Category Archives: Rock

SPC ECO

spc eco sirens coverSirens and Satellites by SPC ECO  (Saint Marie Records)

SPC ECO is the band created by former Curve architect Dean Garcia and Dean’s daughter Rose Berlin. Father and daughter have been making music together ever since Rose displayed singing talent as a baby.  As SPC ECO they make music for themselves, at their own pace, without label support.  Musically, at least on the new album Sirens and Satellites, this is like I imagined it would: a further evolution of the Curve sound (or I should say the Garcia Sound).  The overarching feel is fire and ice, with Rose’s vocals icy beauty and Garcia and friends offering the heat and sizzle from guitar textures, synths and usually midtempo percussion. Fallen Stars will bring chills up your spine upon hearing the swirling, grinding and wailing guitars against thrumming bass, Rose’s voice powerful yet restrained. Delusional Waste goes to the dancefloor with a techno bass and beat, Rose’s voice ice cold, yet still inviting. Hold You Up is one of the most delicate tracks on the album, simple bass, drums, synths and voice building to a quiet yet powerful end.  High On It is another dance track with pulsating beats, guitar echoes and Rose’s dancing ice queen vocals.

spc eco Rose-pop2-crop4-460x460Songs like Zombie and The Whole Day Long are as good as anything Garcia’s done in the past, Make Me Say is brutal and bloody guitar slashes and crunchy rhythm loops, Rose  purring and cooing like a mantis before taking off  your head.  Don’t Need Fear is a slow bass dub, guitar effects aiding Rose’s voice insinuating itself deep inside your psyche. Tweet Fields At Night opens pleasantly with sweet vocals and feathery synths, A trip-hop beat kicks in, joined by a uplifting guitar melodies to accompany those light synths, the loveliness of it all punctuated by a big swell of guitars and big drums, then taking the first part and dirtying it all  up with distorted guitars and bass, closing with the nostalgic refrain, leaving you with a sense of wonder.

Sirens and Satellites surprises on so many levels, from their genre-blurring compositions to their juxtaposition of light and dark, fast and slow and fire and ice, the invigorating, dark, emotional and beautiful songs on Sirens and Satellites will be enjoyed, dissected, danced to and be the inspiration for many for years to come.

(by Bret Miller)

LINKS:
Youtube channel
SPCECO.COM
Bandcamp
Facebook

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The Ocean Blue at The Troubadour

theoceanbluejl1The Ocean Blue, The Troubadour, September 9, 2014

The famous West Hollywood venue was filling in for second support band Western Lows as the trio started out quiet and midtempo, their gazy style soon picked up tempo and distortion ending their short set to guitar squalls and glorious applause.

Perhaps as a joke to the Hershey, Pennsylvania band, Nirvana blared over the speakers as the members set up their equipment.  The Ocean Blue was an antidote to all the distorted guitar angst of the “grunge” bands.  They started out their set with Mercury, one of their peppier numbers from second album Cerulean, singer/guitarist David Schelzel and bassist Bobby Mittan still boyish after all these years. Their first two albums were written and released while the members were still teens and it is on the edge of the loss of innocence that some of their best music rests.  The band followed up with the more muscular Sad Night, Where Is The Morning? from their 2013 comeback album Ultramarine and it was evident that the band still has the fire and melodic sense to write thrilling and catchy tunes.  Shelzel prepared the audience to hear some new tunes, that it wasn’t going to be a nostalgia tour, yet their music is so timeless, decades of music blended into an exciting flashback and forward to good times throughout our lives, The Ocean Blue our soundtrack.

theoceanbluejl2The title track to their second album Cerulean came next, Shelzel’s ethereal vocals were well grounded by Mittan’s muscular bass playing. From the new Waterworks re-release the band broke out previously unreleased Can’t Let Go, a song that echoes 80′s British bands pre-Brit-Pop with well-paced vocals that channeled JAMC’s Jim Reid and Ian Curtis for thrilling effect.  Released on the original Waterworks, the lush Pedestrian had a shuffling beat and dramatic and jangly guitar work from Oed Ronne.

