Streetlight Manifesto :: Somewhere in the Between

Artist :: Streetlight Manifesto
Album :: Somewhere in the Between
Label :: Victory

In a word :: un-genre-bound

Play this cut first :: One Foot on the Gas, One Foot in the Grave

Man, it's so hard for me to review ska. I mean, it's not that I have anything against it, in general; it just seems to be like the equivalent of genre fiction - you know, so caught up in the things that make it its own genre that it loses sight of the big picture.

So it is with my impression of ska, so caught up with horn lines and upstrokes on upbeats, that it loses sight of the song. One wonderfully notable exception in ska history is Catch 22's Keasbey Nights. That's one album that come s about as close to seminal as a ska record can get. Tomas Kalnoky, mastermind behind that album, has been putting out solid album as the founding member of Streetlight Manifesto, but this time, he hit the mark again on the remarkable Somewhere in the Between.

Kalnoky is cementing his reputation as the Elvis Costello of the genre. A master songwriter whose compositions could easily be played alone on an acoustic guitar and retain the same power.
Alongside great arrangements are lyrics that remind one of dorm-room chatter as a bunch of on-their-own young adults get together and collectively figure out life. The conversations are brilliant in their simplicity. Listening to cuts like "Somewhere in the Between" and "The Receiving End of it All" are like reaching personal resolve. The news may not be new, baby, but it's always late-breaking.

The other truly spectacular element of Somewhere in the Between is the performance of the band. Recorded in different places at different times, there is so much energy that it seems impossible that they weren't all in the same room together. To muster that level of performance says as much about the performers as it does the material.

It's bands like Streetlight Manifesto that genres like ska, which don't get time in the spotlight but once every couple of decades or so, owe a great debt to. They keep the spirit alive by turning out great discs when (seemingly) no one is listening. Somewhere in the Between gives people a reason to listen.


Now Playing :: Down, Down, Down To Mephisto's Cafe

The Bottom Line :: Somewhere in the Between is the rare disc that shines in small doses of a few songs at a time or in a straight-through listen. And quite simply, it's the ska album that people who don't listen to ska will love, because greatness is never bound by genres.

Best Cuts :: We Will Fall Together; One Foot on the Gas, One Foot in the Grave; Down, Down, Down to Mephisto's Cafe; Somewhere in the Between, Forty Days

Remembering John and Dime

It's December 8th again. On this date in history both John Lennon and Dimebag Darrell Abbot were slain by gunmen. As they are two of the most identifiable and influential musicians in rock history, we at BRB are making a little space here on December 8th to honor their memories with this simple tribute.

If being an egomaniac means I believe in what I do and in my art or music, then in that respect you can call me that... I believe in what I do, and I'll say it.
- John Lennon




When I tried to play something and screwed up, I'd hear some other note that would come into play. Then I started trying different things to find the beauty in it.
-Dimebag Darrell

Journey Uses YouTube to Find New Singer

In news that sounds like something out of the movie "Rockstar", classic rock band, Journey finds their new singer on YouTube!

The new Journey frontman is Arnel Pineda (“pin-eh-da”). He replaces Jeff Scott Soto, who parted ways with the band earlier this year after stepping in for Steve Augeri, who had to leave the band in 2006 for medical reasons.

Arnel is from Quezon City in the Philippines and has been singing Journey songs--in addition to original material--with his band, The Zoo, for the past couple of years in clubs all over his homeland.

When it was time for Journey to look for a new lead singer, they turned to the internet. Guitarist Neal Schon wanted someone new to the music business, so he went to YouTube.

“I was frustrated about not having a singer,” explains guitarist Schon, “so I went on YouTube for a couple of days and just sat on it for hours. I was starting to think I was never going to find anybody. But then I found The Zoo and I watched a bunch of different video clips that they had posted. After watching the videos over and over again, I had to walk away from the computer and let what I heard sink in because it sounded too good to be true. I thought, ‘He can’t be that good.’ But he is that good, he’s the real deal and so tremendously talented. Arnel doesn’t sound synthetic and he’s not emulating anyone. I tried to get a hold of him through YouTube and I finally heard from him that night, but it took some convincing to get him to believe that it really was me and not an imposter.”

“It’s so exciting to sing with one of the best bands in the world," says Pineda. "It’ll be a lot of hard work on my part and I’m actually looking forward to the scrutiny I’ll get from the hardcore Journey fans. I know they’ll expect me to sound exactly like ‘the voice’ (Steve Perry), but that will never happen. I know there's only one Steve Perry in this world.”

Journey is currently working on a new album with legendary producer Kevin Shirley, with a drop date for spring/summer 2008. Details will be announced early next year.

Hawthorne Heights Guitarist Found Dead

Hawthorne Heights Guitarist, Casey Calvert, 26, was found dead on Saturday, November 24. Rather than say too much more, we're going to repost the message from the remaining members of Hawthorne Heights regarding this most unfortunate occurrence.

Today is probably the worst day ever. Its with our deepest regrets that we have to write this. Casey Calvert passed away in his sleep last night. We found out this afternoon before sound-check. We've spent the entire day trying to come to grips with this and figure out as much as possible. At this time we're not sure what exactly happened. Just last night he was joking around with everyone before he went to bed. We can say with absolute certainty that he was not doing anything illegal. Please, out of respect to Casey and his family, don't contribute or succumb to any gossip you may hear. We don't want his memory to be tainted in the least. Casey was our best friend. He was quirky and awesome and there will truly be no others like him! His loss is unexplainable. As soon as we know more we will let you know.

