch is well worth looking into.

Friday, May 8, 2009

BURNING FIGHT - Pictures and Videos


This release show for the Burning Fight book was something I tried my best not to miss. But it couldn't be helped - I didn't attend. As a guy that became familiar, first hand - with hardcore and it's unique elements and particularities in the 90's - it was especially frustrating to miss out on this even and extraordinary line-up. No wonder many people feel this was one of the biggest hardcore events to ever take place, and they are not talking the size of the venue or number of ticket sold.
I can't wait to order the book when I get back home to Iceland. I hope all of you who attended the show, picked up a copy. If you didn't here's more information about the release, it's content and how to order you very own Burning Fight book.


Pictures from this weekend (which also included a sleeve of packed pre-shows) are to be found in quite a few places on the word wide web but the best ones I've seen so far are the Five Mile Grace pictures. They where taken by the highly talented Matthew Miller. Go straight to his site for more pictures from this important show. I'm looking forward to see more of his work in the future. Thanks for sharing Matt!





Videos all also surfacing on the web but nobody was more gong ho in documenting the on-stage action than Sunny Singh... In order to appease the greedy fucks amongst us, crying for videos, he has already posted full sets from Trial, 108, Bane and more on his website. Mind you these are rough cuts that have not been fully edited. Read more about his Burning Fight video project as a whole, support the guy and watch the sets by hitting the url's below:
108 (the best performance of all the videos in my opinion)
Trial
Disembodied
Soul Control
Harms Way
Bane
Split Lip
Have Heart

I got in touch with Sunny, the director and producer of this video project for a little more info on the finishing "product" and this is what he had to say,
"I'm a one man operation (and hence have one camera), so there won't be multiple angles. However, the finished edits will have the audio from the soundboard mixed in, so they will sound great. I have audio for every band except for the first 3-4 from the first day".

Keep checking his site for updates on all his Burning Fight related work. This guy is hard at work, putting up new stuff all the time. More sets and what-not coming soon.

Monday, May 4, 2009

TORCHBEARER - 2008 Demo


TORCHBEARER
2008 Demo

Lets be honest here. It's alarming how many releases in extreme music today, that come from the hardcore realm, sounds modest, contrived, safe, harmless, compressed and dry. Now, before you get your panties in a twist, I'm fully aware of the fact that many new bands are doing something relevant and great but it is kinda ironic that in this day and age, often times older dogs are needed to provided the much needed bite and bark I'm missing in many young bands these days. Enter TORCHBEARER.

Although it is not matter of huge importance, I'm tempted to indulge in the fact that TORCHBEARER is comprised of seasoned players from the New Jersey scene; Nora, Mother Night, The Low End Theory, Hellhole and RSO (who, I'm quite sure, are still kicking).
But what we have here is nothing like any of those bands except it brings to mind early Nora (their most intense releases), Kill You For a Dollar and The Neverendingyouline. And since I'm on a 90's namedropping tip, there are also moments on this fine cd that bring to mind Die 116, Bad Trip, 108, Coelesce and Botch. Now, I truly hope that this has gotten your attention. TORCHBEARER's music has, amongst other things, this mid-late 90's intensity and agression about it, always threatening to boil over a bit, making the listening experience tense and high-strung, which is again, needed these days because a lot of current bands seem to lack that quality. Why that is, I don't know but it could be a thesis for a research paper. Any way, back on topic.

Amit Sharma's vocals are always distinct and give any band a special flare. As a drummer myself, I'm glad to hear from Chris Ross again. Not the most technical or slick drummer out there but what he has that most have not, is his own style and sound (listen to his drum tuning through the years). You can always hear when Chris is behind the kit. He keeps it tight and plays for the songs as apposed to outside the song, all the while adding his unique accents, breaks and cymbal hits into the mix, benefiting the over-all sound and making the band's music as heavy and intense as it can possibly be.
The guitar tone is cuts through well and although distorted, it has a surprisingly warm feel to it. Which is quite the accomplishment because the bass is distorted as well. It reminds me of Deadguy's Fixation On A Co-Worker if that record had had a fuller sound with more low end to it.

Now, I admit, when I read reviews that mention so many bands of old in connection with a release being reviewed, I get a bit worried that it is only rehashing old ideas and not offering anything new. The irony of all of this is that TORCHBEARER do this so well, but not only that, they manage to sound fresher than a lot of the bands, heralded the new school today. It is as if they got together one day and said "these new kids are tired sounding and there is no way to tell what they are pissed off about. Lets make this specific kind of band and show them how it was done". I mean, just check out the last track, "Guantanamobabymonitor". Kids today wouldn't know it but the TORCHBEARER guys do; it would make Kiss It Goodbye proud!

Unfortunately I can't finds the booklet that came with my demo, so I can't elaborate on the lyrics in connection with the music. But I pick up some personal and socio relevant topics spit forward in a very, very pissed off manner.

So all in all, this is not the most original music but they are working with elements and motifs created by bands that truly pushed the envelope and challenged the listeners musically. A period forgotten and unknown to many younger listeners today, hence I applaud TORCHBEARER for taking this approach and it is even more commendable because these guys were around when it was boiling in the underground. As a result, they sound fresh in 09. Isn't it ironic...

Get in touch with the band to get a physical copy of the demo: torchbearer213@hotmail.com

Download the demo here: www.mediafire.com/download.php?ynqhdzn02nd

Sunday, May 3, 2009

People not coming out for relevant metal shows?

It boggles my mind sometimes. There are two very current, relevant and even important tours going on in North America right now and I'm getting news saying that some of the dates have had very poor turn-outs.
Now, I understand that there is a recession going on and none of us have as much money as we would like to. But, many amongst us blow off money that equals and far exceeds the ticket price for both tours in question (see below), on important things like booze, tobacco, fast food and such things. So, I'm lead to believe that it is not the recession that is playing the biggest part in so many heads not coming out like the bands and promoters would anticipate.
Maybe younger people aren't intrigued by a historical band like Napalm Death. A band that is not content with blowing smoke up their own ass because of their legendary as on of metal's greatest and most important bands, but soldier on, looking for a new sounds and trying new things. The band just released one of the best LP's in their career, on of 09's best releases so far, Time Waits For No Slave, a record that has number of songs packed with biting and relevant social commentary. Go see them play! No? In tow they have some of the best bands going today. Bands that are pushing the envelope in their own unique ways. Young bands with relevant sounds and ideas to offer, some of which are absolutely devastating live. Not young but... Kataklysm is on this tour as well. Fucking Kataklysm. I don't know about you guys but I will be found head banging at one of those shows.

And then there's the mighty Misery Index. Without a doubt one of today's best extreme metal bands. No doubt about it. Crushing, tight, blasting, able, technically efficient, focused in their intent to deliver. A band on an uncompromising mission indeed. They moderately throw in these little flares and moments of news ideas and turns into their ever grinding metal assault. Just listen to their new record, Traitors. Add to that lyrics that Napalm Death, Nuclear Assault, Nasum and His Hero Is Gone would be proud of. Yes, in this day and age, this band is relevant as fuck. Support them on the road and go see their shows. It will rule.

All this being said, one of the reasons why not more people are going to these shows and packing bars and venues across N-America might simply be that people don't like these bands. Fair enough. But there most be other reasons and factors. Share it with me. In the mean time, go to one of these shows and also support your local bands and go to the smaller shows as well. Keep extreme music alive.



Click on the tour posters to make them bigger



Tuesday, April 28, 2009

CELESTINE youtube teaser


Iceland's heaviest, CELESTINE are hard at work writing and testing new material for their first full length, which they hope to release sometimes in 09. Previously they have released two mcd's, the most recent one being This Home Will Be Our Grave.
Check their myspace for information about their releases and also for info on how to get their stuff and of course to stay on top of what they are doing 'cause this band is moving fast dropping new things here in there in many forms, like for example the video below.
Read more CELESTINE related pieces from HALIFAX COLLECT here.

Monday, April 27, 2009

MONSTROSITY - Imperial Doom



I never really understood why Imperial Doom was so over looked back in the day and even to this day. It is quality death metal and these guys had their own sound. Special mention goes to the wild bass playing and varied vocals (as far as most death metal back in those days went). They were from Florida but you didn't hear it in their sound. You would never mix them up with Death, Morbid Angel, Entombed, Grave or what have you. I didn't give it much of a thought when it came out in 92, because I was too young and lived in a isolated town - I had no way of putting those type of things into context. Sure, it lacks more dynamics and kinda runs into one swirl of raging death metal, but I kept coming back to it and still do. May not be the best release from that era but it sure as hell was above average, which is saying a lot because most death metal heads would pretty much buy any garbage that came as long as it was death metal or had an art work akin to the Imperial Doom one.
But one thing remains still to this day, I never was able to decipher what the hell was the deal with the two heads in the cover art work. Whatever the whole thing means, looking at with with innocent eyes, eyes that were years away from their first internet experience, mind you, the art work was a feast.




Thursday, April 23, 2009

"Rush Hour", news, hints and speculations

I don't know. Since I finished all of my final papers my eyes and ears have been opining up more to new songs here and there as well as emerging artists, pushing their work on the Internet. So, I'm gonna do another edition of "Rush Hour" and have a look of some of today's going-on's.


HARK, the Icelandic mystery band is edging their way more and more out of their garage, making sure they practice and write the best stuff possible before giving the public the first real taste (concerts, releases)of HARK brutality. A wise move indeed, I wish more bands would adhere to.
These guys have kept outside of the show-circle in Iceland, honing their style and the world of good it has done. Expect some noisy, crashing and heavy as hell 90's early 00's inspired "metalcore" like it was when it posed a musical and sonic threat. Before the glossy magazine took the "term", ran with it and shat all over it. Think nasty and exhausting. No need to name-drop some awesome bands from the past, you will know what I mean if you visit their myspace and have a listen.