Sublime on album is one thing, but live, Mittan and Anderson’s rhythm section really boost the energy of the song, Shelzel’s lilting vocals took us on flights of fancy, the audience singing along “sub-bu-bu-buliiime”.  On Vanity Fair, from their S/T debut the boys took the song from twee to raveup with the tempo winding up, Mittan and Anderson looking at each other to see how fast they could get. On Give it A Try the band once again displays power and focus and Mittan’s slinky bass rhythm smoldered while Ronne’s guitars sizzled and sparked.

theoceanbluejl3After the double whammy of Ballerina Out of Control and Between Something and Nothing, The Ocean Blue presented us with a previously unreleased song that Shelzel wrote in high school.  The band originally recorded it for the movie Naked In New York but the song was cut.  Now fans can find it on the Waterworks reissue.  City Traffic sounds like the singer was listening to a whole lot of Peter Weller as a teen.  The breezy and fun song  kept the audience moving even as some were leaving the venue.  The Ocean Blue finished the night with a rough version of The Cure’s Just Like Heaven, Shelzel inviting the audience to sing along. We didn’t dissapoint, raising the song to a celebration of the power of music.

The Ocean Blue in 2014 look and sound like they’re doing it for all the right reasons, without outside stress, releasing their music on their own.  The sold out Troubadour proved that the boys still have much to offer from their past accomplishments as well as their future endeavors. I’ll be at their next L.A. show!

(Review by Bret Miller –  Photos by Jack Lue)

LINKS
The Ocean Blue 
Facebook
Korda Records
Shelflife Records
City Traffic Video
Can’t Let Go Video

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Meshuggah 25th Anniversary Tour

SONY DSCMeshuggah at The Wiltern Theater, June 6, 2014

To celebrate 25 years of busting eardrums, the mighty Meshuggah took to the road, stopping off at the Wiltern Theater in June to start the summer heat wave early.  With Geiger-esque artwork displayed behind them and a light show that blinded the eyes, putting the band in perpetual silhouette, Meshuggah ran through their catalog of mind-melting metal for a brutal 100 minute set.

Meshuggah kicked off the show with Tomas Haake pummelling his drums while lead guitarist Fredrik Thordendal, rhythm guitarist Mårten Hagström and bassist Dick Lövgren pounded on their guitar strings for Future Breed Machine. The fury and power they displayed from the get-go got the mosh pit moving and necks snapping.  Jens Kidman, the only one on stage to move around, bellowed and yelled at the top of his lungs, and while the lyrics were undecipherable, his passion was certainly evident.  Meshuggah are known for their  constantly evolving style, focusing on grooving rhythms flowing into hard riffed passages leading into more abstract sections featuring Thordendal’s stunning displays of guitar abuse and beautiful virtuosity.  The title track from Obzen followed, keeping the energy going, with stunning guitar interplay towards the end.

SONY DSCTheir latest album Koloss was most heavily featured in the set, the first of four songs was the hardcore hurricane of The Hurt that Finds You First, with a breakneck beat and ear-numbing growls from Kidman, bass guitar bends from Lovgren and an epic yet subtle guitar solo from Thordendal.  Do Not Look Down, also from  Koloss, was one of the most accessible songs of the night with a razor sharp focus on groove and finger-shredding guitar solos.  Cadaverous Mastication from their first album Contradictions Collapse in 1991 showed the band’s beginnings in the Thrash Metal vein, with more traditional arrangements, yet with an air of larger things to come in their varied tempos and dichotomy of ugly noise and beautiful guitar soloing.