Sincerely,
Hawthorne Heights JT, Micah, Eron and Matt

DJ Kenneth A :: The Enemy Within

Artist :: DJ Kenneth A
Album :: The Enemy Within
Label :: DIY

Play This Cut First :: The Destroyer

In a Word :: Inspiring

When we started Blog Rockin' Beat, one of the main things we wanted to do was give indie artists without label support some attention. Album's like DJ Kenneth A's The Enemy Within are why. Musicians who are not facing label pressure for new records or vigorous touring schedules have more time for the creative process. And when that happens, you can hear the music mature from release to release. From his previous effort, Saint Elmo and the Osprey, to his latest offering, The Enemy Within, the progress is almost staggering.

One of the most noticeable aspects of Saint Elmo and the Osprey was the eclecticism and range shown. The Enemy Within is not as eclectic. Instead, DJ Kenneth has taken some of the most captivating elements from his previous efforts and developed them even further, such as: lush string arrangement, haunting piano melodies, and production values that sound crystal clear in a small set of earbuds or pumping through a 1000-watt system.

Adding to the strings and keys that sound remarkably like VNV Nation at times - check out the opening cut,"From Here to There Without Looking Back" for the best orchestration VNV Nation never wrote - DJ Kenneth A has brought new percussive techniques into the mix, such as breakbeats and elements of glitch in the beats, pads, and lead lines. The results fits comfortably in the realm of BT, Hybrid, and The Orb. What you are hearing is the genre of symphonic breaks starting.

Another pleasant surprise is the use of vocals. On The Enemy Within, DJ Kenneth A gives us vocals from other indie artists: Jason McGovern (on "Damage Control playing below", Chad Wys (on a remix of Chad's "Dust in My Eyes"), and his own voice on "Like and Ocean". The last is particularly daring as most DJs would ever put their own voice on a track.


The thing that makes The Enemy Within a must have, however, is the overwhelming sense of honesty and genuineness. By reducing the spectrum of sounds and styles, this disc has a depth that his other's have hinted at, but not have fully achieved. He nails it this time, though. And it doesn't matter if it is the slow and ethereal "Like and Ocean", or the the glitchy drive of "The Destroyer", or the Eastern-vibe hip-hop of "Silence Part 6", every cut on The Enemy Within develops patiently, captivating your attention and delivering its spirit right into your heart...where the best music gets a new life in the listener.

Best cuts on the album :: Damage Control, The Destroyer, Silence Part 6.

The bottom line :: On The Enemy Within you are hearing the sound of one of contemporary music's best kept secrets. You are hearing what happens when musical integrity maintains focus for an entire album. You are hearing music the way it should be. You are hearing DJ Kenneth A.

Ministry Says "C U LaTouR"

On the heels of their final studio release, "The Last Sucker," released September 18, 2007, MINISTRY announces their final world tour, "C U LaTouR," with Special Guests Meshuggah and opening act Hemlock. Ministry kicks off the North American leg of "C U LaTouR" in Vancouver on March 28, 2008, stopping in a limited engagement 33 major market cities through mid-May, ending the U.S. leg in Ministry frontman Al Jourgensen's home town of Chicago. Ministry then heads off to play the principal European festivals as well as choice club dates beginning late May stretching through to July.

Exclusive pre-sale tickets for the North American "C U LaTouR," offered by Music Today, go on sale this Thursday, November 15 and can be purchased here as of Thursday. Exclusive Special Limited Access VIP tickets will also be available for purchase via the pre-sale, offering advance doors, seating, meet & greets and souvenir 13th Planet gift bags.

The "C U LaTouR" touring line-up features Ministry's founder Al Jourgensen being joined onstage by guitarists Tommy Victor (Prong) and Sin Quirin (Revolting Cocks), keyboardist John Bechdel (Prong, AoTW, False Icons), and drummer Jimmy DeGrasso (ex-Megadeth, Suicidal Tendencies, Alice Cooper). Static X's Tony Campos has recently stepped in to fulfill bass on behalf of the recently departed Ministry/Killing Joke bassist Paul Raven. Joining the Ministry clan as Special Featured Artist will be Fear Factory/Ascension of The Watchers vocalist Burton C. Bell. Main support is Swedish experimental metal Meshuggah and opening act is the U.S.-based Hemlock.

To coincide with "C U LaTouR," Jourgensen's indie imprint is scheduled to release Ministry & Co-Conspirators "Cover Up," a 12-track covers release featuring artists from the 13th Planet Records family, as well as other special guests. "Cover Up" is scheduled for a late March/early April 2008 release.

For its spectacular two-and-a-half-hour "C U LaTouR" set, Ministry will perform tracks from "The Last Sucker" as well as songs that revisit the band's rich and provocative 30-year musical history. Archival Ministry videos plus other visual elements of alchemy, Christianity, politics and other topics aligned with Ministry will be incorporated into a special video presentation, produced by "Wicked Lake" director Zach Passero (with whom Jourgensen is collaborating on the soundtrack for the feature film) that will change night to night. And, as is expected from a Ministry show, you just never know what surprise guests will jump on stage for a song or two.

"A Ministry tour is a traveling circus," states Jourgensen. "When we roll into town, everyone hides their daughters, but the freaks roll out the red carpet and a friend or two pops up on stage to add some spice and mayhem to the show. We never know who's gonna walk through the dressing room door at sound check. We rehearse a bunch of 'extra' songs just in case so-and-so shows up..."