An friend of the blog and a smekksmadur in many areas, made a video homage to one of Iceland's most unique and ear-provoking metal bands STRIGASKÓR NR.42, by making his very own music video to one of their classics, "Continuation Of The End". A bleak and doom-laden video indeed and my hat goes of to its creator, Atli Jarl Martin. Nice job, buddy.

The track was originally released on a 3-way split metal cd compilation called Apocalypse back in 1992. Released only in Iceland; the two other bands were the legendary and much loved SORORICIDE and the short lived thrashers IN MEMORIAM. I'm quite sure you can download this stellar release somewhere on the Internet.
SORORICIDE was Iceland's most beloved death metal from the the original death metal scene in the early 90's. Lets call it the first wave of Icelandic death metal. Their tapes got a fairly good distribution in the underground tape trading scene of old and they even managed to get a couple of their songs released outside of Iceland. In 1993 a UK label called Rising Realm Records released a split CD with them and a UK band called Chorus of Ruin. I'm quite sure this CD is not being distributed anywhere.
Below you will find another homage made by war-nerd Atli. This one is for SORORICIDE's song "Godlike", from said split.



Syracuse's ANOTHER BREATH have just uploaded a newly recorded track on their myspace. Good news 'cause their last full length Mill City was a commendable and focused effort that was better than most coming out of the genre at the time. For some reason that record didn't soar as high in popularity as the quality of the music suggested. Maybe that was due to the band's limited touring, and for a while there I thought they were no more. The new track "Belly of a Whale" is really really good and ignited my interest in the band. I thought the song would go into some safe terrains of rock 'n' roll hardcore but after the "intro" all such fears are laid to rest. Other than the fact that the song writing is mature and spot on, these guys know how to play their instruments.
Seems like they won't be working with Rivalry records for their next release, so things are kinda exciting regarding ANOTHER BREATH these days.


Sweden's MAIM is the latest band thrown my way, in the ever growing wave of tr00 death metal bands emerging with an alarming rate these days. These guys like many others going for the similar roots and body of sounds, won't have anything to do with modern death metal and go out of their way to sound like they came out in the late 80's and early 90's. Which of course is awesome. Nothing new here, of course, but this stuff is really re-freshing in terms of, sometimes you just can't take any more polished and/or high tech metal. So if you are into old school death metal, say, from England and Sweden, MAIM are for you. Echo on the reverbs for life!


And last but not least, GNAW THEIR TONGUES. His myspace songs were suggested to me by a friend and holy shit, I haven't been this "frightened" by music since Swans. Fright aside, the music from this one man project is truly astonishing and unique. Dark, disturbing, cold, unpleasant and quite honestly, evil is what this music is but the most important thing is how carefully and skilfully it is crafted, arranged and put together. Truly original and individualistic usage of drum machine, samples from movies, distorted vocals, keyboards, strings, symphonic instruments and samples can be found here. One of the bands I'm most amped about in 2009. I will follow GNAW THEIR TONGUES religiously for the reminder of the year at least. Takk Adalsteinn.


Hope you enjoyed this instalment of the RUSH HOUR.

RAMMING SPEED metal in Iceland?

Tuesday, April 21, 2009

PULLING TEETH - Paranoid Delusions | Paradise Illusions


PULLING TEETH
Paranoid Delusions | Paradise Illusions
Deathwish Inc.

I have not anticipated a release of any Deathwish release as eagerly as this one, save from anything Hope Conspiracy or Converge related. My adoration of PULLING TEETH's last full length devastator, Martyr Immortal, is well documented and that record is in my opinion one of the best releases the label has ever been involved in. Not only that, I think it is one of the best full lengths released in metalcore/metallic hardcore (or whatever you wanna call it) in the two thousands. It goes without saying that with all this anticipation comes a familiar jitter of "can they live up to their earlier work?"

The band had, leading up to the release of Paranoid Delusions | Paradise Illusions, threatened noticeable developments in their sound. They did not lie, but at the same token it is not as big as an departure as some listeners might have feared. There is still the presence of the fury found on Martyr Immortal but this time it is more sparse, controlled and not as careless, loose and wavering in its over-drive delivery that amongst other elements was what totally sold me and made me love that album so much. Also, there are fewer fast parts. But that might simply be due to the fact that it is a five song CD.
That being said, "Ritual" starts the record slowly with a riff and drum sensibility that sounds like a collage spin on Slayer's "South of Heaven" and Black Sabbath's self titled song. Another noteworthy element in this first segment is a guitar effect that adds a very eerie air to the opening. In a classic fashion, the song transits into a pure PULLING TEETH fast part that owes as much to Kreator as it does Slayer but with the distinctive fingerprint of PULLING TEETH themselves that drags the listener back into a familiar environment after the successfully ambiguous beginning. Right here the listener notices a slight difference in Mike Riley's vocal approach. Still snarly and angry as hell but his screams have a more earthy tone to them and as a result the lyrics are more understandable and in the meantime making his vocals even more charismatic. And the high-note bass shred that happens before the song's heavy breakdown, makes it more devastating. The song ends in a sludgy release with wild guitar effects and church bells. This is not for kids.

"Unsatisfied" has these crashing stop-and-go parts not unlike Eyehategod, making it a solid slab of unkind and ugly music, to tell you the truth. The song is gloomy an groovy at the same time, ending in an echo of Riley's pessimistic complaint of humanity's ignorance when he spits "putting all our faith in one politician means we don't learn from the past", thus sharing my assurance that a charming and even well-meaning president has little or no power in today's rotten political climate.
"Bloodwolves" was the first song to be featured online before the record came out and it got people talking. No doubt because of the band's clever yet simple structure of said song. First part of the song features a fast thrash metal part not unlike the one in "Ritual", but the vocals are more rapid in delivery thus making it exhausting and frantic in the best possible way and then there is a brief transition that is followed with an epic part, with sorrowful and solemn sounding lead which quite frankly reminds me of Master Of Puppets/Justice for All era Metallica. This moment in the song is already a claim to fame for the band. A hit if there ever was one. Add to that some of the best anti-war lyrics I've heard in a couple of years.

"Paradise Delusion" might very well be my favorite track here due to the doom-laden early Paradise Lost/Anathema/My Dying Bride'ish riffs that are enveloped with dirge-like, pounding drums that makes it oh so PULLING TEETH. "I play the part because it's all I know. Afraid to admit it and so scared of letting go. Just what the fuck am I doing here? The path I'm on is unknown and unclear". The record goes from more cynical, angry and "disappointed" social commentary to more subjective and personal reflections and frustrations, which is, in my opinion, a subversive move that is carefully timed and fitting at this point in the record because the last song, "Paradise Illusion" has this overwhelmingly sad and apocalyptic. For this occasion they advance even further into the artistic realm flirted with earlier on the record and carrier, successfully utilizing some we chosen and arranged studio trickery. A fitting end to a record that goes by way too fast, making me literally burn in the skin for more music.

PULLING TEETH have mustered up courage (that comes with confidence, experience and focused vision) to add daring additions to their songs - additions normally not associated with intense bands within the realm of metal and hardcore. There are fewer but better guitar solos here than on their earlier works, making them more effective due to their good timing, thus moving away from the over-done Integrity tradition of soloing through almost the entirety of songs. The sound of the record is also a step in a new direction; more spacious and organic at the coast of buzzing distortion in their earlier recordings. Martyr Immortal was more abrasive and explosive in its jangly fury but Paranoid Delusions | Paradise Illusions shows a band that balances the fine art of moving on yet remaining truthful to the beginning and harmonizing the journey of artistic development and pulverizing, nasty ass metal. This, an accomplishment the have achieved with only five songs - an accomplishment few other bands achieve at all.

Hurray!

The vinyl version of is available from A389 Records

Black Sabbath: How They defined metal and most importantly: sounded metal



Many writers continuously debate about which band is metal and which band is not. Other topics of debate include which sub-category of metal a band fits into, or if it does not even fit or belong in a specific category at all. Few argue over which band was the first to be classified as “metal”. It is undoubtedly Black Sabbath.


Now, we could sit down and argue for hours about older hard rock bands that for some reason sounded somewhat aggressive at this one historical concert so that people had to hold their ears and scream that it was too loud or aggressive. That happened many times and yeah, some of those bands' song or two were calledmetal by somebody somewhere. Furthermore, there were undoubtedly bands before Black Sabbath that indeed rocked hard and had cranked the treble knob up a bit too much, resulting in a buzzing guitar tone in one song here and one song there. But Black Sabbath, on their full length debut, went way beyond that. The cover art alone is metal as fuck. It is sinister and scary. They touch on something sonically heavier than ever before in rock history. They managed to get people to say – in the comfort in their own homes – that it was just too loud and aggressive, to a greater extent than anything they had ever heard before. But most importantly; many whispered it was just plain evil. Thus, heavy metal was born whether the lads - Ozzy Osbourne on vocals, Tony Iommi on guitar, Geezer Butler on bass, and Bill Ward on drums – intended for metal to be born or not.

If Black Sabbath is unanimously agreed on as being heavy metal’s original band, what is there to add to the almost “fanboy-ish” articulations and academic contemplations about said band? Let us talk about how they stumbled upon creating a new genre of music, how the critics at the time turned their noses up in disapproval, and while we are at it, why hard rock is not metal: metal is metal, and hard rock is, you guessed it, hard rock.


