Mac Demarco's Live set at The Shadow Electric, Melbourne.

Earlier this year, when I was employed and enjoying the youtube benefits that an office job could bring, I found myself watching a couple of Mac Demarco's live shows. They were brilliant - the band were animated, they played their songs even better than the album versions, told rude jokes, did all sorts of crazy shit...

And I'm glad to say that that experience was brought to their show on Monday.

It was absolutely fantastic. The support acts were pretty cool too, Jesse Davidson was a bit like a two man Two Door Cinema club with thrashy guitars and nice trembling vocals, and I bought his 7" which had a dong on the cover. Scot Drakula (dunno how it's spelt?) was pretty surf punk/rock and played a decent set, a few songs were actually eye openingly decent... but Mac was something else.

I think what really sealed it for me were that they were out to have a good live show. When playing a lot of their old or slower songs, the band sped it up and transformed both the song and the audience into an absolute boogie fest and it really gave off the vibe that this would have been fantastic at a festival. Other highlights include Mac and his bass player making out on the stage, flashing of penises, flashing of Mac's penis, a giant medley jam of various artists - Tool, Led Zepplin, Limp Bizkit and more, dragging punters on stage, the list goes on.

The crowd were a bit placid, unfortunately. I think it's safe to say though that the band would have been amazing at Meredith festival the previous weekend - Mac also hinted at a possible return to Australian shores, and my buddy reckons 6 months tops and he'll be back. If you get the chance to go see him, drive to Sydney! Drive to Melbourne! Just do it! 10/10 performance and you will not be disappointed! Unless you're a pessimistic fuck-wad in which case you shouldn't be leaving the house anyway.



Side note - Only one issue with the gig is that the one time I got to meet the guy was when I was running to the toilet. He was hiding in the corner of an alleyway and instead of saying something about how it was good seeing his popularity shoot up because of hits on my blog, I pretty much dorked out and said 'OH HAY MAN' and then went off to piss in shame while I talked to another awe struck punter who jokingly said he nearly told him he loved him.

Love Of Diagrams - Nowhere Forever

2009 saw the release of Love Of Diagrams' 3rd studio album - Nowhere Forever. The album is a palpable feast of indie jams and spaced out dynamics, but I can't help but think it could have been something more.

Instrumentally, the band has a great sound going on. They've given the bass guitar more of a presence than your average band and it pays off, giving the guitar time to go off into these airy solos or set up some grungy backing noise. You also hear a lot of different drumming styles varying from normal rock to a deep jungle like rhythm depending on the track. Overall, you end up getting a sound can be really involving, mosh friendly indie, a summery art punk vibe holding similarities to Sonic Youth, 90's era grunge and a tinge of that signature noise the Australian folk indie scene was making back around the early to mid 00s.

However, while it's apparent that these guys are talented musicians, there seems to be a real inconsistency in the quality of tracks across the whole album. There are points where I found myself listening through the whole thing and feeling that some of the slower songs lacked a certain 'dynamic' - the lyrics wouldn't be memorable, the jams would be rolling on for too long - it'd feel like nothing was actually happening with the music.You'd start to wonder if the better songs on the album were the result of some sort of fluke, before another strong track would come on and remind you why the album is good.

Like I said though, they are talented musicians and despite the way the album seems to draw on in places,  it still opens strongly with a lot of catchy, in your face tracks like Forever, Mountain and Static Information. Even though the album does draw on, if you nitpick a few tracks from Nowhere Forever and give those a listen then they'll make a good addition to any indie rock enthusiast's playlist.

Listen to the whole thing here: http://loveofdiagrams.bandcamp.com/album/nowhere-forever

Reccomended for: Lovers of Sonic Youth, Bloc Party, The Ex.

Side note - 2013 was scheduled to hold a new release from Love of Diagrams with Steve Albini doing the production work. While it's unlikely we'll see the release until 2014, Albini has produced albums for smaller bands who have then sky-rocketed to fame and critical acclaim. Three examples being The Pixies first album, Cloud Nothing's 'Attack on Memory' from last year, and McLusky's quintiesstial rock album 'Mcklusky Do Dallas'. As a band, Love of Diagrams shows as much potential as any of these three and if Albini's track record is anything to go by, their next album *will* be a masterpiece... assuming it gets released. Watch this space, guys.

New 'Have A Nice Life' - Defenestration Song revisited

Connecticut's most independent, strange and progressive band are at it again. With a new release set for February 4, 2014, this is the first teaser we're getting off the album, a revisit to their track Defenestration song which was released back on their Voids EP.

As for the track? I'm undecided on it so far. I'm super excited for new HANL, but Defenestration song was one of those ones I would just hammer out every day (still is) and I really liked that raw noise it had. The polish is cool but it's missing a certain oomph. Probably through the change in vocals and the mellowing of the percussion.

You can find it here: http://www.npr.org/blogs/allsongs/2013/12/10/250002714/vikings-choice-this-song-is-literally-for-throwing-stuff-out-the-window?sc=tw&cc=twmp

Future Of The Left - How To Stop Your Brain In An Accident

Good news people! I submitted this to an upcoming streetpress magazine and they liked it! The bad news is that they only want reviews of Melbourne bands. That's pretty cool however.

Anyway on to the review!

The end of 2013 sees Welsh band Future Of The Left returning once more with the release of their fourth studio album, 'How To Stop Your Brain In An Accident'. After what some consider a lacklustre album that preceded it, it's good to say that the band is back to fine form with this hard hitting release of obscene noise rock.