With more dates to be added, confirmed dates for Ministry's 2008 "C U LaTouR" are as follows:

MARCH
28 Commodore Ballroom, Vancouver, BC CANADA
29 Showbox SoDo, Seattle, WA
30 Roseland Theatre, Portland, OR

APRIL
1 Fillmore, San Francisco, CA
2 Fillmore, San Francisco, CA
5 House of Blues, Los Angeles, CA
6 House of Blues, Los Angeles, CA
7 House of Blues, San Diego, CA
8 Marquee Theatre, Tempe, AZ
9 House of Blues, Las Vegas, NV
11 The Great Salt Air, Salt Lake City, UT
12 Ogden Theatre, Denver, CO
15 La Zona Rosa, Austin, TX
17 Palladium, Dallas, TX
18 Verizon Wireless Theatre, Houston, TX
19 House of Blues, New Orleans, LA
22 Jannus Landing, St. Petersburg, FL
23 House of Blues, Orlando, FL
24 Tremont Music Hall, Charlotte, NC
25 Masquerade, Atlanta, GA
26 Rams Head Live, Baltimore, MD
27 Palladium, Worcester, MA
29 Fillmore at the TLA, Philadelphia, PA

MAY
1 Irving Plaza, New York, NY
2 Irving Plaza, New York, NY
3 Metropolis, Montreal, QC CANADA
4 Koolhaus, Toronto, ON CANADA
6 Agora Theatre, Cleveland, OH
7 Emerald Theatre, Detroit, MI
8 House of Blues, Chicago, IL

Mark Farina :: Live in Tokyo

Artist :: Mark Farina
Album :: Live in Tokyo
Label :: Om Records

In a word :: Momentous

There are some names that are synonymous with the genre they've helped to build. I say Juan Atkins; you say Techno. I say Aphex Twin; you say IDM. I say Mark Farina; and you damn well better be saying house.

From his Warehouse days in Chi-town alongside his brother-from-another-mother, Derrick Carter, to his migration to San Francisco and his work with Om Records, Mark Farina is a staple of house music. From minimal, to deep, to mid-tempo, there's nothing he can't (or won't) spin a set around. And he is a DJ who spins a lot.

The normal progression in DJ culture if for artists to cut their teeth spinning vinyl and building a name that way. After awhile, when enough people know him, said DJ will cut a record of original material and go that route. Some even go so far as to abandon the DJ set altogether to make their own tracks. Mark Farina is not your normal DJ. And he never has been.

While he has some of his own tracks out, Mark Farina is a DJ first. He enjoys international fame for spinning records, because he does it better than most anybody else. Could he put out albums of his own material? Sure he could. He'd probably sell a respectable amount, too. But that is not his game. He doesn't transcend into that realm. Rather, he is a Bodhisattva of the beat, bringing other artists into the spotlight where they can get noticed. And for a house artist, being in a Mark Farina mix that gets released is like being on Oprah. He takes talented artists and puts them in the spotlight.

He makes the magic happen. He is the DJ.

But why? Why is he so good? What is it about Mark Farina, out of the thousands of DJs in the world, that makes him stand out? I'll give you a clue, the answer is closer than you think. It's because he's a lot like you and me. Before he is a DJ, he is a music fanatic.

You know what it's like when you have friends over, and you've got this disc you want them to listen to because it is so good and you know they haven't heard it before, and they absolutely have to hear it! But before that song is done, you are already excited because you just thought of something they else they have to hear! And the kicker is that you know they aren't enjoying it as much as you are, because they just don't get it. They are not music fans, like you...like Mark Farina. It's that familiarity in a Mark Farina mix. He gives you stuff you've never heard before and does it at a time when you need nothing more in the world than that track.

And he does it mix after mix, never the same mix twice.

That's the magic. That's the DJ at work.



On Live in Tokyo, Mark Farina delivers again. This time he does it like you haven't heard him on a release before. In the past, I've enjoyed his work as it slowly builds, wave upon wave, peaking then rescinding. This time, however, it's different. Taking a mid-tempo groove and weaving it through different house genres like glitch house and soul house, the whole disc slowly builds until about 3/4 of the way through when cuts like Ken ECB's "I Heart Bougie (Toka Project Mix)" and Daniel Cummings's "Deep Heat" are pumping, you feel the crescendo of the mix building. No tempo changes. No key changes. Just a steady increase of intensity that is the DJ making his magic in time.

It's rare that a mix CD really seems to capture the energy of the live show. Then again, Mark Farina is a rare DJ. And Live in Tokyo rare is mix.

Portugal. The Man :: Church Mouth

Artist :: Portugal. The Man
Album :: Church Mouth
Label :: Fearless

In a word :: Infectious

Play this cut first :: Bellies are Full


There has been much buzz swirling around Portugal. The Man lately. And rightly so. They are the rare breed of band that, like a hive, creates its own buzz. The type of band that, as you listen to the CD, you think, "I bet these guys kick all kinds of ass on stage."

PTM draws comparisons to Led Zepplin, but not for the same reasons every other Zep clone does. Nope, you are not going to find the thunderous Bonzoid beats. No pulling Pages from Jimmy's big book of riffs. Instead, PTM accentuates those other elements: the momentum in John Paul Jones bassline and the legato melodic tendencies of Robert Plant.

Further, there is the same disregard for traditional song structures. At times, these cuts meander like a sonic explorer pushing further into the lo-fi wash to pull out flashes of melody and the occasional boot-stomping, beer swilling, Delta-blues groove. Just when you think the whole show is becoming a lesson in improvisation, the sweet balance of blues-flavored familiarity returns.

For all of this, they still draw comparisons to The White Stripes. Sure, they may share similar influences, and PTM frontman, John Baldwin Gourley, has a similar charismatic quality to Jack White. That, however, is where the similarities rightfully end. PTM's rhythm section has a fluidity that Meg White's ham-fisted drumming can't even approach, nor will it likely ever.

This elevated level of musicianship offers PTM a palette of options. In all honesty, the only other band that really operates on this level at the moment is The Mars Volta.


Now Playing :: Bellies are Full

And for all that is unpredictable about Church Mouth, the CD as a whole has a collective sense of movement, solidifying into a throbbing, breathing mass about three quarters of the way through. By the time we hit cuts like "Bellies Are Full" and "Children", the sound congeals, almost like entropy before fading into the final serene sounds of "Sun Brother (excerpt)".