When it comes to singlehandedly creating a new genre of music many things and elements have come into play. Some of those elements include: boredom, isolation, youth, rebellion, passion and the need to get out of one’s current situation and the need to create something new and to feel like one belongs. All these things are synonymous to Black Sabbath’s beginnings. It is the late sixties. You live in an industrial town and you belong in to the lower and middle class. You love blues and rock 'n' roll and you play guitar. School bores you and the prospect of working 9-5 for the rest of your life does not appeal to you. You start a band.
What follows is one version, told many times before, about the band's beginning. How the band in fact started and how the famous title track of the debut album came to be, also differs depending on what your sources are. Some even say it depends on if you ask Butler or Iommi. At this point in time it probably useless to ask Ozzy anyway. But what is most important is that the band got born at all. And I particularly like the version below, a lot.

After playing in other bands that did not venture much farther than the garage doors of their practice spaces Tomy Iommi, Geezer Butler, Bill Ward and Ozzy Osbourne found each other. The year was 1968, and the band Earth was born. But the name would not last as long because there was another more established band that had the same name, so the Birmingham boys had to find another one. Around that time, Butler was reading a book about occult matters which inspired him to write a slow, gloomy song which he name “Black Sabbath”. Prior to this they, like so many bands at the time, had been playing blues-laden hard rock, but nothing revolutionary. It was Butler’s song that hit a string (no pun intended) with all of them. They were indeed doing something that went against the grain; it was not proggy, it was not hippy and it was not particularly pleasant. I was not present but being a player of heavy music myself, I can only imagine how good that felt. Their plan was to take “it” and run with it (“Black Sabbath,” Robert Walser, Oxford Music Online).

Deep Purple, Led Zeppelin, MC5, Cream and the godfather of the fuzz, Jimi Hendrix all came and concurred before the Birmingham foursome and yes, they were loud, distorted and abrasive, but so were many other bands. But these artists did not play that way to sail against the current and out-do each other in terms of heaviness. That was unheard of. If they were trying to out-do each other, it was on the grounds of virtuosity (John Bonham, Ian Paice and Mitch Mitchell could play circles around Bil Ward), arrangements, studio wizardry, additional instrumentation, live concert bombast, length of songs and outrageous jam sessions. In the beginning, this is not what Black Sabbath brought to the otherwise crowded table.
Like stated above, historians, critics and fans alike debate the “first” heavy metal band. Many statements have been said and many facts have been pointed out to which I agree. But my opinion is influenced not only by the sound but also the aesthetics, look, lyrics and how the bands carried themselves. What was it that happened, how did it occur, and how is it that the loud “noise” these four lads made was heavier than anybody had heard before and was soon heralded as the essential heavy metal sound? Why did the settle for that eerie record cover? The whole package drove them over the thin line that separates hard rock and metal.


Black Sabbath stepped it up a notch in musical extremes. Again, the bands preceding them were loud and had long hair. Blue Cheer and MC5 were literally blowing up speakers and sending people out of concerts with their ears hurting. Yes, Steppenwolf sang about heavy metal thunder, but they were talking about the sound motorcycles make. Watching Metal: A Headbanger’s Journey, a documentary by Canadian anthropologist Sam Dunn, we see Lemmy Kilmister spout that Deep Purple were the first metal band because they had such a big PA system (what does that have got to do with the nature of the music written?) and then ever so starving for attention, Alice Cooper, reminds us that Rolling Stones magazine were the first to publish the term “heavy metal” in print while interviewing him in the early seventies. All this is true, but is of no consequence. All these guys failed to pick apart the music, the album cover and the lyrics – the whole package. Up until Black Sabbath’s self titled debut, there had never been such a marriage of visual and aural heaviness. They didn’t need pyrotechnics on stage or the loudest speakers in the business to state that fact. They could do it via the listener’s run-of-the-mill home stereo system in the privacy of their own little bedroom at three o’clock on a Wednesday afternoon. An expert can tell you one thing and you can read about the same thing in some glossy music magazine but it cannot surpass the feeling of hearing the real deal with your own ears.
The beautiful thing is, and this has been documented in many interviews through the years, is that Tony Iommi (the band’s main song writer) and Geezer Butler did not really know what the term heavy metal meant, and they were certainly not out to be the heaviest band on the planet. As stated earlier, the boys liked the dark turn their music was taking and decided to stick with it to a larger extent although even on their debut, pleasant sounding hard rock numbers with inspired blues passages would shine through the gloom and doom of the opening title track.

Much has been said about band’s usage of the musical tritone, a tone that had long been exercised by blues artists of old. As the highly skilled bass player Alex Webster of American death metal outfit Cannibal Corpse said in Metal: A Headbangers Journey, “The blues scale has the flat fifth... the tritone. That is the “devil’s note”. Like in the old days, you were not allowed to use that note. But Black Sabbath... their title song, is totally working the diminished fifth, the triton”. Indeed they did. And that element can be found in a large corpus of their earlier work.
In addition, Iommi had suffered a work accident that cut off the front of one of his right hand finger – one of the chord producing fingers. So in order to make things work for him, he’d use thicker strings and tuned the guitar so that would be easier for him to play with this handicap. Thus adding to the bands unique sound. Just that alone, made them so much heavier than all the bands mentioned in this article. Just that.
Let us look at the cover of the album itself. Just the mention of the cover art sends chills down many people’s spine. It looks eerie and sinister. We see what looks like a vacant and derelict building and cryptic plants and trees in front and around it. The film stock is lifeless, and has no vibrant colour. It is almost as it only celebrates colours that are unpleasant and creepy. And in the middle we see a dark figure, a black cloaked woman with black eyes and pale skin one would associate with a corpse. Right there, the art work on its own is already metal to the bone.
First moment of the first song: thunder, rain, church bells and then one of the most sinister single string riff in the history of rock music. When it was released, nothing was as sinister and it took years and years for any band to even get close to rivaling it. I don’t have to tell you what follows with Ozzy’s creepy and demonic vocal style, howling well-sung lyrics about a dark creature, big black shape with eyes of fire, Satan coming around, crying for God’s help. Add to this thunderous and slow drums and pummeling yet minimally delivered bass lines. It is all in here. All in the first song, on their first record and what was essentially the first bona fide heavy metal record ever: heavy, aggressive, bombastic, evil and dark looking. Sure enough, they don’t keep this doomsday inducing feel throughout the record, but it had been set in stone with the first song. It is not something a drunken Lemmi can tell you about or Alice Cooper can claim was said about him, and it is something fireworks in a huge arena can’t produce.

In conclusion, I admit that this semi-random ramblings were intended to drive home a popular point of view that Black Sabbath was the first real heavy metal band. At the same token, it surprises me that there are still well read and seasoned writers out there that say otherwise, without really backing it up with plausible facts. What they seem to forget is this: it is the not volume that makes a band metal - it is the nature of the song and ultimately the songs "on their own". And how an amplifier reacts or is prepared to be cranked up to ten and thus making a distorted noise has nothing to do with the notes one chooses to play and how a band constructs and presents a song together. These are all sonic elements that are utilized in metal, but the fact of the matter is that metal lies within the song-writing first and foremost. That is what set Black Sabbath apart from other hard rock bands at the time. Black Sabbath stumbled upon this tone and feel to fit Butler’s lyrics. Upon hearing and feeling its magic, they decided to build on that. And the rest is metal history.


Note: not the album version

New SUFFOCATION song (live)


I'm happy to report that this new track, named "Mental Hemorrhage", is damn good and that fact, is clearly audible although the video above does not sport the best sound quality around. I love how the New York city brutal death metal legends are indeed keeping it brutal through simple song structures and shy away from unnecessarily virtuoso playing, which is a symptom plaguing many of today's younger death metal bands. Keep an ear open for the later day'ish Morbid Angel moment in the part of the song that starts at 2:42min.
I'm looking forward to their new record, Blood Oath

Below you can see the cover art work for said record. I have to admit that I'm not very thrilled about this cover. It looks like the cloaked figures from Testament's Souls of Black trapped inside one of those exotic fruits I ate in Costa Rica. The fruit was spiked as shit on the outside and looked metal as fuck (and dangerous as ballz!) but when you opened it it was blood red but still somewhat scary looking as if out of hell, but it tasted real nice. Lets look at this cover analysis of mine as a positive foreshadowing of what's to come on Blood Oath; ...do not judge a record by its cover.


Click on the cover to enlarge

New material from MONUMENTS



A relatively "recent" Icelandic band, MONUMENTS keeps evolving and exploring new areas in their quest for sound. The lads just posted a new track on youtube that is featured on a up-coming record. This particular version of the song is a rough mix but gives a good indication about where the band is going and keeps yours truly content in his waiting for more new material.
The new record will include six songs and is entitled (MI).

To get all the latest info on the band's developments keep checing out their kvvlt as fuck website http://www.geocities.com/monuments666
Oh and they also run one of the busiest and most happening blogs in music right now http://monuments666.blogspot.com

Thursday, April 16, 2009

The new OUTBREAK song


For some reason I've gotten three messages today on facebook asking if I've heard the new Outbreak song and if I like it or dislike it. In order to break up the review after review pattern on this blog, just for a good measure, I decided to post my first initial feelings about said song after listening to it only once. The song is called "(Work)ing Dead" and is the first thing we've gotten from the boys of Maine in some years.
The song is taking from the Work To Death seven inch/digital release coming out soon on Think Fast! records.

Listen to the song on the band's myspace.

These are my thoughts after one listen:
I love the lead vocals and the added dimension of the 2nd vocals...
I'm glad this doesn't sound like the old material because it has been way too much time between releases. I think this song will grow on me although I'm having a bit of a hard time to appreciate the "pure punk rock" vibe they seem to be going for.

Nevertheless, I'm glad to see them taking a step into something new and it makes me anticipate this release.

Wednesday, April 15, 2009

CALE PARKS - Sparklace


CALE PARKS
Sparklace
Polyvinyl

As it is the case with some records that get noticed, CALE PARKS' Sparklace is a topic of debate in my circle of friends. My colleague deems it too distant and alienating and I'm not going to try to refute that because it is her unique experience. As for myself, I still haven't made up my mind but I'm still listening and dissecting. Such is the lure of the young man's current-sounding music that at the same time has a tangible air of nostalgia for popular 80's artists.

