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Last Updated: 11/17/2009

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Saturday, November 07, 2009 

Category: Music
 
Issue #126
Nov. ‘09
The Down-Fi – America Now

Punk, was not a genre, it was an attitude.

Punk was happening before The Sex Pistols blew it up in 1977.
In the mid-70s in New York City, Max’s Kansas City and CBGB’s were hosting a semi-rivalry with musical artists that were creating music on a different level. Coined Punk, it had attitude, whether it was 3–chord power, power bubblegum, power pop, pop rock, experimental, funk, synth, classic, rockabilly, and on. It was being done with an attitude, an attitude that the music relayed no matter what genre it was participating in or skewering. An attitude that spoke what the youth movement at that time was about, all the while fostering another fertile grooming ground for artists that went on to inspire other generations - much like the early-60s NYC singer/songwriter coffeehouse circuit that was the breading ground for Dylan and countless others.

Punk as an Attitude is Old School The Down-Fi is Old School Punk.
Look no further than Craig Willis Bell. The man is 70s Punk personified. Every Artist who wishes to understand Old School Punk should familiarize themselves with and study Craig Willis Bell – I suggest here, that you Google him, as well as Rocket From The Tombs (sub categories: Pere Ubu and The Dead Boys), Saucers, The Plan, The Bell System, and possibly others that this reviewer is unaware of - psst: if you want a head start, you can start here: http://www.independisc.com/saucers.htm.

Well-versed and talented, Craig W. Bell’s new band, The Down-Fi, presents America Now with Classic jangle pop that defines both ’76 - ’79 London and ’75 – ’78 New York City. The two opening songs, Let It Go, which could have been a Nick Lowe Rockpile classic, and Tears In Her Eyes, which is the best Mink Deville song ever written and sung by someone other than Willie DeVille, set the playing field perfectly.

’62 Hawk grabs Classic Chuck Berry Rock-n-Roll in a Teenage “I Love My Car” love affair that nods to Buddy Holly, Duanne Eddy, Link Wray, and even Commander Cody, all the while slammin’ a swamp surf a la Tom Petty & The Heartbreakers. You can’t argue with the American Graffiti tale of buying that first car to impress the girl - “I needed a ride to satisfy this lust / She wouldn’t go out / if we took the bus / Oh, she was tough” – or finding out that $100 didn’t buy you a whole lot of car, even if it was your dream – “It was a Hawk / A ’62 Hawk / It was a Hawk / A Studebaker Hawk” – so eventually you trash it and move on, but it will always be your baby; after all, it was your first. Smile, because you do remember.

Ballads in the NYC ’75 - ’78 Punk/New Wave scene were big and sweeping, yet beautiful to the note. A lot of ballads went under the radar because the scene was eventually renowned for its loud 3-chord, in-your-face attitude music. But the attitude can be applied to the ballad as well. Don’t Keep Me Waiting is the Ramones on ‘Ludes; it gives us Television and Richard Hell & The Voidoids showing passion. The Down-Fi gives another piece of what was a vital part of the re-creation of music during the heyday of Punk – music delivered with a passion to present your heart and soul with the attitude that best represented it. Presentation in all aspects fueled this artistic form and The Down-Fi delivers a textbook example of it here.

To show you just how perfect they are with their primer of Classic Old School Punk, The Down-Fi comes out of the heavy ballad and launches into You Be You, a Son-of-A-Bitching Rocker. It’s a love song done with pogo/slam dancing, infused with 3-chord bashing and dirty shredding all built around Classic Ramones lyrics where everything is “I Don’t Wanna…” until the singer spits out his love by proclaiming “I just wanna hang around / With you / While you be you.”.

So Cold takes Alice Cooper’s I’m 18, nails it to the wall, then tears it down using Neil Young leads while embracing Bell’s Rocket From The Tombs past, and mirroring The Velvet Underground. Craig Bell is a musician that embraces the artistic quality of music crafted in the musical explosion that came about during, and as a result of, the Prog Rock & Disco era and before ‘80s hair metal overtook the saturated commercial pop that was cashing in on the New Wave pop explosion that Punk (as an attitude, not a genre) begat. He was part of that history and like a tenured Professor, he passes on his knowledge by forming a group that fits nicely among this era, yet can be considered from the Punk era. Bell is a historian in the truest sense of the form, because he is a living reference, because he chooses to share his knowledge of the Punk music scene and all it embraced.

What many overlook is the real sense of anarchy the music-creating youth of those days had in regards to the world’s governments. A lot of the “Punk” groups of those times were very politically outspoken. Taking their cues from the 60s protest singers, the 70s youth identified with the “No Future” persona being relayed by the Cold War governments of the time. Global recession, high unemployment, oil shortages, weapons stockpiling, rising terrorism, serial killers, energy crisis. Protest. Attitude. Punk.

The Down-Fi closes the CD with 4 modern day protest songs that empower, incite, enrage, and rally us to take notice of what is happening, to understand it, to realize our part, and to take a stand where and when we need to, however we can. And, to do it with Attitude... Today is a Call-and-Response style protest song that brings to mind England’s Tom Robinson Band; it’s energetic and empowering, it has a raw Anthem quality that forces itself out there. Network takes the catch phrase from Sidney Lumet’s 1976 movie, spills it for us - “I’m Mad as hell / I won’t take it anymore” - and smacks it against a blistering, pedal-to-the-metal, smoking exercise in stamina. Shit City, with its riveting drums and rolling, hammering power chords that are struck and held in a down and dirty hard machine gun delivery, recounts the horrors and desperation of trying to survive when everything seems to be against you. Pure Attitude.