Gods of Rapture brought the show to an even higher level of tension with Thordendal and Hagstrom in lock-step with the rhythm section from the start, Kidman belting out his lyrics in hardcore fashion, threatening to be understandable, but Meshuggah can’t seem to stick with a tempo or rhythm, soon shifting into a jazz-fusion mode, Thordendal ‘s melodic soloing would make Joe Satriani proud and he put some warmth into the otherwise mechanical playing of the rest of the song.

After much more eardrum damage occurred, Meshuggah sped up our hearts even more with the speed metal pace of Bleed from Obzen, causing heads to bang harder and feet to move, the band kept the tempo for the majority of the song, with a few additions of subtle lead guitar parts to break up the tension the slightest bit. Then the band drops out, leaving just a creepy quiet guitar line before the rest of the band jumps back in, this time with a more powerful melodic guitar lead accompanied by chugging guitars and well-paced percussion.

Meshuggah finished the main set with Straws Pulled at Random, from 2001′s Nothing, full of cymbal crashes and right-angled tempo and rhythm changes that while chaotic was still stunning to behold.

While the audience chanted “Meh-Shuh-GAH!” I took a moment to gather my wits, take a few deep breathes and ready myself for the sure-to-be insane encore.  While we waited, Catch 33‘s spoken word and noise poem Mind’s Mirror played over the speakers.  The band returned to kick our asses all over the Wiltern with In Death – is Life and In Death  – is Death, two connected tracks of barely controlled chaos, guitar pyrotechnics, buzzing bass and quieter, spooky atonal passages.

As the bright lights blazed our corneas and we pounded our strife and hatred into the floor, Meshuggah left us with energy spent, sweat soaked and brain rattled, not sure of what tomorrow might bring but strong enough to meet it head on.  If you can survive the metal massacre that is Meshuggah you can take on the world.

(Photos and review by Bret Miller)

LINKS:
Official Website
Nuclear Blast USA
Facebook
More pictures of Meshuggah

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Fairweather

fairweather coverFairweather by Fairweather (Equal Vision)

It’s been eleven years since Washington DC’s Fairweather packed it up. Now the spring of 2014 and the boys show us a whole new bag full of hardcore, tight song structures, crazy guitar flourishes, powerful percussion, more forceful vocals and an overall focused and mature sound. And did I mention the grooving rhythms? Shit, their S/T comeback kicks your ass from the opening chords and hardcore tempo of Carte Blanche. Let the moshing begin. Yet the band tempers even this minute long song with a slower yet powerful second half and background vocal “oohs”.

Reset Position keeps the energy with buzzing guitars, a fast pace and Jay Littleton spitting his trebly vocals with grit. Ben Murphy’s bass and Shane Johnson’s drums set the groove for Ben Green and Peter Tsouras to lay their power chords and slashing solos within, and damned if your not banging your head and sweating already. Survival Is Not Enough sets a bigger groove, slowing the pace a bit, Littleton singing harmoniously, a hard rocking song with muscle and introspection. fairweather band photoMemoria opens with minor key guitar scratching and dramatic rhythms, Littleton singing about memories and secrets and drowning, inviting you to further interpret his lyrics as you close your eyes and nod your head to the beat.

Doubt the Doubtless is both tough and catchy, closer to their debut sound yet leaner and meaner. Johnson gives his skins and cymbals a beating on Kill the Silence, slowing down to build up tension then rocking out once again. Last Words brings out the beauty of a well-paced song, starting out slow and pretty then taking us on a roller-coaster ride up and down tempos and emotions. Still Waiting features some interesting percussive textures and searing guitar interplay between Tsouras and Green, Littleton’s vocals clean and unadorned, harmonizing with Green, creating emotional catharthis when the song slows down at the end only to rise up to a powerful crescendo of crashing cymbals and six-string flourishes. Fairweather wrap up their S/T album with No Flags To Fly. Beginining with a chugging verse the band build tension towards a thrilling and catchy chorus, the band surprise with a soulfullness in their instrumental interplay as well as a bare-it-all vocal performance by Littleton