After a short intro that is like an breach over to the first proper track of the album "Every Week Ends", we are off into one of the best songs I've heard this year. It is soothing and mysterious in its electro-layered sound arrangements that are at the same time sparse and oddly "roomy" - a term normally used for conventional pop and rock instrumentals. There is something about this song that captivates me. It is dark yet sensual. It hits hard and it has a distinctive groove but it is far from being club-friendly at all. In fact it is somber and aurally private. The vocal pattern and the lines are haunting and modest, fitting the mood of the song perfectly. And the pounding rack-tom drum samples are immense and give the whole thing a unique edge.
After this song I was so pumped on what was to come that I found my self in a questionable territory asking myself how Mr. Parks was going to follow this.

"Train Lady" isn't not as strong but bodes well and keeps the momentum going. It has a similar flair but lacks the hooks and the gorgeous vibraphone lead-melody of "Every Weekend Ends". Its strong points are the creative drumming, finger-snapping and brooding vocals. After the three trecks I'm feeling the presence of Depeche Mode...
The mood changes and becomes more up-beat and almost dance inducing with "Early On". Again the bass drum sound feels distant although it is not and the church organ-like sounds that envelope the complete experience keep the dance clubs a bay. This song features a cleaver build up of a big sound but together by various sound sources. Impressive but threatens to be a bit forgettable due to lack of hooks. Another song that in parts relies on a subtle build-up is "Age of Reform". With its dreamy and positive atmosphere it unfortunately falls a bit flat although it features neat vocal harmonies.
"This Morning" has a lot of promise judging by the sneaky "Golden Brown" (The Stranglers)feel I get from it. But sadly, due to an insignificant vocal line and shortness, it never really becomes a song. "Two Haunt Me" surprises, as it is quite light on its feet and the tempo faster than what the listener, by this point, is used to. With its cute male/female harmonies, consistent and repeatability keyboard line and distorted bass line, it sounds like something Helium would have created were they still a band.
The rest of the album ventures a little bit too far over the hipster borders and by this point looses me and I find myself yearning for the first two tracks. That being said, PARKS' intricate use of "real instruments", computer, keyboard and drum machine(?) and obvious multi taskin' talents does not fail to impress. There are songs here that threaten to swoon me but when I think they are gonna, they don't. Maybe it is the lack of stronger and more potent vocal lines and arrangements. Maybe I'm more prone to like his melancholy songs... I'm not sure. But Sparklace is fresh and attention grabbing enough for me to come back to the tracks that lured me in, hence I will be look out for his future work.

Monday, April 13, 2009

Interview with Aaron Michael Pepelis, a.k.a Revaaron, photographer and a minister


When talk switches to music photographers, not too many people think of Aaron Michael Pepelis. What most of us don't realize though is that we are so many times enjoying his work. His pictures are everywhere. This is the case with a lot of the hard work we enjoy by selfless photographers that work their ass off and ask little or nothing in return. Their work and time is too often taken for granted. Some people "use" their work and some bands, magazines and labels print their pictures without crediting them or even saying a simple thank you. I've always had that in the back of my mind and tried to be mindful of thanking people for shooting my band, but you can never say it too often 'cause a lot of the d.i.y. photographers out there - breaking their back but most importantly loving what they do and are always eager to share and sometimes go out of their way to do so and in the process documenting moments in time for a lot of different people.
One of the photographers out there that embodies this attitude is Aaron Michael, known by many in internet land as Revaaron and viewed by most via the long-running Return to the Pit website. He has a tireless work ethic and gets his pictures out faster than most, thus silencing the ungrateful whining of many spoiled bands and show-goers out there that love nothing more than to see their own faces on the world wide web.
So in order to give credits to all the hard working, share-happy photographers out there, I thought it was time to give one of your own a chance to express himself with words and put the camera back in the bag for a little while.



Please tell us your real name. Is Revaaron your "artist" name when it comes to your online presence and work online?
It's short hand for Rev. Aaron Michael Pepelis since I'm an ordained minister of the Universal Life Church. Around 96-97, they're were a bunch of Loud Rock directors that did it at www.ulc.org. At my radio station, people started using it as my on-air name and it stuck. rev, the rev, rev aaron, etc...

What is the Universal Life Church and what does it offer that is different from our conventional ideas about churches?
Check out www.ulc.org. they're are Jewish and atheist ministers. I for one don't believe in God. It's basically about taking the power of God away from those state powers granted on people because of the US religion, Christianity.

You are the first young minister I've met in my life. Furthermore, you are the only minister I've met in hardcore and probably the last, for obvious reasons (hardcore and punk having rather strong athiest/agnostic and even anti-religious sentiments and attitudes). Could you describe what the minister part of your life entails and how you go about in that role?
I do a few weddings and get asked about the reverend-hood. As for the "god" aspect of hardcore, look no further than Boston's own ICC venue. One of my favorite places to go.

You seem to be shooting photos all the fucking time. So I'm prematurely tempted to ask you what your life consists of when not working on photography.
I'm a software engineering writing automation at a network company. In my real life, if I have to do something more than once, I write software to do it for me. On Monday nights, I do a long standing radio show at a college station (91.3fm WUNH) and also do the contract engineering job they're so I repair the CD players, MD players, and keep it all working.
During the day on the weekends, I run after my 2 dogs with my camera and force them to pose for me.
http://www.rttp.us/gallery/2008-11-01_12265.jpg
http://www.rttp.us/gallery/2009-01-28_17809.jpg


Next logical question would be, why and when did you get into photography and how has your career been until now.
I loved shooting film when I was little, but all I would do is take 100's of blurry shots of chicken's.
http://www.rttp.us/gallery/2008-10-01_11599.jpg
http://www.rttp.us/gallery/2008-10-01_11600.jpg
My dad told me I was wasting film so I didn't really shoot anything but a couple rolls of film until digital came out.

In 2000, the Music Syndicate asked me if I wanted a photo passto one of the metal fests at the Palladium. I went, took terrible pictures and then said "I can get better". Fast forward nine years and I've gotten a little bit better, I hope. Nine years ago they're weren't as many cameras around at concerts. I've had things in Rolling Stone, Spin, Decibel, Metal Maniacs, The Boston Phoenix, High-times, and many, many other places. For a lot of local people, I'm pretty much their myspace photographer. I feel like a soccer mom.

Would you consider yourself a hobby photographer or an aspiring professional?
I think that I straddle both worlds. For the most part, I just go to shows that I like, seeing bands who's music I enjoy seeing. Any money that I make is off magazines, labels, etc... coming to me and asking for things. Very rarely will I choose a show for a band that I don't care for (but would get paid) over a show where I love the bands that are playing. When it all comes down to it, I love music and I love photography, though I would always love to make more money doing what I like. I like the freedom that I have with my current standing.

Lets get even nerdier. What kinda camera are you using right now? What is your set-up?
I love my Nikon D3 right now. Amazing ISO range. I've been shooting with it for over a year and am still as happy (if not happier) with it than the day I bought it. Usually, I'm unhappy with cameras after a year and get a new one. But this is literally the best digital camera out they're. I just wish I had the right lens for it. I'm using a 17-55dx (cropped sensor lens) and it's a full frame camera so I have to look out for vignetting from 17mm to 24mm. Vignetting around 22mm can add some dramatic edges to b/w, but looks terrible in color. I also use a SB-900 flash, but I'm less happy with the SB-900 on the D3 then I was with the SB-800 on the D2x.
So typically: Nikon D3 + 17-55mm f/2.8 + SB-900
and then I bring a back up which is usually either my D2X or D1X with a 10.5mm or 12-24mm sigma or 15-30mm sigma.
This weekend, I'm getting a used 17-35mm f/2.8 Nikkor which will probably be my main lens from now on.
I also bring a 70-200VR f/2.8 to bigger shows and always carry the 50mm f/1.4


What kinda lenses do you use and how do you decide which ones to use for different settings, projects and subjects?
The 17-55 f/2.8 works for 95% of everything I do. It's a compromise between quality and usability/versatility. I tend to shoot 75% of my stuff from 20-35mm F/4 which the 17-55 almost covers since it's a cropped sensor lens. That lens is my first on, primary lens for flash work. If I show up to a venue and they say "no flash" and the lighting is terrible, the 50mm f/1.4 goes on right way or at least in my pocket and then for a big venue 70-200VR for a small venue 17-55mm.
If quarters are tight, the 10.5mm fish eye goes in my pocket.

Seeing as you are often times really close to the action, has any of your equipment been damaged?
I ware out things more than anything. I try to be aware of everything around me so nothing happens and I've been EXTREMELY lucky. I'm tall so at the first sign of danger, I put the camera over my head at arms length or I wrap the camera into my neck. Besides that the only thing that I've had damaged at a show was 11/15/2003 when I was at new jersey metal and hardcore festival with my camera on my lap (d100+17-35mm sigma). I stood up and dropped the camera on the lens and cracked/messed up the lens. I still used it for another 4-5 months, but it wasn't ever quite right.

Name three favorite bands to shoot and tell us why you prefer them.
I love bands that jump, don't overly use red/orange lights, have dramatic colors (dark tattoos with white skin, blond and black died hair, etc), and where the crowd gets involved like a surging wave lapping the shore of a lake. So they're are plenty of bands like that, but when I'm singing along while shooting is always the best. Those moments were all those things come together gives me good bumps and I call the "heart" factor. Converge for one. they have all of these things and I've loved them for a long time. Next, would be Colin of Arabia. Amazing love show if you don't know them, check them out asap. Immortal would be the last of the 3. So good.
Runners up: Rosetta, Trap Them, Brutal Truth, Defeater, At the Gates, Disfear, Saint Jude, the Hope Conspiracy, Today is the Day, Pig Destroyer, Have Heart, Band of Horses, and Belle and Sebastian.