The Bottom Line :: Church Mouth s built upon the willingness to take chances; to let tape roll; to be imperfect if it means being interesting. It's the album where the musician meets the performer. And it's an extension of the rock bands that made the genre credible and jazz musicians who cared just as much about pushing boundaries as giving you hooks you could hum for years.

Best Cuts :: Bellies Are Full, The Bottom, Church Mouth, Sugar Cinnamon

St. Clair :: EP

Artist :: St. Clair
Album :: EP
Label :: DIY

Play This Cut First :: So Long

In a word :: Retrogressive

It's amazing how an EP that clocks in at just about 17 minutes can make you think so much. St. Clair pulls it off, however. That alone should be a testament to the power of good songwriting.

Musically, EP follows a path that seems to have been all but abandoned near the end of the 1990s. As the melodic-pop-post-hardcore sounds of bands like Yellowcard rose to the surface, a booming alt-rock movement that blended lo-fi dream pop production with shoegazer songwriting quickly decayed.

When you listen to EP, however, you get the sense that, had that path continued to be worn, that it would lead to St. Clair. The lo-fi sensibilities and beautiful lush reverbs that accent reverse guitar lines and deep pads are the stuff that production values were built upon. Couple that with dynamic vocal approach of vocalist, Jeff Geady, and you get an inspiring piece of alt-rock that seems to occupy a lone place in time.

When I say dynamic vocal approach, I'm talking about styles. Some cuts, like the raw Angels of Downtown showcase melodic vocal harmonies reminiscent of Sunny Day Real Estate, while cuts like Stars Over Toronto and Nordheimer Ravine feature a softer, almost whispering delivery that fans of Iron and Wine will gravitate toward.


Now Playing :: Nordheimer Ravine

Thematically, all of the songs are based on events that actually happened in St. Clair's hometown of Toronto. The city itself comes across as a character in these pieces, much like the city of Dublin effervesces in the works of James Joyce. And echo-drenched harmonica work gives each cut a sense of openness...of stars. In a some respects, it has mirrors shoegazing rock, but with an underlying feeling of peace fostered by solid songwriting and creative production values.

The Bottom Line :: Don't let the relatively short length of EP fool you. While it might be short in duration, it's long on impact. So much so that you'll likely listen to it two are three times at a setting. And for the seven bones it goes for, you can't beat that.

scarecrow :: This House Has No Light

Artist :: scarecrow
Album :: This House Has No Light
Label :: DIY

Guest review provided by A. Gene Punckbowee.

This House Has No Light is a very moving album. It's one of those albums that you must play from start to finish straight through to get the full effect. It gives you the feeling that someone is looking back on their life. Not with rose colored glasses, or feelings of happiness, but with a cold hard look at the harsh realities of life.

It tells this story without words, only the feelings you get from the music. Loneliness, fear, regret, sadness, isolation and despair. The things you should've said, but didn't. The places you should've gone, but decided not to. Things you should've tried, but were too afraid to. The friends you made, but never see anymore. The love you had, but somehow lost. It tells this story without being melodramatic.



This House Has No Light is very impressive. It has a grandeur, a kind of cinematic feel like a Hollywood blockbuster soundtrack. Scarecrow does an excellent job of bringing the listener into the music - personalizing it in a way the listeners reflect on their own lives while they're listening. When an artist has made that kind of connection with the listener, then the music has done what music was meant to do.

Throwdown :: Venom and Tears

Artist :: Throwdown

Album :: Venom & Tears
Label :: Trustkill

In a Word :: Driven

Play This Cut First :: Venom and Tears

This could be the shortest review I've ever written.

On Venom & Tears, Throwdown follows the Pantera riff-writing bluebook to a T. No mind-melting Dimebag solos. But, if you didn't know better, you'd swear you were listening to Pantera. Phil Anselmo could even sue Throwdown vocalist, Dave Peter, for stylistic infringement.

Because Venom & Tears sounds so much like a Pantera album, Throwdown is sure to get bagged on for it. Not here, though. I loved Pantera. As a guitar player myself, Dimebag Darrell was a hero to me. That someone is willing to so unabashedly come in and pick up the pieces of what Pantera left behind is way cool with me.

If we can't have Pantera back, them I'll willingly embrace Throwdown, and what they've become, with open arms.



Now Playing :: Holy Roller

Best Cuts on the Album :: Venom & Tears, SCUM, and Holy Roller

The Bottom Line :: Horns up on this one.

Adema :: Kill The Headlights

Artist :: Adema
Album :: Kill the Headlights
Label :: Immortal

Play this cut first :: Brand New Thing (featured below)

Ah, nu metal: the music industry's whipping boy. Sure, it's predictable that the pioneers like Korn and Deftones would still be thriving, selling good numbers, pulling good-size crowds. Most first-tier bands do. (Pearl Jam, anyone?). It's those second-generation bands that have their work cut out for them. And, to be honest, the music graveyard is full of more than its share of second-tier nu-metal bands.

Enter Adema. Originally breaking onto the scene in 2001, they were initially known for their vocalist, Mark Chavez, being Jonathan Davis's younger half-brother. Now, in 2007, Kill the Headlights is their fourth album...with a third singer: Bobby Reeves.

And this time, I think they've got it right.

Bobby Reeves's voice isn't going to make him the next American Idol, (and I don't think he minds). Sure, he can carry a tune. It's the other things that he does, however, that make him the perfect vocalist for Adema. Bobby has a knack for writing great vocal melodies. I'm talking about those melodies that aren't predictable at all, but are still very memorable. Lyrically, he pulls his weight as well. Sings become stories (e.g., "Open Til Midnight"). And for a band like Adema that has always been cautious to write material that is song-oriented, rather than just a collection of riffs strung together, Reeves style works perfectly.