(by Bret Miller)

LINKS:
facebook.com/fairweatherdc
twitter.com/fairweatherdc
fairweatherdc.com
merchnow.com/catalogs/fairweather
equalvision.com
facebook.com/equalvision
twitter.com/equalvision
blog.equalvision.com

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Various Artists

Album Artwork by Mark Sasso

Album Artwork by Mark Sasso

Ronnie James Dio – This Is Your Life by Various Artists (Rhino Records)

Ronnie James Dio went from clean-cut boy band to hard rocking singer for the likes of Elf, Rainbow, Black Sabbath and his own band Dio.  His multi-octave singing and fantastic and humanistic lyrics always thrilled and comforted.  Dio may have left this plane in 2010 but his spirit lives on in the talents of thousands of musicians and the hearts of fans the world over.

Ronnie James Dio – This is Your Life begins with the fist-raising juggernaut Neon Knights.  Anthrax don’t hold back and Joey Belladonna knows how to belt and though he doesn’t hit the notes up high, his powerful vocals give tribute to the man that paved the way for him.  While anyone that knows Tenacious D is well aware of their absolute adoration of RJD, their cover of Last In  Line is rather odd with Jack Black’s vocals mixed too far above the rather generic metal instrumentation, making the song seem like karaoke, yet one with great vocals and a strange flute solo. It grows on you though.   I confess to knowing nothing of Adrenaline Mob but their take on Black Sabbath’s Mob Rules is killer.  I mean, this song wails, kicks ass, all those metal clichés.  The song was Sabbath’s attempt to remain relavent in the punk era is clear in the fast pace and raw power and the suitably named band distill all the fury of the original and spit out flames. Amazing guitars at the end too. Slipknot and Stone Sour singer Corey Taylor bellows like a titan along with Steel Panther guitarist Satchel and Stone Sour drummer Roy Mayorga for a stunning cover of Rainbow in the Dark.

Along with raising money for the Ronnie James Dio Stand Up and Shout Cancer Fund listening to this tribute album should make some new fans for the respective musicians.  Case in point, Pennsylvania Grammy winners Halestorm.  Led by singer Lzzy Hale and drumming brother Arejay, on Straight Through The Heart the band hit all the notes with muscle and ease, playing close to the original yet showcasing the epic guitars and voice of Lzzy as a fresh new voice in metal. “Unleash the hounds!” Indeed.  Some guys named Lemmy and Saxon‘s Biff Byford follow with Biff and Motorhead‘s take on  Rainbow’s Starstruck, the titans trading lines like lions fighting for dominance of the pride, with that electrical wall of sound Motorhead are famous for.  Scorpions make  Temple of the King their own, sounding exactly like themselves, with soulful guitars and a nostalgic feel, as fantastic as when it first came out on Richie Blackmore’s Rainbow’s S/T debut in late 1974.  Doro and band put their own stamp on Dio’s Egypt (The Chains Were On), making a mysterious and powerful song even more epic with her beautiful and muscular delivery and the dense instrumentation of the band. Visions of Doro as an armored and sword-wielding warrior come to mind.  You don’t have to be a fan of Killswitch Engage to appreciate their buzzing and brash version of Holy Diver.  Except for the breakdown the song would seem right at home if played on the Sunset Strip in the mid-80′s.