You named some glossy magazines you shoot for. Do they pay you enough to put food on the table? If not, theoretically speaking, how many magazines would you have to shoot for in a month in order to pay the bills if you were gonna work 100% as a photographer?
My problem is that I'm a software engineer. My fingers drip code. At work I can walk into a room without know what people are doing, look at there code for a second and change a bunch of things saying "I don't know what you are doing, but that should work". So my job is challenging but "easy". Mags that pay, I shoot for Decibel, AP, Metal Maniacs (rip) regularly. If I were there only photographer, I could get by.. but that is unrealistic. I would have to do promos and exclusive story photos. With that is all depends. Some times 2 in a month would be enough to keep you fat for a month. Other times, 6 of them and you would squeak by. Basically, my advice for anyone getting into "concert photography" as there career, I tell them to start shooting weddings cause that is the only way to really make money. unfortunately, I hate weddings. Making money off concert photography is a small market, the world can really only support a few photographers. The people that are "made" and in that upper echelon get flown in from California or England to shoot random shows.

Tell us about 3 non-music subjects you like to shoot, and why.
My dogs/cats (that's obvious) cause they are awesome. My cat Mia is the first thing I take a picture of with any new gear I get.
Trees by water. They are all so different, beautiful and it's hard to take a terrible picture of a tree. It's also extremely difficult to take an amazing picture of a tree.
Cityscapes that look run down. I love talking pictures of old parts of towns/cities and then up'ing the contrast so they look run down. Makes for some great prints and they're are so many places that people don't notice when there faces are stuffed into there cellphone texting (guilty)

Bands always get asked about some interesting, wild, dramatic or funny show or tour stories. Now's your time to step up and give us a photographer story like that.
They're have been tons of things like getting wrapped up in fights/riots (which I don't take pictures of cause I don't want police using my pictures to send my friends to jail), naked guys in the pits (re-two dead sluts one good fuck), people jumping off balconies (skinless at the palladium), etc... I must say one of the most surreal things ever was an insane clown posse show. Those people are crazy and it's like a small city of face-painted buzzards move into a venue and why a guy will walk around with his dame as she flashes the crowd to get free tickets, I will never understand.
Oh also, 12/6/2002 having people ripping down the ceiling while bury your dead played (joe's last show with them I think) and then 5/6/2005 being at a club in main called "the station" for shadows fall as people ripped down the ceiling.


What are Rev's hobbies aside from photography? What is the Rev doing after he comes home from work, after he's shot all these bands and after he has uploaded said shots?
I play with my dogs, cats, turtle, and girlfriend. I play my PS3 whenever I can. I love randomly walking around at night or during the day, but I always have a camera with me. I also code a lot on my free time, writing automated processes to free up my free time. Oh, and I go to the gym for 2-3hrs 2-3 times a week.

(Band pictures of Regurgitate, Converge and Underoath)

Sunday, April 12, 2009

Icelandic death metal act, BENEATH raises some eyebrows



I'm pleased to announce that the fast rising BENEATH are getting some love, outside of Iceland. Aversiononline recently gave the band positive reviews for their first promo. Aversiononline is one of Halifax Collect's favorite blogs so I urge you to head over there, read the BENEATH review and all the other solid reads as provided by the long running blog's editor, Andrew.

That being said, I've been absolutely thrilled about the band's developments since hearing these recordings a couple of months ago. Go to the band's myspace and listen to their intricate take on death metal while reading AversiOnline.

Thursday, April 9, 2009

Where's all the action?

It's definitely not here. It's in Action Park.
Things have been quite slow on Halifax Collect lately do to crunch time at school, a mountain of procrastination filth and four final papers due in less than a week. Wonderful. I can only blame myself though. Woe is me!

Hopefully before the end of this week, at least one brand spanking new release will have a published review on these very pages.

Until then...

Friday, April 3, 2009

VETIVER - Tight Knit


VETIVER
Tight Knit
Sub Pop

I must admit, I'm not a seasoned VETIVER listener. But I'm familiar enough with some of the band's older material that I can say that the sun seems to shine a little brighter on Tight Knit than on their older releases. While not opening any new musical doors, it is hard to ignore the soothing and welcoming sounds this bands makes. It is hard not to listen and enjoy.

Now, I usually reserve statements like "no bullshit" and "bullshit-free" to when I'm reviewing no-frills and angry as fuck hardcore punk bands. But darn it, it applies for VETIVER's Tight Knit. The album oozes with comfort and assurance that they have reached a level of musical understanding that above the fuzz around what's hot and what's not or what's bumpin' these days. These sentiments are surely needed in today's envelope pushing yet just-trendy-enough environment. Don't get me wrong. I believe said environment is responsible for many of today's most exciting and relevant sounds. But again, VETIVER operates in a different realm altogether.

This realm is the home of the pleasant, warm, cozy and singalongy. To many of you it might not sound very exciting nor genre bending enough and yes, it is just that, but dammnit, the quality of these songs and their instant hooks are hard to argue with. Tell me that we don't need another band "like this". I don't care.

So what do we have here? VETIVER's music is like a horse, slowly and calmly walking into the sun set. It is like a fisherman that has dozed off on his little wooden boat on an undisturbed lake. VETIVER does not rock but they come out, almost twangy and acoustic. One could easily find traces of folk, blues and country elements but that doesn't tell the whole story. Sometimes, some of the more brooding songs sound like the calm and "silent" Wilco songs if played un-plugged.
Other songs sound relaxed or very up-beat like the dancable "More of This"

How does Tight Knit differ from Thing of the Past? Well, song structures are very similar and the arrangements don't differ too much ("Another Reason To Go" deserves a special mention for tasteful horns). The most instantly notable difference though, is Tight Knits air of sonic optimism. There's more sunshine in the songs. Thing of the Past was a bit more moody and even sad sounding at times. But don't get me wrong. VETIVER are still light years away from the Bloodhound Gang and similar party nonsense. Tight Knit has its fair share of blue moments and lyrics.
I had to dig pretty deep to come up with some complaints and the only one I have doesn't cut deep at all. The album lacks high points and distinct high lights but that is a minor complaint when the whole thing envelops you like the warm breeze of spring. You don't rush to turn the breeze off.

Tight Knit's warmth is just as ideal for winter listening as it is for a quiet moment on the sunny porch after work. Far from being original nor particularly daring or exciting - quality song writing and instant likability makes this album a sure shot for fans and newcomers alike. Anybody wanna join me on a walk with me and my dog? How pleasant...

Tuesday, March 31, 2009

Halifax (Nova Scotia) + Sub Pop = Jale


What a pleasant surprise! Not until recently - in music class in school one day ago, to be exact - I learnt that the iconic Seattle record label, Sub Pop, had releases records by a band from Halifax, in the 90's!

This is a big deal, but nobody has ever mentioned this when talk turns to music in Halifax. And I'm in Halifax right now! Why on earth do the local nerds not acknowledge this fact?
Could it be that young Haligonians just don't know about Jale? That might very well be the case. Maybe, generation facebook is not all that interested in doing some digging about their own town's past? That's o.k. I'm not outraged, it's just that my ignorance about Jale, is alarming, seeing as I live in the birth place of the band. This gives rise to many questions.


I was very big on Sub Pub in the 90's. But my brother was obsessed about the label and Sub Pop kept sending him catalogues with all their releases, merch and recent news. I don't remember either of us talking about Jale. This is pre-internet and we lived on another continent (well, we lived on an island in the middle of nowhere) so our ignorance is excusable. Right?
Other noteworthy facts that should have made me listen up back then and sure should have us talking in Halifax right now, is the quality in their songs. This distinctive, jangly charm and knack for catchy choruses and memorable bridges. And the fact that in the early days of the band it was an all female group. It may sound sad, but this "gender fact" is often the first thing that gets people talking.

So here we have an all female indie/grunge band. The band is on Sub Pop. The band writes a healthy number of really good songs. They are current for their time. They are from fucking Halifax. Snap!
Even if we don't like the band... Why all the silence?

Either way. Lets not be bitter nor frustrated about the whole thing. I just wanna thank Dr. Jacqueline Warwick for introducing me to the band. If any Haligonians have some Jale records lying around, collecting dust, please get in touch with me.

Enjoy the video for the song "Not Happy" from the critically acclaimed Dreamcake album, released in 1994. The video is shot in Halifax.

Saturday, March 28, 2009

HANDSOME FURS - Face Control


HANDSOME FURS
Face Control
Sub Pop

Too much space means too little to hold on to.

Most people that are familiar with Dan Boeckner's Wolf Parade, associate the music with feelings of warmth, dense arrangements, organic sounds and recordings. In HANDSOME FURS Boeckner and his wife, Alexei Perry create the antithesis of that. Face Control features a lot of space between instruments and vocals. So much space in fact, that I started to long for some warmth and more saturated instrumental arrangements. I had to wait for track number four, "(Passport Control)" to get a hint of that. Said song is catchy and weirdly hypnotizing. Too bad it is so short - almost like a bridge over to the following song. The first three tracks left me wanting more sounds. If that makes any sense.

The problem I have with these songs and many others on Face Control is said space, which I'm having a hard time articulating. But I'll try. How they arrange the distorted guitar riffs, synth and computer sounds and the drum machine beats makes the over-all sound come off as sparse, loose, clicky and distant. As if these sounds and instruments are not coming together to create a whole with a distinctive oomph.
The thing is, I think that is the whole idea. I think this approach is deliberate. This is what the Handsome Furs are going for. I'm not feeling it and in this particular case it has little appeal to me.