Now that we’re all hopped up…

America Now.
It’s not so different from the America Now of the Punk/New Wave generation, or that of The Woodstock Generation, or the Grunge/Slacker Generation, or the Rebel Without A Cause/Rock-n-Roll Generation. Each of these and more would (and should) embrace it. If I were to start quoting lyrics, I’d have to reprint them all… You should buy this disc just to play this song for everyone you know. It is the most important protest song I’ve ever heard. It should be required listening for everyone who calls America home. It has Attitude, it’s Punk, and it can be identified in every genre.

Punk, was not a genre, it was an attitude.

The Down-Fi is Punk.

-----------------------
Reviewer: G.Gone
Go to: http://www.independisc.com/thedownfi.htm to purchase the CD and listen to song samples.
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Friday, October 09, 2009 

Category: Music

Issue #125
Oct. ‘09
Joanie Loves Tchotchkes – Nazi Robots From Outer Space

“One & Done.”
It is a tragic result/credo of the Independent Musical community.

As an Independent Artist there are many who are true musical artists. Yet like artists from every era and every genre of art, the ones who receive the most publicity from the press, be that standard old-school ink or present day/future electronic media, are the ones that receive the public’s attention and are allowed to survive in a brutal, fickle industry controlled by money. Those who are not exposed tend not to receive the accolades due them in regards to their artistic achievements, but they too deserve recognition in the annuals of time for their efforts and accomplishments. Sadly, sometimes a One & Done album is such a testament. Therefore, after 11 years at IndepenDisc we ultimately savor the One & Done for the rare gem it becomes. Certain One & Done albums tend to take on an even higher, more coveted place among our treasured musical landscape and library. This month we bring you one such album, with an interesting twist…

The CD, Nazi Robots From Outer Space by Joanie Loves Tchotchkes was released on the day of the bands very last gig. One & Done.

This CD is a testament to the Indie field. It reflects the sensibility, the passion and the musical fun that is Parallel Lines era Blonde (a must own disc in any serious music collectors catalogue). It bridges genres and generations and just plain out rocks our socks off.

Veteran New Haven, CT rock scenesters Kriss Santala, Sean Beirne and Dave Gouge formed a band based on a name, and the Ying/Yang relationship that transpired resulted in an EP of cross-genre/cross-generational, musical bubblegum bliss wrapped in punk sensibilities (did I hear someone say The Ramones and Blondie embodied such a musical take?). By mixing the disc to include the Kriss Santala guided songs; Sundays, Over You, and Wreck My Heart, with the Sean Beirne take on the title track and Outta Sight!, JTL achieves a party platter standard that many veteran rockers would marvel.

What truly sets the bar so high here is the way that each take is inclusive of the other, regardless of whose song it actually is. The team of JLT makes it their own in ways that could not be accomplished if the bands personnel were different.

The Santala rooted songs; Sundays, Over You, and Wreck My Heart, all feature Kriss’ uniquely talented, Debra Harry-esque vocals, which are offset by Sean’s punkified take of Kriss’ Alt/Americana/Roots/Country sensibilities. It works in ways that recall the afore mentioned Parallel Lines Blonde, but also brings to mind that of the Elvis Costello & The Attractions country foray; Almost Blue. Likewise, the Beirne inspired Nazi Robots From Outer Space and Outta Sight! (which samples Led Zeppelin’s The Ocean, except instead of sampling the actual track, JLT plays it themselves, and sounds really cool doing so), gives us the down & dirty sound from the birth of punk, which was created and established in the CBGB’s culture and carries forth in modern times. Yet it too is offset by Santala’s pure, sweet vocals. Both contrasts meld to build a bridge they cross together.

The appeal of Joanie Loves Tchotchkes comes from that bridge they laid across the many musical genres and generations as they forged ahead in their effort to reach the other side. Unfortunately, that bridge crumbled behind them, leaving us a rare gem to savor.

“One & Done.”
It is a tragic result/credo of the Independent Musical community.

-----------------------
Reviewer: G.Gone
Go to: http://www.independisc.com/jlt.htm to purchase the CD and listen to song samples.
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Wednesday, September 23, 2009 

Category: Music
Vox Humana
Issue #124

Sept. ‘09

Age Of Reason – Vox Humana

Ed Leonard is known throughout the New Haven music scene as the man behind Beatnik 2000 – The insanely long running (approaching 500 shows) open mic series held every Monday Night at Café 9. Ed’s relentless promotion of singer/songwriters, poets, and bands is 2nd to nothing. Yet, Ed still finds a way to create music that is at once Spiritually Uplifting, while delivering an inspiring message of Humanity.

Teaming with Dave Divino not only as a band mate, but also as the co-arranger/producer, as well as the recorder and engineer (Dave owns Studio 23 in Prospect, CT) has brought Ed’s self-coined, amazing FRAZZ (Folk/Rock/Reggae/Jazz) style of musical composition to fruition. This reviewer, while familiar with Ed’s previous work with Deep City Elm (IndepenDisc Oct. ’06 Feature) as well as his beatnik drumming, had not heard earlier AOR work. Many locals have told me that work, many years ago, was just as amazing. Vox Humana, while standing on Ed Leonard’s laurels as a musical shaman, was brought to life in studio 23. Dave Divino not only became a band mate, he became Ago Of Reason’s Alan Parsons.