Former Deep Purple and Black Sabbath singer Glenn Hughes, along with former Dio band members drummer Simon Wright, guitarist Craig Goldy, bassist Rudy Sarzo and keyboardist Scott Warren perform a super soulful and quietly powerful rendition of  Catch the Rainbow from the Richie Blackmore’s  Rainbow album.  Current Dio Disciples and former Lynch Mob singer  Oni Logan, former Dio bassist  Himmy Bain,  former Dio and current DC4 guitarist Rowan Robertson and drummer Brian Tichy (Foreigner, Whitesnake) take on Black Sabbath’s “I” as a gritty, bluesy bonfire, putting their own modern touch on an already excellent song. Rob Halford’s growl and roar is always a thrill to hear with Vinny Appice, Doug Aldrich, Jeff Pilson, Scott Warren, all former members of Dio ripping it up on The Man on the Silver Mountain, from Rainbow’s debut, the roaring guitars as well as Appice’s thundering drums more than a match for Halford’s energy.  In the first fiery chords of Metallica‘s Ronnie Rising Medley you’ll be yelling “hell yes!” They sample from A Light In The Black, Stargazer, Tarot Woman and Kill The King proving they still have that metal fire in them, sounding fresh and going for broke.  Closing the album is Mr. Ronnie James Dio himself, performing This is Your Life.  A tear-jerking piano ballad, strings swell, Dio singing  “This is your here/ This is your now/ Let it be magical”.

Listening to  Ronnie James Dio – This Is Your Life you’ll understand Dio’s message was always one of hope, faith and friendship, of perseverance in the face of adversity, of beauty and inclusiveness.  He was the Godfather of Metal and has touched so many lives.  So sing along with these songs and remember, the best days are still ahead. Raise the metal “V” and rock on.

(by Bret Miller)

LINKS
www.ronniejamesdio.com/
Buy Ronnie James Dio – This is Your Life on Amazon

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Nothing

nothing guilty of everything coverGuilty of Everything by Nothing (Relapse Records)

I am often interested in learning the past accomplishments of bands, especially when their current sound is vastly different than earlier in their career.  Domenic Palermo, vocalist for recent Relapse signees Nothing, previously fronted hardcore group Horror Show that put out a few albums/EP’s on Deathwish Inc. You can watch a set with Palermo and Horror Show from 2012 HERE.

Nothing is an altogether different endeavor in that Palermo and band are clearly enamored by such bands as Slowdive, Ride and My Bloody Valentine in their use of lush guitar textures and barely intelligible yet pretty vocals.  Searching back to their 2012 Downward Years to Come EP, you can hear the band’s evolution, involving the layered dissonant guitars in particular, the arrangements on Guilty of Everything are tighter and harder hitting emotionally.  Nothing‘s music is rich and subtle, songs to play loudly to catch all the melodic guitar interplay and keyboards swimming through the mix.

Photo Credit: Shawn Brackbill

Photo Credit: Shawn Brackbill

Opening track Hymn to the Pillory gets better after each listen, starting pretty and quiet,  Kyle Kimball’s drums come pounding in and the band gets epic on your ears, for maximum emotional uplift.  First single Dig takes the hardcore dissonance and puts it behind a wall of big drums, guitar fills and cavernous vocals.  Bent Nail is the most rhythmically propulsive song on the album, leading you to bang your head to the fast beat and distorted dual guitars.

The final third will have you blissed out at the beautiful noise Nothing blasts into the air.  Somersault‘s spacious mix helps showcase the dramatic guitar work of Palermo and Brandon Setta.  The song starts out all shimmery, a twangy guitar melody and drums kick in, Kimball sets his sticks to cymbals and the song slowly builds to a blistering climax, Palermo and Setta stomping on their pedals and pulling out some powerful chords to make your ears ring and your soul sing.  B&E goes all out in the thrash department, beginning in a pleasant mid-tempo, their wall of sound getting knocked down to an anxiously mellow segment reminiscent of Pink Floyd‘s Animals album before tearing into their instruments for a heart-wrenching finale that will leave you gasping for breath even as you’re reaching for the repeat button.

(by Bret Miller)

LINKS:
Facebook
Website
Bandcamp
Relapse

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The Glitch Mob

Glitch mob coverLove Death Immortality by The Glitch Mob (Glass Air Records)

On Love Death Immortality, the trio of ediT (Edward Ma), Boreta (Justin Boreta) and Ooah (Josh Mayer) have punched up the more visceral qualities of their past efforts, bringing to mind big beat giants The Prodigy, Chemical Brothers and Crystal Method.  If you hear the young punk vitality of Howlett, then the trio are doing something right.  The Glitch Mob want you to dance and nod your head.