By song number five, something entirely different happens, in terms of song writing and arrangements. "All We Want, Baby, Is Everything" is much more dense and features melodies and moods reminiscent of a feel-good, mid period U2 song. And it works like a charm. The, 80's Euro/UK pop worship vocal style (a constant on this record) of Boeckner fits the mood of the song. And what about the Big Country'ish lead guitar? Nice.
Thankfully, by this point on the album you will hear more songs with said, dense and cohesive quality but that in itself is not enough to push Face Control into a higher strata.
I wanted to like the up-beat and digitally rockin' "I'm Confused" but it is just too weak.
"Nyet Spasiba" has a bit of a hook to it. Maybe because parts in it make me think of early U2 as well.
"Officer of Hearts" has a soothing and sexual feel to it that I can get behind of but it still leaves quite a bit to be desired (if you read this sentence again you will realize just how pun-worthy it can be).

I want to like this, but I'm not very impressed. While debating this with a friend who is very much in favour of Face Control the following was said: "it is the kinda stuff that my coke snorting friends would love to jam to in a smoke filled house party screaming that this is the best music ever made". Nothing wrong with that and I won't argue with said statement.

The lack of cohesiveness and oomph and not enough structural bravery to make up for the midi-space and shortage of flesh to sink your teeth into, is something my brain cannot get around nor avoid. The hooks are too few and far between for a full length record.

Power Play - Iceland


http://www.youtube.com/watch?v=CksKpS9xTbw

Thursday, March 26, 2009

Film: Warrendale


Written and directed by Allan King
1967 Canada

Allan King's Warrendale takes a brutally honest and uncompromising look into the lives of emotionally disturbed children and a trained staff, who together, deal with day to day existence and adversities, in a treatment center called Warrendale. What the audience sees is far more emotionally moving and untamed than what is usually associated with documentaries that attempt to show the real lives of the troubled amongst us.


One of Warrendale’s many appeals is the truthful approach it uses to communicate with and the feeling of intimacy it achieves. Instead of a voice over telling the audience what to think or how to feel, it abandons all manipulative film tactics and instead it tries to show us what indeed is, with as little intrusion as possible.


King’s film crew gained the trust of their subjects by spending time with them before and after takes, doing day to day activities and using small hand held cameras, successfully serving the film’s observational agenda. Critics argue that no intrusion, zero intervention and complete neutrality are impossible for camera and crew but Warrendale comes so convincingly close to achieving just that, that the viewers are forgiven if they indeed forget that they are watching a film, with all its technical intricacies. Such is the power and impact of the film’s hard hitting observation.
Warrendale, a non-scripted, cinéma vérité at its heart-wrenching finest, will make you feel uneasy, it might shock and disturb you but it is a truthful testament to love, compassion and tolerance as you are ever likely to see in the film medium. If Warrendale does not move you, nothing will.

Tuesday, March 24, 2009

VICTIMS - Killer


VICTIMS
Killer
Deathwish Inc

Deathwish keeps branching out with their first release with Sweden's VICTIMS, not only musically but geographically as well. A fact I admire and would like to see more of in the future. The bands music is rawer, more punk and dare I say more hardcore than most current Deathwish releases, hitting you over the head like a brick thrown by older players with a sense of history.


To say that VICTIMS music bursts out of the gate, is an understatement. Literally every song on Killer is a gate burster, much like you hear "true" crust and early 80's hardcore bands do. Immediately you get the sense that VICTIMS are in the business of "taking it back", no frills. Like a homage to the greats of the olden days as well is being firmly planted in the current swing of things while looking into the future - musically and especially lyrically.

I'm quite familiar with VICTIMS recorded past as they were releasing music when everybody was talking about the neo-crust wave, made accessible by the likes of Tragedy and From Ashes Rise, to name but few. These Swedes were doing their thing back then as they are doing now, seemingly not concerned with what is "in" at any given time. Musically, with Killer, they seem even more disinterested in current trends than ever before. That being said, the music they are doing today sounds more punk and snappy in every way as opposed to their early material that was gloomier, more dragging and with a heavier low-end (if that makes any sense).

Killer is a steamroller of aggressive, musical outbursts showing the band at their most raging, yet. Listening to Killer I get the feeling of racing over red lights in a car, destination brick wall, with the cops chasing me.
The more rockier moments sound like Motörhead and Venom playing no-frills crust. Needless to say, VICTIMS have never sounded louder. I would have been severely disappointing had this record not sounded like the much loved, Swedish take on Discharge, at times. So, the purists among us need not worry and should check Killer out, but like stated earlier, and I can't stress this enough (this being a Deathwish release, a label heavily associated with very current take on extreme music), the spirit and approach of older hardcore is very present on the album as a whole.

Unfortunately, my promo didn't come with lyrics, so I can't get into them in detail.
The album's opener wastes no time in giving us the plot outline. "Victims In Blood #5" is fast as hell and the last part includes a melodic breakdown, with anthemic singing, war-dance inducing drums and fist pumping tendencies.
"Killer", instantly became my favorite and still is to this day. Its driving, melodic crusts brings to mind greats like Proudflesh, Paintbox and Burial. Stunning track that will not leave your mind for days. I like the drama in the end - an element find too little of on this record.
"The Burning Fire", even more so than "Victims In Blood", manages to blend fist pumping anthems, two-stepping (yeah, I just wrote that) and crust, with a seamless ease. Not as easily achieved as many might think.
This review could not be complete without mentioning the bass playing. This guy shreds hard and colors his parts impressively, bringing to mind the master himself, Matt Freeman of Rancid. Take a close listen and you'll hear what I mean.
I like raw singalongy punk just as much as the next guy, but I find "Holy Shit"an unnecessary addition to Killer. I say this also in the light of the fact that the record is tad bit too long. Although the songs are snappy and none of them are too long, (the whole thing is only 24 minutes) Killer isn't dynamic enough for this many tracks. Even though it has its highlights, there aren't many enough to sell me completely. With the number of tracks in mind and the pace of the music, it comes off a bit flat and I found myself missing the flair necessary in a full length release.
Killer brims with quality, experience and maturity but I was expecting more hooks and a more memorable whole.

Friday, March 20, 2009

REYKJAVIK! just released this new video on the public



It's not very often that Icelandic bands release videos. Here's one though that is amazing. Song taken from the bands new release The Blood. By far the most accessible track on said album. Good stuff indeed. Get in touch with them and order a hard copy or get a "legal" download through them or some of the info found on their myspace www.myspace.com/reykjaviktheband

Wednesday, March 18, 2009

ASOBI SEKSU - Hush


ASOBI SEKSU
Hush
Polyvinyl

Being absolutely unfamiliar with ASOBI SEKSU, I was excited about our first sonic meeting of minds. What I didn't expect was my mind not being able to construct descriptive and expressive sentences when I wanted to tell you what I was hearing. Instead it conjured up bunch of adjectives and band name-drops.

Adorable, endearing, welcoming, enchanting, dreamy, caressing, visual, trancelike, surrealistic, flair - are amongst the words that flail about my head when talk comes to this mysterious musical endeavor. It's as if this music is tearing my work methods apart, pulling me out of my comfort zone. And that is not to say the music is uncomfortable. This music is nice and cozy. I sometimes find myself describing music in seasons. ASOBI SEKSU is fall/winter. Even more winter than fall. Not that the music is cold and unforgiving. Winter makes us dream about the future and what we want to do and where we want to be. Those type of thoughts are pleasant. ASOBI SEKSU winter is too.

First thing to catch my attention was Yuki Chikudate's voice. Her soprano voice cuts through and gives the band a unique edge. I particularly like that although the voice is pretty much the star of the band, it is mixed unconventionally low in many of the songs which gives it somewhat of an mysterious feel.
The second thing to strike me is how assorted this record is. While listening to the dreamy opening track I thought the whole of Hush would tread a similar path, but it varies surprisingly in tempo and arrangements although the dreamy (man, I'm using this word too much) and otherworldly vibe is consistent. Which, when I think about it, is quite an accomplishment.

You can almost divide Hush in two parts aesthetically. One half has slow and almost hypnotizing numbers, the other, more up-beat and pop arrangement inspired ones. That being said, even the up-beat songs are a little hypnotizing. ASOBI SEKSU does better playing the former. I kinda get a bit startled when they break into the funner songs. Said songs will no doubt be a bigger hit amongst hedonistic university party crowds than they are with an boring old sod like yours truly. I favor SOBI SEKSU's slower moments.

One of my misgivings with the up-beat, driven part of Hush is that Chikudate's voice does not carry those songs. Yes her voice is wonderful and she is a good singer but I find her ill-suited to aforementioned songs. I wonder if the band did think that the more dreamy material would not hold the audience's attention. Or maybe they were trying to get away from that "sound" because so many bands are tapping into it? I don't know. The "fun" songs made me think of Camera Obscura and how they manage to make their songs reach their up-beat and bopppy poppy conclusion. It just doesn't suit ASOBI SEKSU as well. And the same can be said when they tap into more early Brit Pop drive aggressive song like "Me and Mary". Although the vocals in said song are borderline spellbinding, and quite frankly, it is a good song, it feels out of place.
My friend hammered on the Shoegaze influences found in ASOBI SEKSU. Although they are far from dominating on Hush, they can be clearly felt on various occasions, though very modest.