Vox Humana – “Human Voice” is the wise elder that sits us down in front of the fire and passes on wisdom, that while it is there for all to see, have and experience – it is not acknowledged enough to make a difference. If you listen carefully though, there is a voice that rises up within and throughout our existence in the world, in this life. There is beauty and purpose for everyone of us, it’s just up to us to recognize and act upon that. The Human Voice is as powerful an instrument as any other, on many levels of interpretation.

The title track while launching out of early 80’s Fleetwood Mac quickly establishes Ed’s vocals, highlighted by his beautiful knowledge and interpretation of Native American chant. Add in a couple of face melting guitar solos (a la.. Bill Nelson of Be Bop Deluxe), all Fuzz-toned, distorted, and tripping of acid-drenched reverb carried on a bed of Alan Parsons production and by the conclusion of the 1st track we’re claiming that Studio 23 does it right.

Some Little Bird highlights FRAZZ in all it’s wonderful glory. Early Chicago Transit Authority mashed with early Santana and Ed sings his heart out. The horn orchestration in ominous, the song rolls in one big mass gathering steam and laying it down in a grand Blood, Sweat & Tears swing. O! My Faith breaks big with reggae beats and Wah Wah peddles and takes us on a journey that faith has for each of us. All brought forth in a very low-key, yet powerful deliverance, all with respect to the musical composition. Sounding very King Arthur-ish, Asked The Child escorts us on another journey, this one the journey of wisdom. Using Gregorian Chants to open the floodgates of sound that flow effortlessly over Angelic Vocals, this Alan Parsons/Jeff Lynne/ELO product delivers an epic Alter/Church experience in feeling that sound can evoke. The song ends with a coda straight out of Camelot – just amazing musical visualization.

And Then One Day brings us back to the Native American chants with a mellow break-beat, while delivering spoken word to a crying violin – Which makes us realize that Age Of Reason is more than the name of the band. Heed no further proof than, The Bitch: With a huge Gong opening, we are swifted away upon psychedelic guitars that kick into an amazing overload, while carrying us to the next level. Ed’s vocals laying down – “The bitch is to swallow your pride” and  “The changes are deep down inside.” Attaining next level status is acknowledged by the Gong once again, and we are off on an early Rush, EL&P, Police throw down, grab some Zeppelin riffage and throw down like Deep(est) Purple with an awesome Carlos Santana lead jam and we acknowledge AOR’s terms in acceptance of how the music can set us free.

Blue Water is a jaunt by the seashore, replete with Honky-Tonk piano over a flowing reggae beat. It’s a bounce in the sun, a little Dixieland Rag, it shows the breathe and scope of Ed and Dave’s musical knowledge/training/ability. Breathe In The Wonder finds the embers of the campfire we sat around as we began the journey of Age Of Reason,. It is the “Relax, watch the fire, gaze at the sky and stars and let the acoustic guitar rock you back from your day” type song with lyrics that start “At the end of the day / comes this song / I’m not sure what to say / but the sun is setting / and we’ve just got to write it down.” Which leads us to the reasoning that we’re all here together in a wondrous way, let’s not to forget to use our Human Voice in a way that is Spiritually Uplifting, while delivering an inspiring message of Humanity.

Let us not only hear, but become Vox Humana.
Let us not only understand, but become Age Of Reason.
-----------------------
Reviewer: G.Gone
Go to: http://www.independisc.com/ageofreason.htm to purchase the CD and listen to song samples.

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Sunday, September 06, 2009 

Current mood:  happy
Category: Music
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Tuesday, August 11, 2009 

Category: Music

IMC Zine ~ Issue #123 ~ Aug. ‘09
Benaissa – Tables Turn

Reggae Music has a style and feel all it’s own. You cannot mistake nor deny Reggae. Sure, you can slice it up into sub-genres like dub, dancehall, ridim, showcase, sinjay, etc. etc. But there is no assigning it to anything other than Reggae (fuse any other style/genre with Reggae and Reggae trumps it), and that’s not a bad thing. However, most people think Reggae is a one trick pony. They have been force fed only the few (of countless) Reggae “Stars/Artists” that the corporate shirts of Rock-n-Radio have deemed “listenable” i.e. “safe/sellable.” Many people are not aware of the true, pure Reggae (and all its sub-genres) that is being (and has been) produced by a multitude of Reggae artists heretofore unheard of beyond their local scenes.

These deserving artists have been ignored by many and heard by few; it takes a special love to get their music to the ears of those who appreciate the all-encompassing style(s) of Reggae – Which brings us to… Silver Kamel Audio. Once again our good friends, Silver Kamel Audio, knock our reggae socks off! This time by bringing us Benaissa. From the Netherlands, this Dutch Reggae artist remains true to the Jamaican heritage, yet updates it with a modern feel on his new CD: Tables Turn.

Probably the best testament to the amazing abilities of Bennaissa is that Silver Kamel Audio brought it to us. For years, IndepenDisc has appreciated the many reggae styles Silver Kamel Audio has sent our way. Always tantalizing to our ears, rhythmic to our core, and just plain intense and beautiful on artistic merit, the “Select” reggae artists that Silver Kamel Audio works with are aligned with the IndepenDisc Spirit and Soul.

With Tables Turn, we have a very talented reggae singer that is expanding the scope of his artistic endeavor. Benaissa lays down a multitude of reggae styles all created and crafted to fit the specific talents of such featured guest artists as Lloyd DeMeza, Benjah, General Degree, Ayya, Lady G, and TinQ, as well as Benaissa’s all encompassing range, and he does it to great results.