That's not to say they've given up on those big crunchy detuned riffs that nu-metal is known for. The first single, "Cold and Jaded", as well as the title track, "Kill the Headlights" are loaded with them. We're talking big fierce ones, too. But there is a greater sense of balance across the board. They show tremendous range and growth on Kill the Headlights. It has taken them four albums, but they show they can really use every trick in the playbook. Some might say their the captains of a sunken ship, but this is a great album nonetheless.



Basically, Kill the Headlights is a great collection of songs. Will they win a Grammy? Probably not. But they should sell more copies of this record than they likely will. And that's a shame. In age when the industry is built on the "get a hit or get out" mentality, it is rare that some bands really get the opportunity to grow into their potential. Adema is doing that. And I hope there is still enough audience left to appreciate this solid rock album.

Best cuts on the album :: Brand New Thing, Kill the Headlights, Cold and Jaded, Open Til Midnight

The Bottom Line :: This could be the sleeper rock album of 2007. With great songs that get the blood flowing, yet you can still sing along to, there's no reason not to listen to it over and over again.

Between the Buried and Me :: Colors

Artist :: Between the Buried and Me
Album :: Colors
Label :: Victory Records

In a word :: Landmark

Play this Cut first :: Ants of the Sky

Before we get started, I want you to go to your calendar, find September 18th, and make two notes:

1. Pick up Between the Buried and Me's new CD, Colors.
2. Bring a clothes pin.

The reasons for the first should become very clear. The second is because, on September 18th, when this album drops, there will be a definite odor in the air. It will be the unmistakable scent of pants being shat from coast to coast. Because that's what this album is going to do to people.

Lets go back about 20 years. Bands like Metallica, Megadeth, Anthrax, Slayer, Exodus, and Testament were pushing the limits of rock, creating a genre that later became known as thrash metal. In 1986, Metallica dropped Master of Puppets and clearly defined themselves as the trendsetter in the genre. Years later, between 1990 and 1992 a barrage of brilliant albums came from the genre, including Metallica, Rust in Peace, The Sound of White Noise, Seasons in the Abyss, The Ritual, Vulgar Display of Power, and more. I believe, however, that it was Master of Puppets that set those wheels in motion.

Okay, here we are in 2007. For several years a number of bands such as Shadows Fall and Lamb of God (to name a couple) have been working to build an extreme metal scene that relies on musicianship, harmonies, melodies, and arrangements for power, just as much as it relies on bombastic speed and grindcore riffs.

Between the Buried and Me has certainly been a major player in the scene since their debut in 2003. Colors, however, clearly serves as the landmark album in the genre thus far. I mean, it's not even close.

The depth and range of talent on Colors is staggering. From the Queen-esque intro of "Foam Born (a ) The Backtrack" to the immediate power grindage that follows in "(b ) The Decade of the Statues". It's a tremendous shift in gears that almost gets lost in the wash of rapid fire snare pounding and cymbal wash. It's almost a baptism by fire that purifies the listener and opens the soul for the musical genius that follows.

Yes, I said genius.

Albums like this don't happen by accident. They are coolly planned and arranged. They are the product of a vision to breaks down the barriers of a genre and bring to fruition the potential that has been shown by all of the bands who have built in on their backs.

Colors is a Dark Side of the Moon. It is a Master of Puppets.

At times, Between the Buried and Me sound like Dream Theater. At times, they sound like Coldplay. And at times they sound like Cannibal Corpse. The challenge naturally, then, is to blend all of those elements together in a way that doesn't sound forced, and retains their own sense of identity. For good measure, songs transition into jazz jams, polka breaks, Latin boogies, and more. Not only has this not been tried before, but the coherence of the effort carries established themes through these transitions much the way a classical composer might. All the while we are never more than couple steps away from pure extreme metal aggression that is the staple of the genre.



And for all it accomplishes, Colors doesn't sound so much like an album that was designed to one up other powerhouses of field. It sounds like the product of five immensely talented musicians who pushed each other and demanded the best from each other. And to borrow a phrase from the sports world, they didn't leave anything on the court.

When I listen to Colors I think, "How can they, or anybody else ever top this?" And that is a great thought. It's the same thought that took the brilliance of Master of Puppets and used it as a catalyst to bring about the true golden years of thrash. I get chills thinking (or maybe just hoping) that this album could be the beginning of something much, much bigger.

If nothing else, Colors brings a new level of respect to a genre that hasn't ever really gotten much of that. And it does it in a way that doesn't sell out the hardcore supporters who have been extolling the legitimate merits of extreme metal for years.


Best Cuts on the Album :: Ants of the Sky, White Walls, Sun of Nothing

The Bottom Line :: Make sure your stereo gear is working and you have a good clothes pin (maybe even a spare), because on September 18th, extreme metal as you know it will change forever.

The Warriors :: A Genuine Sense of Outrage

Artist :: The Warriors
Album :: Genuine Sense of Outrage
Label :: Victory

Play this cut first :: Price of Punishment

In a word :: Pure Rock Fury

Back it up a few decades to Motorhead. They were the first band that really unified the rock crowd, appealing to rockers, metalheads, punkers, and the hardcore crowd alike. How did they do it? By combining great riffs, power chord mashing, ugly vocals, and upbeat tempos. And they did all of it right in your fukking face. It was that epitome of angst with a mass appeal. The measure of their of success never came in platinum records; it came in the recognition that every loud rock band on the planet owes a debt to Motorhead.

Moving forward.

In 1995 when I first fell hard for Victory Records, it was because of the combination of brute force and brilliance from one of their flagship bands: Earth Crisis. For me, they will always be the true hardcore heart of "the Victory sound". Over the years there have been a few bands I feel could carry that torch again (i.e., Scars of Tomorrow, Between the Buried and Me, and Waterdown).