Mind of a Beast opens the album with guitar slashes and skittering piano & synths then lively drums kick in.  A hard-edged synth line takes you by the ears and throws you into the mosh pit.  Nico Vega vocalist Aja Volkman adds her impassioned voice to Our Demons which starts soulful then becomes something epic, speeding up to a fast pace, dropping out and getting ever bigger, those itchy synths grinding into your psyche. Skullclub will get you dancing uncontrollably with a brilliant blend of rock and electronics.  The lead synth lines become The Glitch Mob’s signature sound on the album, taking the place of lead guitar.  

glitch mob skullsCan’t Kill Us is an industrial stomp with hard-hitting drums and metallic synths slicing and sawing away with a little soulful break just so you can catch a breath.  On I Need My Memory, Back Volkman’s vocals are chopped up for the Mob’s nod to Daft Punk, lighter drums and looser synths are set to a funky beat that will get your hands in the air and a goofy smile on your face.  One of the most captivating songs on the album is Fly By Night Onl,y which features Yaarohs’ lovely vocals.  This dancefloor filler best utilizes the guest vocals, letting her flow direct the song more than the beats.

Love Death Immortality’s closing track Beauty of the Unhidden Heart features the vocals of Sacramento duo Sister Crayon‘s Terra Lopez.  Her quivering and emotional delivery is backed by spacious ambience, chiming strings and booming percussion, a powerful meeting of talents.

Love Death Immortality is a big leap forward for The Glitch Mob.  These new tracks are made to be heard live where the speakers can vibrate the air of a large room.  See them on tour this Spring. They will play Club Nokia in downtown Los Angeles on May 10, 2014 with Ana Sia and Penthouse Penthouse. Wear your dancing shoes.

(by Bret Miller)

Links:
Theglitchmob.com
Facebook
Bandcamp

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Sunn O))) & Ulver

Terrestrials by Sunn O))) & Ulver (Southern Lord Recordings)

sunn ulver terrestrialsSunn 0))) played their 200th show at the Oya Festival in Oslo in 2008.  Two days later Ulver’s Krystoffer Rygg invited core members Stephen O’Malley (guitars) and Greg Anderson (bass) along with British multi-instrumentalist Daniel O’Sullivan (who had performed at that show) for an all-night jam at Crystal Canyon, Ulver’s recording studio.  After recording the instrumental jams O’Malley and Rygg edited and worked on the parts, O’Sullivan visiting over the years, adding strings and trumpet.

Ulver’s Childhood’s End album from 2012 reminded listeners that they could indeed rock with their energetic covers of psychedelic bands from the 60′s and early 70′s.  But Rygg and Ulver, with Daniel O’Sullivan joining the band after the Terrestrials sessions, have veered towards a more ambient, piano/keyboard led sound in the past decade.  So it is with much relish that fans of heavier music get to hear Sunn 0)))’s guitars on a release associated with Ulver.

Let There Be Light begins quietly with much portent as strings scrape and effects hum in the aether.  A throaty trumpet is introduced as the guitars build in their electrical crackling, along with the occasional bass thrum.  A piano tinkles in the background, the trumpet blurts and warbles , the guitars drone as if signalling sunrise, an outpouring of pent-up energy.  Then at the eight minute mark, the sounds drop except for a light trumpet burble, and a few seconds later drums roll and cymbals collide, the trumpet exulting in the rising of the sun.

Western Horn opens with bass moans, drum thumps and guitars slowly jangling as something darkly compelling develops in the mix.  Eerie metallic effects flitter and swell, Anderson’s bass thuds ominously and sounds are piled up like anguished moaning and crying voices.