Whatever your reggae preference, you can count on Silver Kamel Audio to challenge your ears with some of the purest, truest, cutting-edge, reggae artists, whether they were paving the early ’80 London reggae scene or are now part of the early 2000s movement. Drop the needle anywhere on the Tables Turn disc and you’re going to come away with some good heart and soul. Even while touching on serious social and politic commentary (Sodom and Gomorrah, Another Burial), Bennaissa remains the same talented, intelligent artist that also preaches the word of Jah and Love (Believe, Endless Love). Reggae music is good for the soul, even when stressing the importance of responsibility in the human experience.

Benaissa’s Tables Turn is the perfect compliment to the entire Silver Kamel Audio catalogue. If you love real, pure, unadulterated reggae that can blow your mind and make you smile, then check out all the Silver Kamel Audio releases, but you might want to start with the Benaissa CD Tables Turn.

Of course what true reggae artist wouldn’t have the EP single complete with radio/dancehall/dub mixes? Silver Kamel Audio has also released: Benaissa – “Voodoo” & “Coconut Water” EP (gotta love the dub versions!).

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Reviewer: G.Gone Go to: http://www.independisc.com/silverkamel.benaissa.htm to purchase the CD and listen to song samples.
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Saturday, July 11, 2009 

Category: Music

IMC 'Zine ~ Issue #122 ~ Jul. ‘09

the Wailhounds – Outer Realms (of Inner Space)

The Wailhounds, of Fort Wayne, Indiana have created the soundtrack to the Outer Realms (of Inner Space). They are the quintessence of the party band that resides in the Outer Realms of OUR Inner Space. If you traverse the music from all the realms of your inner space, of all those different dimensions you allow yourself to navigate, you will discover that the Outer Realms are the party spots, where the Wailhounds are your favorite band.The Wailhounds are my favorite Southern Rock Band. The Wailhounds are my favorite Jam Band. The Wailhounds are my favorite Psychedelic, Funk, Hip Hop, Alt., Alt Country, All-around Gitdown-Party Band. The Wailhounds take the culture of stoner, hippie-rock to levels reached for, but not actually attained by, all the legends – The Allman Brothers Band, The Grateful Dead, Pink Floyd, Traffic, Santana, Phish, The Dave Matthews Band, and scores of other Festival worthy artists with loyal, rabid, devout followings. What sets the Wailhounds apart from each and every one of those legends (and many more not named) is their deft study of each (and more) and the way they present each style in a professional manner plus cover each genre across-the-board, without missing a beat. What boggles the mind is: With this type of accredited experience in this cultural field, why are they still sitting undiscovered in Ft. Wayne, Indiana?

Outer Realms (of Inner Space) could pass for the Wailhounds 2001 release Psychedelic Groovey…, to which this reviewer gave high accolades and called “an electronic future groove [that] invites us into space and drops us in the South.” Where Psychedelic Groovey… laid out the outline for Outer Realms, Outer Realms takes Psychedelic Groovey… to the next level. It’s like over the course of 8 years, the Wailhounds took everything from Psychedelic Groovey… studied it (and the Wailhounds make for a good study, whether it’s David Gilmore’s lead guitar within Pink Floyd’s space-out [Few Years and Running], Bach’s Toccata and Fugue style organ [Cadenza in D Minor], or The Allman Bros. whole band jammin’[Doheney] and others), and Mastered it. Next they went into the studio and did it right.

InDOCtrination opens Side B – that’s right, didn’t I mention that the Wailhounds were a good study? They considered all this sound that they were creating and recreating and they realized it belongs in album format – InDOCtrination opens Side B and we feel (and know) it should have been the album’s opening track, but the Wailhounds love goofing around too. Sounding like the opening of The Tonight Show, as reproduced for an amazing Las Vegas appearance, we hear the announcer introducing the Wailhounds with this perfect description:

“Ladies and Gentlemen, Rockers and Rollers, it is my proud pleasure to introduce to you, Fort Wayne, Indiana’s Masters of Psychedelic Rock, Rhythm, Blues, and I’ve-Been-Down-So-Long Funkafied Soul. The band guaranteed to make you rebound, give it up for – the Wail-Hounds!”

Right on. From there we’re launched into Smokin’ B – This is the Wailhounds laying it down HOT & HEAVY – Thanks to the horns. Guest artists Brian Osborn (trumpet) and Matt Cashdollar (Sax) serve to funk-a-fy this “Got To Groove” –fest, while M.Scott Wasvick wails a vocal that is James Brown style soul-groove (Almost – we’re not giving away the Godfather of Soul’s soul-groove just yet) and has us looking for the cape. Not to be missed.

That said, it’s hard to realize this is the middle of the disc after journeying through your Inner Space on the intense groove of Side A, which included the acid-dropped Tripped Out Day (“I was tweaking my melon / When I flipped my mind”), the Down-Home-Southern-Boys out for a Party in their Rickety Ol’ Ford (which actually is a homage to the truck the Wailhounds use to get to and from gigs and the party vehicle that it really is), and C to the sixth power, where they turn percussionist Chris Carmichael loose. The Wailhounds also slide effortlessly from the socially conscious lyrics of Nobody Cares, which is an Allman Bros./Grateful Dead/Credence Clearwater Revival/Santana hybrid, to a Frank Zappa meets The Beastie Boys silly tale of getting high, hitting the clubs, and getting all fucked up (Buzz Kill, in which you must dig the profound scratching). This seamless transitioning exemplifies not only their diversity, but also the accomplished nature of this outfit.