Now there's another: The Warriors.

There is a reason I started this review with Motorhead. The Warriors have a lot in common with Motorhead. That healthy aggression. That honesty in their angst. That Genuine Sense of Outrage. There is a passion in this music that blows down the doors of rock subgenres and appeals to all of them. And the stamp of approval doesn't just come from me, no. It comes from none other than Mr. Motorhead himself, Lemmy Kilmister, as he provides guest vocals on "the Price of Punishment".

With, Genuine Sense of Outrage, their third studio album (and first for Victory), they give Victory Records another band to hang their hat on - a band the brings the heartfelt passion to every riff. Indeed, The Warriors are the type of band you go see when you want to get it all out: screaming along, slamming in the pit, jumping off the stage. At the end of the night, all the stress of the world is left in the puddles of sweat the line venue floors from coast to coast.


Now Playing :: Destroying Cenodoxus

A Genuine Sense Sense of Outrage is more than just album. It is a snapshot of rock in time. It is an album that could only be built on the shoulders of giants such as Motorhead, Earth Crisis, and Sick of it All. It is the progression of rock that cuts through bullshit and hits you right in the fukkin' mouth. And you love it, because its been too long since someone came along and woke you up like this.

Best cuts on the album :: "The Price of Punishment", "Genuine Sense of Outrage", and "Destroying Cenodoxus"

The bottom line :: This usually the part where I give a final thumbs up or thumbs down. you should already know that by now. It don't matter if your favorite bans is Six Feet Under or Three Days Grace, The Warriors bring you A Genuine Sense of Outrage - an album so honest and so raw that you have no choice but to love it.

A. Gene Punckbowee :: Radio Magnolia

Artist :: A. Gene Punckbowee
Album :: Radio Magnolia
Label :: Great Uncle Punk Tunes

Play This Cut First :: No Release

In a Word :: Laboratory-tested

Before we get to the music, there is something important you need to know about this CD.

During the last 20 years, concert promoters have been pulling superstar acts together for any number of great causes: feeding starving children in Africa; helping farmers get through tough years; creating a greater awareness of global warming; and so on. All of those causes are noble, but they primarily work because of the popular artists involved. Would they be playing for charity if they weren't asked to? Would they take the initiative to do it just because it is the right thing to do?

A. Gene Punckbowee does.

You may have never have heard his name before. He doesn't care. You may never have heard one of his songs before. He doesn't care about that either. What he does care about is using his abilities as a musician to, among other things, help raise money for the St. Hope Foundation's AIDS Food Pantry in Conroe, Texas.

Says, Punckbowee, himself living with HIV, "Medicine for treatment isn't cheap. For some people, they get stuck with a choice of buying medicine or buying food. That's not a choice anyone should ever have to make."

Why should you care? Because long after Kanye West and The Killers are no longer celebrities, you, me, and people like A. Gene Punckbowee are going to keep on using our talents and dollars to help people who need help, because it's always the right thing to do.

So what does it sound like? Sorta like Johnny Cash meets Iggy Pop at a Kraftwerk concert.

Intrigued? You should be.

Picture electronic beats quirping and bubbling under guitars dripping in phaser and flange effects. Knobs being twiddled, switched being thrown. And Punckbowee's deep voice with a hint of Texas drawl coming in reverb-drenches layers over the top.

Production, you say? Gloriously lo-fi like the underground is supposed to be. You can hear tape compression and sweet hiss on some of these tracks. It used to be that record crackle was the sound of authenticity. In the lo-fi rockscape Punckbowee puts down, it's about wonderfully processed sounds that unsettle your bearings and take you for a ride (tied up in the trunk with duct tape across your mouth sometimes).

The truth is that while bands like The White Stripes get applauded for their spit-shined "garage" sound, cats like A. Gene Punckbowee are the real deal, cutting real albums in real garages. Cuts like "Refuse To Go" with its vertigo-inducing rotopuker synth bass, or the electro-influenced "You Leave Me Cold" don't just bend preconceived notion about genres; they smash them to friggin' pieces. And when you are done, you'll want to thank him for it.

And all for a good cause.

Who you knew something so good for your spirit could be so good for you ears as well?


Best Cuts on the Album :: Radio Magnolia, No Release, Refuse To Go, and You Leave Me Cold

The Bottom Line :: For $10 you can get a copy of Radio Magnolia. All $10 of every disc goes right to the St. Hope Foundation's AIDS Food Pantry - none of this after recouping the expenses of the album stuff. A. Gene Punckbowee put in months of writing and recording to help. All you need to do is whip out your plastic, buy a copy, help a good cause, and spend an hour or so in the underground. Everybody wins.

Samatha James :: Rise

Artist :: Samantha James
Album :: Rise
Label :: Om Records

Play this cut first :: Living Without You

In a word :: Captivating

Okay, it's been a long time since an artist came along with a sound so pure and direct that it cannot be overlooked. Om Records' artist, Samantha James, shows on her debut album, Rise, that she could very well be the voice of electronic music for years to come. Quite frankly, this album is so good it's stunning.

Initial comparisons to Sade are obvious. She has that same smoke in her voice. I'm trying hard not to call it sexy; so I'll call it sultry. Fans of Aya and Lisa Shaw should also find Samantha James to be to their liking.

Sade is certainly an influence. I would say that Morcheeba and Massive Attack even get in there sometimes. As a result, it's not a run-of-the-mill vocal house album by any means. Rise runs the gamut from dancefloor fillers, to think pieces, to bedroom music. It's not something that is easy to do. And frankly, I don't think I've heard it done this well since Madonna hit the scene. Does that mean Samantha James will be the next Madonna? Probably not; the music industry landscape is a very different place these days. If this were 1983, however, well ... maybe.