Hush opens with the haunting "Layers" with its fantasy inducing sound-and-voice marriage bringing to mind the Liv Tyler as Arwen from scenes in The Lord Of The Rings. Kid you not.
"Familiar Light" is highly reminiscent of the great Danish band Mew, specially with its vocal pattern and snare drum work. Mew'esque moments will reappear here and there for the reminder of the album.
"Sing Tomorrow's Praise" somehow manages to sound like more soft and polished Yeah Yeah Yeah's with Chikudate utilizing a lower vocal style, something I think she should do more of. Mix high and low within a song. The Mogwai-like build up "bridge" is a stunning addition to an otherwise great song. One of my favorites on the album.
"In the Sky" also deserves a special mention with its odd time signature, 80's pop and quite frankly a childish vibe. Hard to explain but its like being inside a song that would have fitted well with the film Spirited Away.
"Blind Little Rain" envelopes you in its Twin Peaks meets Massive Attack image inducing, multi-layered and perfectly suitable ending of a thought provoking record. Fantastic song.

The Polyvinyl CD release of Hush come wth two bonus tracks after "Blind Little Rain".

Monday, March 16, 2009

Film: Kanehsatake 270 Years of Resistance




Every promise broken. Human rights for some Canadians, not a selected few. Environmental racism continues.
Look beyond our gardens, our streets. Educate ourselves. Information like this is not liked by mainstream press nor our schools.
History repeats itself. Know yours.



"On a hot July day in 1990, an historic confrontation propelled Native issues in Kanehsatake and the village of Oka, Québec, into the international spotlight and into the Canadian conscience. Director Alanis Obomsawin endured 78 nerve-wracking days and nights filming the armed stand-off between the Mohawks, the Québec police and the Canadian army. A powerful feature-documentary emerges that takes you right into the action of an age-old aboriginal struggle. The result is a portrait of the people behind the barricades, providing insight into the Mohawks' unyelding determination to protect their land." - http://www3.nfb.ca


Please watch a high quality steam of this remarkable movie, here: http://www.nfb.ca/film/kanehsatake_270_years_of_resistance/

Saturday, March 14, 2009

MOUTHEATHER - Lot Lizard, 7"


MOUTHEATER
Lot Lizard
Thrashed!

I've marveled MOUTHEATER before in these pages and some sweet words and claims were dropped with their music in mind. Let it be known; I'm all over this band. This is their first seven inch on Thrashed! records, so it preceded the split with VVEGAS. The only thing left to do is to tell you how much this rules.

The title track "Lot Lizard" starts this affair with a bang. It is un-fuck-withable in its swagger. The intro grabs you. Its hard hitting self assurance will instantly win you over. The verse rounds them up and the chorus knock everybody down only to drag you on to their feet for a groove that forces the headbanger to come out. The end-part that leads you out of the song has a curiously evil vibe to it.
The lyrics bring to mind Shellac, both in its subject and also its simplicity and repetition. Nice.

Lets get some Jesus Lizard talk out of the way. Much has been said about the Chicago quartet's influence on MOUTHEATER but few reviewer have articulated that opinion. Someone mentioned the name of this release and the art work. Fair enough. But not enough writers mention this, but Andrew's vocal approach is often similar to David Yow's. Not so much the sound of his voice but his accent breathing. It is somthing to get your ears around and fucking cool, might I add. Nobody braves this in modern hc/punk these days. Most people settle for less.
Throughout this release you will hear echos of Jesus Lizard, added in, in all the right moments and this is easily detectable in have the bass and guitar play off each other. I'd say there much more Lizard in these recordings than on the VVEGAS split.
The musically most Lizard'ish moment comes in the verse in "Lick The Stamp, Turn It On", the second track on side-A. It the chorus and final part reminds me of Scandinavian beat heavy noise rock acts like HAM, Drep and Brussel Kaupalinen.
You can't help to gnaw your teeth to their words: I can't watch all these pigs take it and break it and make it their own. You are the drudge of the earth, you are the hunter of names. I can relate to that. Even more so with the factory like pummeling of the beats and crushing riffs.

"History" is the only track on the b-side; almost as long as the first two tracks combined. I feel as if this number is more rocky and less grungy than the other two. Speaking of rocky, I kinda regret calling their second track on the VVEGAS split rocky. I take that back. Anyway!
This song has the most exhausting urgency to it. Like being in a car that is gonna hit a brick wall. It has a lot of drive to it. My least favorite song on here but still good as shit. That is saying much.

In concluding this ass-kiss of a review I wanna get in on all the grunge talk surrounding this band. We need to be careful in all such talk 'cause what grunge means to most people are the big radio friendly moments that sprung from said "movement". Like the later day Soundgarden, Screaming Trees and of course Pearl Jam, to name but few. All good bands in their own right but MOUTHEATER represents the harsher and dirtier side of that era, early Sub Pop, Deep Six compilation and Bleach/In Utero era Nirvana... Just wanted to put that out there.

MOUTHEATER deserves much more talk than they are getting but I think that will change soon, judging by the new track on their myspace. Not that they didn't have their own thing going already but that new track oozes with character. These guys are onto something. They are making something that is their own. Tell your friends 'cause you are gonna get bulldozed over, soon.

Friday, March 13, 2009

HYPOCRISY - Rosewell 47

If anybody forgot the greatness of this song, here's a reminder. For all the young heads out there that missed out - get familiar. For the old heads that thought this song was too slow and not brutal enough - get into music and recognize the real.


For some reason the end of the song is cut-off, if you know of another place we can see the video in its entirety, please let me know.


Live performance of this great song.

Lyrics:

Their freedom was taken away as they crashed
To be abducted for research
The experiment will make sure they won't last
Are there still some alive ones?

The incident was shut down
because national security
was in jeopardy
They say the weather balloon crashed
but we know it's bullshit
We have the right to know what really happened in
Roswell 47
Shipping back pieces to hangar
to slowly put it together
To find new weapon technology
and maybe answer how to live forever

Afraid of spreading the disease, chaos and confusion
The energy and physics law will be worthless
But we have the right to know what really happened in
Roswell 47

They came to visit us in secret, I judged it really happened
They lost control and crashed in Roswell 1947

Tuesday, March 10, 2009

Film: RAT LIFE & DIET IN AMERICA


Written and directed by Joyce Wieland
1968 Canada

Joyce Wieland’s Rat Life & Diet in America is a film, both captivating and original yet hard hitting and explicit. The subject matter is a common one but its cast, settings and narrative are breathtakingly unique.

Most films that address social and political issues go down a conventional and beaten path, when it comes to film language and presentation. Commonly, the film makers opt for a documentary approach to express and articulate the message they want to convey. We engage with these type of films with certain expectations. We anticipate news reel style footage or re-enactments with human protagonists in civilized surroundings. The same can not be said about Joyce Wieland’s Rat Life & Diet in America. In this uncompromising, direct and no frills portrayal of exploitation and rebellion, the main protagonists are actual rats (actually, they are gerbils).


What makes the film even more viscerally effective is its experimental cinematography and editing married with a frantic, free-jazz score that heightens the urgency and intensity of the whole experience.


Wieland’s contagious passion to communicate through the film is easily felt and the message is clear: war, political imprisonment and torture should not be tolerated – revolutionaries and refuges should be sympathised with and must be sheltered. The aggressors and violators are American soldiers (played by cats) and the audience finds itself looking at the rats in a horrific prison situation. We witness them escaping said imprisonment and join them in their journey for freedom - destination Canada.
Wieland’s tangible yearning to share her ideas about pacifism and her outrage concerning the inhuman treatment of people in the shadow of politics and corruption is as perpetually relevant as it was in the 70’s.

I urge you to take the time and seek this film out on youtube, Video Google or other sites that offer quality streams. Shut down your instant messengers and facebooks, put on your headphones and take it in.

Saturday, March 7, 2009

ALARMED - s/t 7"


ALARMED
Alarmed
Dead Truth

I was almost ready to write ALARMED off as just another band taking on the whole rock 'n' roll hardcore thing and it took me a while to unravel that feeling and dig a little deeper to find something more. Something that might, and does to some extent, give them an edge.

I have a little bone to pick with the style heralded as rock 'n' roll hardcore - in a modern context. It usually means, young bands wanting to rock out like The Suicide File and Bars do. And there's far too many of those bands. Generic rock 'n' roll hardcore. The young bands that play inside the ring of said bands feel no need to add anything nor create something of their own. It is almost like a uniform sound. Bands slip into that uniform and it is getting predictable.

Sure enough, ALARMED sound like they are heavily influenced by the bands name dropped above, but bare with me, 'cause they spice it up a bit. Enough to make me have an extra listen and re-evaluate my opinion.
"The Moon Life" features a two speed part (fast part) which livens things up, especially when your hardcore bands is rockin' and rollin' a bit too much. Then they offer two parts that are heavily reminiscent of almighty Clutch. Nice touch. An edge.
"Chill Pill" on the other hand is out of hand in the rock department. It's groovy throughout, cry baby pedals, party and good times. I don't know how I feel about that but I'm sure a lot of people would take some of that.
The boys take their time, building things up and getting the listener pumped with the bass-strum intro of "Mouthbreathers", leading to pounding drums accompanied with a guitar solo and then it kicks into a solid beat and more rocking riffery, but said riff is some what uninspired it feels. Rather forgettable. That being said, the over-all vibe of this song evokes thoughts of the Doomriders.
Last song, "Brainwashed" has a cool swagger to it. Kinda like a stranger that walks into a bar and you just know he's going to get into a fight. The brief solo trade-offs (including the bass) are cocky as hell and I found myself enjoying that. Normally I don't. I love the part that shifts gears a bit and includes the line "paranoia strikes so mean, so deep, so hard. it forever sings this song so restlessly", followed by a driving riff that is a slight alteration of the preceding riff and happens right before the final mosh, which marks the ending of this seven inch.

And what about the vocals? Shit you not, the guy sounds like Mike McTernan of Damnation A.D. Put into a rock 'n' roll context, that give the ALARMED boys quite of an edge. Good.