Of course, the Outer Realm of Side B continues after Smokin’ B in exactly the same way Side A plays out. There’s the tweaked-out, swamp, psychProg Traffic groove of Wailrun, including an impressive flute performance by guest Quincy Sanders. Alienated is a Crazy Horse inspired, heavy-duty, epic southern classic hoedown jamfest. The instrumental War Eagle manages to make a huge political statement, while blending Little Feat, Sea Level, and Traffic for a Funky, Jazzy, Alt. Country groove. Everything wraps with the 11-minute plus opus, Few Years and Runnin’, which only needs an inflated pig overhead and a few lasers to complete the perfection with which the Wailhounds channel Pink Floyd.

All of which makes the Wailhounds our favorite party band. I mean, after all, who else would you expect to be playing the:

Outer Realms (of Inner Space)?

The Wailhounds.

Of course.

-----------------------

Reviewer: G.Gone
Go to: http://www.independisc.com/wailhounds.htm to purchase the CD and listen to song samples.
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Saturday, June 13, 2009 

Category: Music
Issue #121B                                     Jun. '09

Saint Bernadette - Word To The Lourdes

One of the more noticeable trends in independent music is the move to EPs. While EPs are not a new concept - they’ve been around since the days of vinyl – it has only been in the past few years that we’ve seen a rise in their popularity, and for good cause. An EP allows the artist the ability to get their music out to the audience in a cheaper and more quickly accessible format. The EP converts well into affordable downloads as well as hard copies (CD format) and by splitting that “upcoming” album into 2 EPs or more, the artist can write, record and release their music much quicker and get the “follow-up” record into the hands and ears of their listening public faster, so as not to suffer from the music/artist A.D.D. that so much of today’s audience exhibits. Whereas, it might take a year (or more) for an artist to write, record, press, and release a full-length album (thus losing any type of steam/hype/anticipation their last release/tour garnered them). That, in the indie market, is almost a deathblow. Keeping your music out there, accessible, fresh, and current is the key to success in this day and age. Two of the artists who subscribe to this theory and are making it work in their favor are Saint Bernadette and Eula.

Saint Bernadette’s 3rd release, Word To The Lourdes, is their 2nd consecutive EP. Hailing from Bridgeport, CT, this musical sect, led by Meredith DiMenna (vocals) and Keith Saunders (guitars, percussion, backing vocals), has been reading the scriptures of music to the masses since their 2003 pre-canonization days as The Saucers. Blessed and sent forth by the newly ordained Saint Bernadette, their first (2007) release, In The Ballroom, was a sultry, provocative, smoldering testament to the alluring power of the musical word. In 2008, thumping a musical soundtrack EP with the prophecy of I Wanna Tell You Something, Saint Bernadette preached to the masses by bringing the word to the pulpits and the alters of the independent communities. Now, their 2009 release, Word To The Lourdes, finds the apostles Joe Novelli (astral slide guitar, backing vocals), Brian Anderson (bass, backing vocals), and Dave Valle (drums, percussion, backing vocals) helping to spread the word of the Rock-n-Roll gospel.

Proclaiming their love, understanding, and intent with the lead-off track, Nobody Wants My Kind Words, Saint Bernadette implores the congregation to open their hearts and minds to the salvation of Rock. Once the rhythm is established and Joe Novelli’s Astral slide guitar takes flight, we know the spiritual power of the music is going to kick our ass. The Led Zeppelin inspired opening of Already Gone confirms that Saint Bernadette has found the healing power of Rock and that they’re going to save our souls no matter how many musical parables they have to use in order to absolve the sins of all our musical pleasures.

Not many independent bands in this day and age have this belief in their convictions. The true love and spirit of the music gets lost in translation due to the greed of the business. Too many sheep fall by the wayside and are lost. Yet every now and then, a teacher comes forth to shepherd the flock. With Word To The Lourdes, Saint Bernadette continues to fulfill the prophecy as the ones chosen to spread the gospel of Rock. The power of the word can be found in the hellbent deliverance of Meredith’s angelic vocals rolling over the heavenly intensity of this hammer of the gods outfit.
Have you suffered at the hands of the false idols of Rock-n-Roll?
 

Then let Saint Bernadette’s Word To The Lourdes be your saving grace.

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Reviewer: G.Gone
Go to: http://www.independisc.com/saintbernadette.htm to purchase the CD.
and listen to song samples.
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Sunday, June 07, 2009 

Category: Music
Issue #121A                                   Jun. '09

                         Eula - language of threat

One of the more noticeable trends in independent music is the move to EPs. While EPs are not a new concept - they’ve been around since the days of vinyl – it has only been in the past few years that we’ve seen a rise in their popularity, and for good cause. An EP allows the artist the ability to get their music out to the audience in a cheaper and more quickly accessible format. The EP converts well into affordable downloads as well as hard copies (CD format) and by splitting that “upcoming” album into 2 EPs or more, the artist can write, record and release their music much quicker and get the “follow-up” record into the hands and ears of their listening public faster, so as not to suffer from the music/artist A.D.D. that so much of today’s audience exhibits. Whereas, it might take a year (or more) for an artist to write, record, press, and release a full-length album (thus losing any type of steam/hype/anticipation their last release/tour garnered them). That, in the indie market, is almost a deathblow. Keeping your music out there, accessible, fresh, and current is the key to success in this day and age. Two of the artists who subscribe to this theory and are making it work in their favor are Eula and Saint Bernadette.

Language of Threat is the 3rd EP release from Eula, following 2007’s Fill Your Heart and 2006’s Up In Arms. This D.I.Y. trio of Alyse Lamb (vocals, guitar), Jeffrey Maleri (bass), and Nathan Rose (drums) has succeeded in upping the ante with each release by creating and recreating their own unique sound. Melding a cacophony of wildness with major thrash, punk, and experimental Berlin style assault rock, Eula has produced a monster disc.