Eternal Return puts some of Ulver’s atmospheric dark beauty into the alloy with O’Sullivan’s languid keys softening  O’Malley’s sharp guitar strums and drones.  As the music surges, violins and trumpet float in.  At about the halfway mark the arrangement segues to a looping and vibrant synthesizer and Rygg’s velvety voice.  The finale drifts in with sawed violins, percussive guitars and menacing atmospheres.  Quivering strings fade out at the end.

(by Bret Miller)

Links:
Southern Lord
Terrestrials on Bandcamp
Sunn 0))) Facebook
sunn.southernlord.com
Ulver.com
Ulver Facebook

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Reverend Horton Heat

rev cover_smREV by Reverend Horton Heat (Victory Records)

Get in, strap up and hold on tight for a kickass ride full of rockabilly and roots rock from the trio of singer/guitarist Jim Heath, bassist Jimbo Wallace and drummer Scott Churilla as they present REV,  their 11th album and first in four years.  REV warms up the engines with the instrumental Victory Lap, and peals out burning rubber with Heath recalling a tough girl named Betty back in high school who liked The Smell of Gasoline.  The boys play their instruments like that Chevy Nova rolling along at breakneck speed.

Zombie Dumb is the theme song for a fictional movie about surfing zombies that will get you shimmying and shaking in the sand along with those pesky brain-eaters.  Next up is a hard grooving reverendhortonheatrocker about a serial heart-breaker known only as Spooky Boots.  On Schizoid the band make insanity appealing, the trio keep up a fast beat and the guitars rave and wail, a creepy theremin crying in the background.  My Hat is a more traditional rockabilly song with plenty of smooth “go, cat, go!” guitars, punchy bass and drums.

On Let Me Teach You How to Eat, the Rev has more on his mind than watching the Food Network as he and the boys chant “Let me teach you how to toast/ make a bloody red roast/be the perfect party host” and when he sings about cooking tacos in the middle of the street and marinating meat you’ll laugh as you shake your ass.  Food porn set to a rockabilly beat!

REV is full of heart and humor and songs that will be soon sang loudly by the band’s rabid fans.  The album is a fine introduction to anyone looking for honest and authentic American rock’n’roll.

(by Bret Miller)

Links:
Reverendhortonheat.com
Facebook
Victory Records

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Junius

junius Days_of_the_Fallen_SunDays of the Fallen Sun by Junius (Prosthetic Records)

The man was a creature of shadow, of the world created by the obstruction of a light source, of the dark lands, of the early morning and the twilight.  Even the moon cast light and sometimes that was too much for him.  He reveled in the dark places yet understood the necessity of light.  When others got depressed over the shorter days he eagerly awaited that time of the year.  On those, and truly, all other days, but these times the most, of dying leaves and colder days, he picked a clear view of the sunset.  He knew when to find his perch and thought of the variation of colors and play of contrast in the clashes in the clouds as the orchestra performed a prologue to the story ahead.

Junius-Sutter-e1299615297870As the last piece of the sun was firmly tucked into bed, he settled in as the expectations of the night took over not just himself, but of his part of the world.  From his vantage point he watched the people go home from work and change their persona with their clothes, prepare for frolic and
bacchanalia or business meetings over dinner.  Lovers greeted in each other’s arms, or friends grasped hands before armoring themselves for seeking new mates, or to be entertained by acting and music, or some planned the conquest of a country.  He breathed in deeply the smells of freshly cooked meals, of perfume and musk, felt a pleasant chill as the trees and plants exhaled their life-giving oxygen.  Then the trumpet announced the arrival of the night and the audience got to their activities with a crash of cymbals.

After the heat of the sun on the earth was expended, the man would look up a the lights above, wondering if there were others in these distant places who enjoyed the symphonies of the dark places.  As a cloud passed over the light of the moon the man embraced the shadows until the next nightfall.  All was right in the dark.

(by Bret Miller)

Links: 
Junius.com
Prosthetic Records
Facebook

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