Standout tracks include "Rise", which is featured below. What is most striking is the simplicity of the arrangement. It puts all of the focus on the vocals, where it belongs. And Samantha James carries it. "Living Without You" has a decidedly electro feel that is clearly aimed at the dance floor. "Send It Out To The Universe" is another traditional house cut that brings out the soul flavor that put house on the map before acid house emerged.

Along the way, however, are interesting bossa nova tinted tracks like "Enchanted Life" and "I Found You". While these tracks aren't my favorite on the album, they serve a purpose in showing the amazing range of Samantha James. In fact, these are the cuts the allow her to avoid being pigeon-holed as just another house singer. When you hear these cuts, you wonder what the next album will bring.



What I'm having a hard time getting to is this: you'll find a lot of hardcore aggressive music on this blog. I consider myself a rocker first. Sometimes, however, an artist comes along whose music is so powerful that it cannot be denied. I adore Bjork, Peter Gabriel, Beethoven, and Stevie Ray Vaughan because there is something in their work that completely transcends genres. It is the power of music that knows no boundaries. It is the power of musicians to be in touch with some sort if eternal and universal musical element that goes beyond cognition and completely penetrates the human soul, filling it with the spirit of music - that spirit that made us fans of music in the first place. Samantha James's Rise is that type of album.

Best cuts on the album :: Rise, Living Without You, Send It Out To The Universe, Right Now

The bottom line :: This is an album of life. It is an album of endless summer nights dancing on balconies with the buzz of a few drinks spinning in your head. It is an album of cruising the coast with the top down. It is the aural equivalent of the northern lights painting the sky wonderful shades of magnificence. It is an album that touches the core of the human soul and makes you wish that this moment, this very moment, would never end. Yeah, it's that kind of album. And it doesn't come around very often.

Devin Townsend :: Ziltoid The Omniscient

Artist :: Devin Townsend
Album :: Ziltoid the Omniscient
Label :: InsideOut Music

Play this cut first :: By Your Command

In a word :: Brilliant

I was first introduced to Devin Townsend when he did the vocals in Steve Vai's Sex & Religion CD. It was evident from the point that he had something different going in upstairs. I mean, Steve Vai is sort of known as an alien among musicians. That he chose Devin should've been a sign. Since then, Devin's band Strapping Young Lad has had a very devout following in the underground for bringing together powerful riffs that will, turn on your lightbulb and smash it all at the same.

But with Ziltoid the Omniscient he really outdoes himself.

This album is like The Muppets meet Paradise Lost at a Carcass concert. Before we get to the comedic storyline, it is worth saying that this album would be a metal masterpiece of musicianship without the gimmicky, yet effective story line that goes with it. Yet, this is why we love Devin Townsend, because he can be wonderfully creative, yet technically fierce as a musician.

Okay, the story line.

(Lifted from Wikipedia)

The story begins with Ziltoid arriving at Planet Earth and demanding the ultimate cup of coffee (ZTO). When he is disappointed by the cup they give him, he attacks Earth with his army and his secret weapon - his guitar playing. Ziltoid wishes to impress the humans enough to hand over their finest coffee so he can go back in time and present himself throughout the Universe as the ultimate guitar player. (By Your Command and Ziltoidia Attaxx!!!). Captain Spectacular of the humans devises a plan to escape by exposing Ziltoid as a nerd and then jumping into hyperdrive towards Nebulowenine (Solar Winds and Hyperdrive).

Ziltoid follows and is presented a beautiful vision and is momentarily stunned, baffled and has a 'Ziltoidian epiphany'. He snaps out of the haze and becomes angry, retreating to Flagggdathgraths Universal Arcade, where one can pay to destroy a virtual planet. He summons the 6th dimensional Planet Smasher to help him destroy his chosen planet. (N9 and Planet Smasher).

Herman the 6th dimensional Planet Smasher rejects Ziltoid so he visits the Omnidimensional Creator to find out the true nature of his reality (Omnidimensional Creator), and he sees his whole life before him. Finally he is told that he is only a mere puppet in a show (Color Your World and The Greys). The album ends on the bombshell that this is all a daydream being had by someone working in a coffee shop who is awoken by his boss and given the customers' orders including a Tall Latte (Tall Latte).

While major record labels are decrying the Internet as the devil and calling their customers thieves, artists like Devin Townsend are embracing the medium, creating Ziltoid videos (like the one above) to reach out to the online crowd, mix it up a little, and hope they buy the disc. And, really, you TOTALLY should. This is the stuff that keeps music evolving while Britney Spears is breaking down for Barbra Walters.

Best cuts on the album :: By your Command, Planet Smasher, Solar Winds

The Bottom Line :: Bizarre? Sure. But that weirdness is splendidly wrapped in a rock opera that moves as a rock opera should, with dynamic ups and down, and even narration. It's not like The Wall, nor does it aim to be - something we're all a little better off because of. Nonetheless. It's brilliant. If you are in a listening rut, or really appreciate genius in the bizarre, you must own Ziltoid the Omniscient.

Get An Electronica Education

So much of electronica is oversaturated by the likes of DJ Sammy melodic trance. Instead, if you are new to electronica, check out the following site. It is a good way to come up to speed with great sound clips.

Ishkur's Guide to Electronic Music.

Fantastic resource. You'll want to bookmark this.

Dream Theater :: Systematic Chaos

Artist :: Dream Theater
Album :: Systematic Chaos
Label :: Roadrunner Records

Play this cut first :: Constant Motion (video below)

In a word :: Edgier

I'll admit it, I'm a bit biased. As a guitar player, and one with a music theory degree, the orchestrated brand of progressive metal that Dream Theater delivers has been a favorite of mine for more than 15 years. And while much of their stuff has been almost a like a rehashing of the previous album, Systematic Chaos is certainly different.