The recordings sound good. There's enough fullness to it and just the right amount of "bottom" to give it a kick, as the "top" is there and gives the sound enough crunch to make the guitars cut through and feel live. The playing is tight and convincing, everybody does a good enough job and the drummer understands the meaning of laying down a beat with out any mombo jumbo. As a whole, ALARMED has more oomph to them than most rockin' hardcore bands today. That is an advantage.

I'm impressed by these guys. They seem to have reached a level of maturity that will hopefully set them apart from the rest of the up and coming bands. I doubt I'll be going back to this record as it didn't captivate me enough but the edge I talked about and failed miserably to articulate, that is the thing I will be looking for in the future 'cause I know I'll be on the look out when I hear that the band ALARMED has some new shit out. Looking forward to it.

Thursday, March 5, 2009

HEATHENS - Heathen 7"


HEATHENS
Heathen
Thrashed!

Soundtrack for fighting. Not as a gang, but more like a one person freaking out on everybody else, eating broken glass and basically hurting everyone in sight, including him or herself. Soundtrack for losing grip on your life. Soundtrack for your own gritty, personal devastation.


These songs sound familiar. Richmond's are not the trailblazers in today's hardcore/metal scene. This "sound" seems to be quit the hit these days. And I aint complaining. I'll take this over the garbage young kids today call pop punk. I'll take this over today's thugged-out mosh metal. HEATHENS' music is what me and my friends call modern day destruction core. I know it sounds stupid but it makes sense in a way. This moniker can include Thrash Talk and Mind Eraser for example, though those bands are quite different from each other. What they and HEATHENS have in common though is the intent of bringing ugly and hard back into hardcore, as well as stripped down song arrangements and unfriendly sonic vibes. This music ain't pretty. It's nasty. It's sludgy one second and the next you have grinding blast beats and everything is over in less than two minutes. One minute, preferably. That's what these bands have in common. And these bands are good. They will work you into a frenzy. Whatever frenzy that might be. But it is explosive.

So lets take a closer look at the seven inch at hand. Short songs bursting with violence. 5 little numbers filled with unpleasantries. It has a metallic edge, without the virtuoso. The music is to pissed off for such nonsense.
The whole thing opens with a crashing doom laden introduction leading us into a part with a straight beat and some seriously hard and somewhat crusty riffing and the whole thing ends in a S.O.D. inspired stomp fest. Not pretty. I recurring feeling through out this release.
First two tracks are solid. Nothing new, but confident and demanding. The third and last track on side A has a lackluster progression and doesn't go anywhere and kinda dwindles away, not leaving much behind.

I love how side B rips open with a blast beat, followed by a part which makes it o.k. to hurt people and the last track fades out with a riff and a beat echoing the dragged out Obituary riffs that just make you head bang like it is the most important thing on the planet. No wait... Also worth mentioning; the echo/noise trickery in said fade out. Nice touch.

The "mosh parts" found on this short seven inch remind me of Harmony Corruption, From Enslavement to Obliteration era Napalm Death. Some of the faster moments bring to mind a slowed down Iron Lung. There are not many sludgy instances here but the sludge rears its head a couple of times.

Unfortunately I can't elaborate on the lyrics nor use them to add to my listening experience, 'cause my seven inch didn't come with a lyric sheet. That's unfortunate 'cause lyrics are important for this type of music. Right? I would hope so.

All in all, a compact, straight shooting blast of a seven inch. I know for a fact that a lot of people will love this. I'm really excited to see what these guys come up with next 'cause HEATHENS and other bands with similar sonic accents will have to bring something new to the table, up the ante and carve their own unique niche and stay ahead of the game. I say this because this "style" is easy to ape and already I see tons of young and bland bands, jump on the band wagon only to have their dull shit released and flood the already troubled "marked" for extreme music.

Wednesday, March 4, 2009

CASTING CURSES - Get Center


CASTING CURSES
Get Center
Tuned To You

NEW YORK's CASTING CURSES have the right idea, but do they have the personnel and character to stand out of the crowd? The answer is yes and no.

Get Center is an particular animal. Although the music isn't opening any new doors per se, it is a bit tricky to pin these guys down, sell them or denounce them.
All young bands are influenced by older and more experienced ones. This is a fact. That being said, it is important to be influenced by good bands. We do not want to be influenced by N.J. Bloodline or Bury Your Dead. But those things do happen. I'm happy to report CASTING CURSES are bright enough, young musicians to stay clear of such trappings. They must like music too much.
I have to admit though, I was a bit skeptical with the cd's opening track "Return To Coney Island (intro song?) with singer Brian Kraus screaming "Get the fuck out of our way!". The cheese dripped out of my headphones but this was quickly remedied by the 108/Unbroken'ish "Second Coming". And we are off. Tons of mid 90's metallic hardcore vibe here. Just check out the bass and guitar in the bridge of said song. Nice touch.

Now, before I get all specific about the whole record I can't help but mention the drumming by Jarad Needham. I respect a drummer that knows his limitations and sticks to what he knows, serving the songs the best he can. Other drummers, with similar technical skills might have destroyed everything by playing beyond their skills but Needham doesn't. That being said, there is definitely a room from improvement and a higher level of drumming much be reached to propel the band up to new heights.

"Start From Scratch" starts with a slow paced two speed drums (which are not convincing enough) and a rather standard "get amped" riff over it. Leading us into a two-step inducing part with Kraus belting out "But when the world is crashing down, it feels more like a stab in the back". Followed by a "cool down" part that is a homage to The Suicide File, ending in a crash down, fist wielding Hope Conspiracy hard hitter and the song is over. I appreciate these guys' sense for song length and when to stop. They know when to quit and where not to drag the songs on into nothingness.
Now we get to one of this record's highlights in form of "Head On Backwards". Not particularly unique, and pretty meat & potato in its execution and riffery, but it works well and gets yours truly pretty rowdy. What is cool about this song specificly is the tempo change that happens between the verse and the chorus.
"There's no way to heal if I can't reveal. So throw your histories 'cause they are not the cure for me". I feel that.
I mean, this song has a brief and tasteful guitar dive-bomb. Can't go wrong with that.

Now I'm not going into details about the rest of the record as this is only a six song affair. Predictably though, the closing track is the one where things get epic. But, this is also one if not the finest moment on the record. The rocky heaviness of this track with the almost stop and go moments because of the snare rolls manages to give way to the more atmo ending of the song, which is grim, dark and frankly very, very good. "It's too hard to forget everyone who forgot me". Fitting lyrics to a song that screams the end. The end of the records, that is.

CASTING CURSES seems to be a band with a mission to hone and find their style. They pay respects to their influences at the same time they look forward. It may not be by much, 'cause honestly most of Get Centered has an air of familiarity about it but the warm yet pounding sound of these recordings as well as the high lights already mentioned beg you to stop, have a look at these guys and anticipate what they do next.

"Rush Hour"

Welcome to a new addition to Halifax Collect. Rush Hour will be a section that one can liken to those moments in the morning where you are doing a multitude of things at ones, i.e. brushing your teeth, getting dressing, making a sandwich, getting your ass out of the house in order to catch the bus 'cause you gotta show up for work in a couple of minutes. How does this fit to the blog?
Well, sometimes my brain locks onto names, I go online, I listen a bit, I form opinions and I want to tell you about it - real quick, before I forget! This happens all the times, so I'm making a section dedicated to capturing these eureka moments.
Now these aren't full fledged reviews as I will not be criticizing entire releases. The opinions found within this section will include what I think from the moment I hear about an act to when I listen to it for the first time and then I anxiously report what I think about it. This will surely take less then an hour, hence the name RUSH HOUR. So let the games begin!

One the bus earlier today I was reading the most recent issue of Penguin Eggs and two acts caught my attention. QRISTINA AND QUINN BACHAND and this issues cover star RIDLEY BENT.


Qristina and Quinn look so young its safe to say the the just got born. Well at least, I can't imagine them having left their parents nest. That being said, technically these kids are at the top of their game and knowing that they still have some crucial years of technical growth and fine tuning in them, makes me let out a "wow", scratch my beard and go "I wonder if they keep practicing and exploring, how far will they go?".
Listening to their myspace (and take this with a grain of salt as my knowledge of Celtic music is extremely limited) I find myself going from songs that are conventionally and more traditionally inclined and thus feel familiar although they are most likely not covers. And then there are songs that have a bit poppier edge to them in terms of being very catchy and having more universal feel to them, showing some hooks that can reel in listeners that might believe they don't whant to have anything to do with acoustic Celtic music. Instantly dancable and feel good this is.

As you can clearly see, I can't rush things, really. Lets try to be more snappy with RIDLEY BENT, shall we.


"Nine Inch Nails" has a bluesy beat and bass to it but in the forefront we have violins, piano, acoustic and slide / lap steel guitar, which is a nice touch 'cause country's roots lie in blues and root music. The song is way hick and glides by with an ease. Nothing to write home about - doesn't catch me nor stand out.
"Buckles and Boots" is a polished country rock echoing the period when Steve Earle was starting his cross over but again, this is a bit to polished and soft. Very accessible. I bet if I didn't hold on to the lyrics, the song is easily forgettable.
"Faded Red Hoodie" slows things down. A nice country ballad with a pop sensibility but without all the bombast. I like this. Reminds me of Mark Knopfler's solo stuff. Nice, warm, welcoming and catchy in a sad "missing you" kinda way.
"Mama" is, again, a song you'd expect in a barn turned barn after a rodeo or a horse race. Too quirky and up-beat for me. Pass.

Reading Penguin Eggs I thought I would like RIDLEY BENT more. That he would have a more adventurous and experimental/daring edge to him musically but nothing on his myspace show cases that side of him. I mean, the interview and his myspace state that he incorporates some hip hop influences into his music but I ain't hearing it. Good voice and lyrics though. His lyrics give him quite and edge.