Equivalent to a Mythical Beast, Eula uses the gigantic rhythm section of Jeff and Nate to lumber in with intense grooves that are the body of this beast. Thick and heavy, these guys have a cosmic awareness of how to slam their “in-your-face” punk attitude across the soundscape with a very knowledgeable, polished, and raw feeling that is unique in today’s modern music. While Jeff and Nate keep this beast crunching forward, it’s Alyse’s innocent, yet experienced, sharp-edged vocals and guitar that are the teeth of this beast. Tearing through the rhythm with an extremely seductive (in a heavy way) vocal, which at times can also be shrill and warbley, and a razor pitch guitar that slices frantic to delicate (sometimes within single notes), Alyse walks the tightrope better than most leadpersons. It’s a very hard tightrope to walk, one that takes confidence in what one is doing.

As a band, Eula exudes that confidence. Take a few listens to these 6 songs – another perk of the EP format, you can toss it on repeat and dig along many times over. At first you might wonder whether you’re listening to another Math Rock, Post Punk, or freaky Industrial Rock poser, but if you can throw out all the preconceived influences we all reach for so quickly, you’ll find that Eula has done the same as well, and as a result, created their own brand of rock. Eula has taken their early D.I.Y. roots and fashioned a new genre, which this reviewer is satisfied in calling Mythical Rock.

That, is Eula’s Language of Threat.

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Reviewer: G.Gone
Go to: http://www.independisc.com/eula.htm to purchase the CD.
and listen to song samples.
3:33 AM 
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Friday, May 08, 2009 

Category: Music

Issue #120                                                                                            May '09
                                   Jellyshirts - "Sail On Sally"

Fading in, out of another consciousness, another time, another space, transforming us to a level, nay, multiple levels, where all that has been, is, and shall be, converge to enlighten our souls – Where “Say Hello” and “Don’t be too long” takes on the meaning of a known connection throughout our existence within conscious and unconscious worlds. Jellyshirts live this, and they live to spread the word.

Stutta maps the journey of kindred souls. We meet them as they spend a summer together, knowing it isn’t the first time that they have enjoyed each other in a certain moment in time, and that it won’t be the last. They have had many alternate lives that they have passed through together, and they have manage to find each other’s company for as long as that moment in time has allowed them to. Once they pass through this particular plane of being at this particular point in time – “Sail On Sally” - they know that they will have other opportunities – “Don’t be too long” - in other levels of consciousness, where they can once again say Hello - “Hello, Sally” and all will be right again.

Jellyshirts have a solid cohesiveness in which they operate as one, yet each owns its space while feeding off and passing it along to each other. It’s a spiritual plane on which they exist – They write masterpieces, each within themselves instrumentally, yet so bonded in song structure. While commonly acknowledged by the groups hardcore, loyal and devote followers, the professional playing is a given. Bridging 2 millenniums, lead man Bret Logan (guitars, vocals, keyboards) has partnered with Scott McDonald (drums, vocals) for 20 years on a musical quest, crusade if you may. Nick Appleby (bass, vocals, keyboards) joined the crusade 13 years ago, and Jess Brauner (guitar) was added for the past 8 years to solidify Jellyshirts for the 21st century. But, it is the studio where Sail On Sally emerges as a rival to Pet Sounds and Rubber Soul (borrowing liberally with a kindred soul aspect – Listen to spot the spot-on George Martin production homage’s). What Jellyshirts have done in the studio with their live spontaneous powerful “pick –n –soar” elegance sets a standard of excellence rarely found on an independently self-produced release.

Jellyshirts love to jam and fiddle with “at the moment” improvised sessions that seem to develop out of nowhere (but are actually taking place at many different points) – It also seems as though they have adopted that same approach in the studio as well – And when the tape is rolling, we sometimes get a gem like Wren Intro, a nice off-the-cuff jam that was inspired by the song Wren itself. Almost Mid-Eastern flavored it would nestle in nicely on Zep IV (think: Four Sticks, Going To California). Bret presses Jimmy Page here while McDonald’s finesse and power rival Bonham’s semi-syncopated best and Appleby’s bass is not only solid John Paul Jones but also gives off a heavy John Entwistle vibe. Wren then reaches across time planes and parallel levels to places in which enlightenment is the greater good. Paths cross as if they are meant to. And as with everything that is meant to be, it can and will happen again and again in different time structures, and yeah, it is good.

The Velvet Underground plays a huge roll in the sound structure favored by Jellyshirts. Bret Logan builds his own equipment to create what this reviewer calls their “patented” pick-n-soar sound. The Main “Rig” favored by Bret is his self-designed front-end circuit, comprised of a pre-amp/toner/compressor/limiter/distortion module – which gives him a high-end, highly individual and recognizable tone that he alternately switches to either a fuzzed out distortion or a hyper-compressed feedback washed sound.  This is evident on the songs such as Brando and Eric. Brando pounces with a solid Velvets assault and wall of sonic perfection proclaiming Jellyshirts as the Velvets of our modern era. Erik drives us straight into either heaven or hell to deliver a mystical, musical rendition of a tragic tale of an 8th century Viking.

Jellyshirts also mix in a little Glam, a la Diamond Dog era Bowie and Mott The Hoople, by using a bouncing piano underneath on Don’t Stop Me Now, a song that uses the music to build the courage to meet your dreams head on – to dare the chance – and the music convinces us that the task can be achieved. As the gospel choir rises to the plea of “stop me please, stop me, stop me” we know that he doesn’t stop, and that he indeed experiences his dreams.