For starters, these cuts tend to be heavier across the board. While they've had a penchant for dropping in these little acoustic bits with bad sax solos in the past, they skip that for the most part. The only real exception is the 15-minute snoozer "The Ministry of Lost Souls". But that's what skip buttons are for.

This time, they get heavier and put more focus on traditional song structures, but in a way that is so much better than they tried on Falling Into Infinity. It's almost as if they decided to try writing more conventional songs than having someone else suggest they do it. There's a little more heart in it this time around. A cut like "Forsaken" could easily get some radio spins and not seem like a sellout at all.

Don't get me wrong, though, there is a ton of powerhouse riffage and musical pyrotechnics. I mean, come on, it's Dream Theater. A cut like "Constant Motion" (video included) is pretty representative of the overall aggression levels on Systematic Chaos.

I'm not sure if the move to Roadrunner Records, a metal powerhouse label, was a bit of a kick in the ass, but these guys seemed like they were out to prove something for the first time since, well probably the first time ever.

One good move was keep singer James Labrie in check. The guy can sing, sure. But his range is in a register that drives a lot of people crazy and is usually more of an obstacle to those who have never heard Dream Theater before than the complex song arrangements are. With this added level of aggression, holding him back a little is one of those instances when less is more. In some cases, they put his voice through a lot of distortion, which also helps.


They also experiment in a few places. For instance, "Repentance" harkens back to "This Dying Soul" from the Train of Thought album. It is another song in this sort of unspoken Alcoholics Anonymous suite that has been weaving itself through albums since Awake. They do some interesting things with guitar processing and extended chord progressions, much like Pink Floyd, with spoken word voice-overs. And the way the final track "In the Presence of Enemies Part II" blows up does my heart good.

It's actually pretty cool to hear them stretch out a little and push the(ir) envelope in a way that just doesn't involve playing faster.

Best cuts on the album :: Constant Motion, The Dark Eternal Night, In the Presence of Enemies Part I.

The bottom line :: With the level of musicianship in this band, they could've gone in any direction and probably pulled it off. Going heavier, however, play to a strength. Their albums have always had some great heavy moments, but putting this album in that realm as a whole was a brilliant move. It doesn't sound forced at all. And this might be the album that wins them some new fans without alienating the old ones.

Nodes of Ranvier Interview

VictoryRecords artists, Nodes of Ranvier, have stellar new disc out called Defined by Struggle. Guitarist, Jon Parker, took a few minutes to talk with BRB about the album, dream tours, digital music, and more. Enjoy.

And if you haven't picked up Defined By Struggle yet, I can't encourage it enough.

BRB: Defined by Struggle shows a pretty significant degree of maturity versus past efforts. How much of that is the natural evolution of the band, and how much was a conscious decision to stretch out on this album?

NOR: A lot of what you are hearing as maturity may be coming from the fact that three of the members have changed since the last album. We wrote this album from a completely musical standpoint without regard for vocals. It was a very step-by-step process, and I think that laid way to a much more concise sound this time around. We may not have as much diversity of sound as we have in the past but the songs are much more technical in their speed and material. We set out to write a weighty record and something that we felt had a common feel from song to song, without becoming monotonous. We are very happy with what we came up with especially under the weight of time constraints and member changes.

BRB: If you could put yourself on tour with three other bands of your choice, who would you pick?

NOR: The Black Dahlia Murder, Burnt by the Sun, MASTODON.

BRB: Who are some of your non-rock-based favorite artists? What is it about those artists that gets them on your favorites list?

NOR: First off would be Atmosphere. For not being the biggest fan of hip hop, I must say there is something inspiring about Slug’s material. I’ve been able to see the group once in my hometown and it was pretty much the most fun I could have had around a bunch of frat boys and ICP fans. Haha!

Secondly would be Sigur Ros. I guess some would consider them a rock-based band, but because I cant find a way to classify them I'm adding them to the list. Their music does something to my spine that I cannot explain, and it literally gives me a hopeful feeling just in listening. This band is a gift.

Thirdly, I'm a big DJ Shadow fan. The Private Press is a record that I can listen to in almost any mood and especially when I need my mind to be doing two or more things at once. I appreciate the blending of elements that I myself would never have thought to put together.

BRB: Do you have any themes or sources that consistently provide lyrical inspiration?

NOR: The ins and outs of life have always played a particularly large part in the lyrical content of this band. A lot of songs are stories about problems we’ve faced and struggles we’ve bore. We want to put a positive spin on a sometimes grim world. It’s something that gives us reason and purpose to do what we do and play music that moves us personally. In a way, we live through the things that this band has brought about for us. It’s bigger than its members. It’s a message and a way of life.

BRB: How have social media sites like MySpace or PureVolume benefited Nodes of Ranvier?

NOR: Free access to press is always a good thing. Many people would have never heard of us if it wasn’t for these sites. Now, more than ever, it seems that the world of music is more about listening than buying. With so much to choose from, bands need all the help they can get to stay alive. We have appreciated the ability to run these sites by ourselves and stay in better contact with the people who would consider themselves fans. It’s a great tool for us to keep our music in the listeners' ears.

BRB: Do you think the increasing popularity of iPods and digital downloads will eventually render CDs obsolete? How do you think this will affect a band like yours?

NOR: It’s hard to say. Books are very prevalent. I'm still buying vinyl. While I'm sure the digital world will continue to decrease hard copy record sales, I think that the music industry will never die. It may not be pretty, but something will have to take place to make some order out of all this. The attention that iPods have brought to the individual enjoyment of music has given people the ability to branch out their own musical tastes. For an off color band like ourselves, I’m sure this has been helpful.

There you have it, folks. Big thanks to Jon for taking the time to go into such depth and detail. The album, again, is called Defined By Struggle and it's in stores now.