Riffy takes the pick-n-soar guitar rock, combines it with a vintage 20’s microphone style vocal and angelic harmonizing to extol the virtue of spontaneous love and the glorious benefits of pursuing a euphoric Shangri-la within ones conscious life efforts. When Jellyshirts hit the soaring vocal homily of “Heaven… Heaven… Heaven… Heaven,” we truly understand that Heaven can be found within a lifetime. That it can be experienced in multiple lifetimes, or whatever it may account for in accordance to your spiritual beliefs, if you allow it to.

Jellyshirts have crafted an album so diverse in it’s spectrum of music and so representative of the artistic merit of the album format – that to experience it, you must be willing to devote the time it takes to find each and every nuance built into each track. Subsequent listens reveal a whole lot more going on here then most 21st century ears are accustomed to. Music is a medium so vastly misunderstood, its existence is more than just sound, it is a gateway through time and dimensions. Witness Awake, a triple-shot, double-espresso run through the mind of one facing the mortality of the loneliness of the moment. It tells us that dreams should be actively sought out and achieved, because after all, isn’t the happiness of any reality just as important as the one you choose to experience it from/in? Jellyshirts choose to experience it and pass it along through music, a medium older than time itself. Prepare to absorb and enjoy this sensation as Jellyshirts present it to us.

It’s seems incomplete of me to not touch base on songs such as In-Between (Multi-tracked vocals, 3-part harmonies, a major Beatles/Beach Boys hybrid), F-You (a rare Cream/Blind Faith ballad), and Willow, Somewhere Where, and Molly (lush, elegant, solidly alluring, part shoe gaze, part The Smiths,  part goth, intense, solid prog, executed perfectly). These songs establish themselves and settle into our sub-conscious in ways that are wonderful to experience.

The Bruce is the perfect closer for an album that has Jellyshirts making a statement of who they are. But in a way we’re not fully ready for what is to be – And as the journey of The Bruce parallels the journey of Jellyshirts, we are effectively swept away…. Taste the drum and bass lines teasing… the guitars dancing in unison as the keyboards ring underneath – Then Bret hits the Fuzz Box – Once the power overload has been reigned by Bret, Scott and Nick are right there to bounce us back into the story. The next thing we know, we are soaring into lands unto before, never experienced in this lifetime. We reach back and see forward, the harmonic accord achieved sends us upon the ultimate journey culminating in a pure emotional bliss – distortion melts into birds chirping and we take the simple pleasures of a life we are currently experiencing and embrace them long enough to look forward to experiencing them again in another place in time.

Sail On Sally transcends the boundaries placed on us within our acknowledged reality. It is a journey that doesn’t necessarily conclude, but does bring us to an enlightenment which began in 1989, continuing with Jellyshirts first release Rays To The Sun in ’95, followed by the shelved “lost” ’98 release Outside. Bridging the century, Outside was re-released in 2007 on a flashdrive format (effectively re-introducing the band to fans that had been in waiting), and now Sail On Sally brings us full circle. From the mechanical re-imagining of the 1st LP’s cover, to the continuity of the established sound, to the driving force behind the ideals, Jellyshirts have not altered their beliefs nor have they swayed from the path. They continue from where they began without ever losing site of their destination. Fading in, out of another consciousness, another time, another space, transforming us to a level, nay, multiple levels, where all that has been, is, and shall be, converge to enlighten our souls.

The album concludes with Virginia, a coda of mourning with a spirit that celebrates death on par with that of celebrating life.

We are home.

Sail On, Sally.
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Reviewer: G.Gone
Go to: http://www.independisc.com/jellyshirts.htm to purchase the CD.
and listen to song samples.
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*If you wish to explore Jellyshirts philosophy further a good place to start is the book: Seth Speaks – The Eternal Validity Of The Soul - by: Jane Roberts.

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Friday, April 10, 2009 

Category: Music




Prog Rock: Progressive Rock, it was born out of the psychedelic/acid rock of the late ‘60s and evolved through the early ‘70s as bands/artists abandoned the standard 3-minute pop, verse-chorus style songs in favor of pursuing music on a grander scale. With Prog Rock, the artists would allow the song to progress more in manners usually embraced by Classical compositions (rigid structures with charted purpose) and improvisational freeform Jazz, where the instruments were allowed breathing room in whatever direction they saw fit. Combining these elements with song lyrics based upon Fantasy, Science Fiction, Medieval, Mystical, Magical, etc. themes usually held together in conceptual form, Prog Rockers established the 10-minute opus as a means of escapism through music without the commercial aspects normally associated with rock. Though considered to be short lived – in less than 10 years, Punk and Disco ousted Prog as the genre du jour – and by 1977 Prog was all but declared dead, but not really. The late ‘70s and early ‘80s yielded Prog Rock bands more sales than ever before, but only after they had scaled their overblown, pretentious, self-absorbed, technical and studio excessiveness back enough to fit mainstream popular radio. The ensuing decades have seen their fair share of Prog Rock bands carrying the torch, but it is almost regulated to an underground type of genre. A genre where those who revel in it are almost afraid to revel too loudly. A guilty pleasure perhaps? Not here at IndepenDisc. We’ve declared April 2009 Prog Rock Month and we’re featuring two Prog Bands for your enjoyment – guilty pleasure or not.

Oxcart is a MetalProg band from Portland, OR and Sky Picnic is a PsychProg band out of Queens, NY (We reviewed Sky Picnic last week 04-01-09, this week 04-08-09 we review Oxcart)

Welcome back my friends…


Oxcart, from the burgeoning music scene of Portland, OR gives us a Classic Prog release with The Equation – “A tale of tragic loss and questionable redemption.” This concept album works on every level of Prog brought forth through the years in such a precise manner that the only way to listen to it is as a whole. The quartet of: Alex Feletar “The Gambler” (drums, choir), Matt Jones “The Businessman” (keyboards, piano, synthesizers, guitar, vocals, choir), Ben Carey “The Politician” (bass, vocals, choir) and Jason Baker “The Religious Zealot” (guitar, vocals, choir) have crafted a Modern day Prog Rock Opera that has us name checking every pertinent band/album from Prog’s glory years stirred with the Hammer of the Gods metal influences of the ages. In no particular order we hear/find/feel, Pink Floyd, Led Zeppelin, Rush, Iron Butterfly, Genesis, Black Sabbath, Van Halen, Alice Cooper, Alan Parsons Project, The Decemberists, Marilyn Manson, The Who, Metallica, Iron Maiden, Yngwie Malmsteen and others that slip in and out so effortlessly.

Set in what comes across as 4 acts, the story leaves a lot to the listeners lyrical interpretation.... (a lyrical synopsis is printed in the liner notes, allowing a certain fraction of insight to the story), but as in true prog fashion, it is the music that gets the points across. As with any Classic Prog Album, if you can use the lyrics/tale as a secondary plot to the music, then the band has accomplished what they set out to do, and here, with The Equation, Oxcart has nailed it to the cross for all to hear. Bravo!


Inception, introduces the story with a sound bite (possibly JFK?), explaining that with the development of the atom bomb, man has created the power of self-extinction. Inception continues with swirling synths underlining the tale of a lost soul searching for a better way, a better day, but to no avail. The Genesis style build sucks us into the tale - more sound bites – then, a theme statement “The world’s so full of fucked up people / I can’t tell whose good or evil.” Equation then launches us into full-blown Metal, as we’re chunka-chunka-ing down. Driving drums force the pace as the heavy chord slamming has all the glory of the afore-mentioned Metal Gods. Wishes comes out of left field, a bit funky but quickly morphs into a driving metal attack complete with a major, serious guitar solo and intense falsetto vocals that drive the action. Amazingly, the piano is introduced to clear out and end the song, which then bounces our wishes for a better life into Office. With the sax a wailin’ and the piano hesitantly pounding out a funky, smokey beat (wait a minute – weren’t these guys just Heavy Metal bastards? Now they’re tossing sophisticated Pink Floyd studio prog at us? Coooooool.), which evolves to the ending with another Metal assault.


“Everything is so confusing / Everything is so amusing / All your words have left me shaken / Wondering if I’m mistaken”


Act 2 is The Gambler Trilogy; Gambler, Pt. 1, Gambler, Pt. 2, and Gambler’s Lament, all show our (anti)Hero taking a gamble with his life. Pt. 1 starts in true Sabbath form - we’re pushed to the edge right from the start. A good old-fashioned song of rage from the genre that created it. Pt. 2 suddenly re-introduces the Alan Parsons style synths. Very slick production and layering, very ultra-modern psychedelic. Punching drums and vocal F/X continue the story as everything is lost. Very tight, Oxcart produces power even when they’re laying low, setting you up for the kill – “Give my father back his money NOW!!!!!!!” Trippy piano runs and fuzz chords come in to lead the ensuing jam session. Reverb heavy piano chords guide us into Gambler’s Lament – “I have nothing else left” replete with excellent choir vocals evoking Pink Floyds The Great Gig In The Sky. Short wave bursts ends the trilogy (and Side A) on a down note.


We start Side B with the epic Desert. Again evoking Floyd – Welcome To The Machine – This monster drum and guitar build accentuates the mantra of “Start a new life” with the knowledge of how hard it is - that heavy weights need to be lifted - and it just might not happen. An Angelic choir feeds the desperation into an ominous lumbering beast that the Gilmour-esque lead soars through (Classic Prog at it’s finest). Explosions begins with a sound bite of a ranking German officer (or is this actually Hitler?) seemingly announcing the bombing of Berlin. The chatter of fighter pilots on a bombing raid confirms. This Led Zep Physical Graffiti inspired Metal classic is all summed up with an Iron Maiden vocal “I don’t wanna try / To fall in love again / Think I might explode.” The song Genesis then gets heavy Dark Side Of The Moon piano on us as we slide out of this self recovery. Nicely placed.

The final act moves us into self defeatist territory and strays a bit south with Tetherball, but not without underlying purpose, this is, after all, a concept album and if it were all laid out plainly why would we continue to listen and listen and listen to it again and again and again? Lesson attempts to explain what our protagonist has learns through all this, but the synth driven metal storm tells us otherwise. Roger Waters always had the knack for bringing the story into the mind of the subject, here Oxcart dives deep into that mind, this story really doesn’t have a happy ending. We know it, we hear it, we feel it and we are swept right into Commencement (the song segues throughout the album match the moods and needs of all the compositions). In what I can only describe as surreal (is this the same band?), this weird, delicate, definite cool down of angelic choir over Marvin Gaye does Detroit, wraps up one of the best Modern Metal Prog Rocks albums of this era. The Equation has been written.


Oxcart,
Welcome back my friends…


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Reviewer: G.Gone
Go to: http://www.independisc.com/oxcart.htm to purchase the CD.
and listen to song samples.

3:18 AM 
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