One of the great things about this album, and maybe of Future Of The Left in general, is that they keep their music interesting. The band isn't afraid to mess around with a few styles in order to stop an album from going stale - the album starting off to heavy riffs, unpredictable vocals and a thunderous finish with the track 'Bread, Cheese, Bow and Arrow', - after this, however, the second track conveys a vastly different sound - both catchy and a little bit poppy with zero trace of the thump and distortion of the previous track. It's these kind of curve-balls that keep the album interesting, and beyond this we get more tracks that mimic the musical styles of metal, folk, post-grunge and even finishing on a blues track.

The other thing that the band does right is that lead singer Andy Falkous goes the extra mile in order to separate himself from the other vocalists. He's not afraid to get weird with the delivery of his already weird lyrics, screams of 'Her cock is so hard', Elvis style warbles of 'He was good with his hands' amongst many other obscenities are dotted all over the album, and might make it a little hard for the conventional listener to enjoy. However, he has his serious moments too, a particularly good lyric from 'French Lessons' goes along the lines of saying 'You could kid yourself that your dreams amount to more than counting backwards from four' as if to attack a perceived feigning of ambition in those who really only look forward to the weekend.

I can't say that I think this album is for everyone. At times it's abrasive, confronting and noisy - but for those of us who took the time to appreciate those louder, weirder and ultimately more unique albums, this is an absolute gem for the noise-rock/post hardcore enthusiast and a solid middle finger to most of the conventional rock that dominates the pop music market today.

Give this a spin if you're into At The Drive-In, The Men, or Shellac.
Do not give this a spin if you are elderly, easily offended, or listen to Nickelback.

Johnny Borell Afterlife - second track off the album. 

See what I mean about the weird but poppy sound? Great track.

Pavement (and why you should listen to them)

Back in the 90s when the grunge scene was erupting and everyone was wearing stupid amounts of denim, a bunch of stoners formed a band by the name of Pavement. Low-fi, Punk, Blues, Country, Rock - the band incorporated a multitude of styles throughout their work while still having a very distinctive sound, which I'm willing to attribute to Steven Malkmus' boyish voice. Post 90s, the indie scene erupted and took over normal radio, even being criticised as the new 'pop' by some cynics - and I'd like to believe that Pavement had a hand in shaping the modern indie sound as we know it.

Strangely enough though, most of my sources say that they were never big in the mainstream and gathered a relatively large underground following. They had one big hit with the song 'Cut Your Hair' but that was about all the attention they received through conventional channels while other bands such as Smashing Pumpkins and other bands that would score big on most critics lists were taking that attention for them.

In many ways I consider Pavement an equal (if not better), and that's mainly because they were a fun band to listen to while still being talented and never sticking to a pre-set convention. Most of their albums are similar, but they don't sound much like other bands of the time, save for their first album which held a distinctive 'grunge-rock 90's' kind of vibe.

It's very easy listening for the most part, the kind of thing you can slap on anywhere and feel comfortable listening to it. The earlier albums are more experimental and noisy, while the last two albums are very well constructed and more like indie with a little bit of pop. One of my favourite bands out there. Have a listen!

Shady Lane, off Brighten the Corners, their 4th album of 5.

It's a fun, simple riff. Super catchy.

You are a Light, off Terror Twilight, their final album.

That end riffwork is fucking brilliant, stuff like that is why I've ended up really appreciating the band.

Cut Your Hair, off Crooked Rain, Crooked Rain.

This was their 'big hit'. I remember seeing this video clip as a kid but never got into the band until this year which was a bit of a shock when I finally heard it on the album.

There's plenty more. Go hit youtube!

Mark Kolezek & Jimmy LaValle - Perils From the Sea

Somehow the Wonder of Life Prevails - Mark Kolezek & Jimmy LaValle

Long song. Listen if you get a chance.

Really highlights both Kolezek's strengths and weaknesses. Opens very strong, and you should at least listen up until the first chorus.

Soft spoken folkster Mark Kolezek has returned once again to serve up interesting stories and soulful musical memoirs, but this time he's teamed up with Jimmy LaValle (of a band called The Album Leaf) to create an album with a twist - Folk-Electronica. While bizarre it might sound, it works. I know, I'm confused too.

I'm always a little half and half with Mark Kolezek. On one hand he's brilliant at telling stories and always has been - Gustavo, What Happened to My Brother, Somehow the Wonder of Life Prevails are three shining examples from the record. He's got a habit of making these strange stories from his life seem human, beautiful, highlighting the damage that the subject of his songs has suffered and the way it moved him.

Problem is though, his lyrics are simple, his rhyming ability is weak in places, and the songs he spends talking about his travel damage the record by creating uninspiring tales of how he's been to all over the world and can't create a human emotion from the trip, the absolute polar opposite of the songs he spends talking about people he knows. I swear to god, if I have to hear him sing about Copenhagen one more time, I'm going to go Dutch on his ass. Whatever that means.

Now the interesting and somewhat ground-breaking aspect of the album comes from the usage of electronic music to back Kolezek instead of his usual guitar, which is a folk standard. This hasn't really been done to the length of a whole album before but it works. It's simple, but beautiful.

I can't help but think, however, that it could have been done better. They've definitely broken ground with the combination but the music might be a little too simple and Kolezek's writing trailed off in places. Watch this album though. I guarantee this is going to set a little guy somewhere up to big things. Get on it.

Run the Jewels

Came across this album the other day whilst looking for new music and only once I’d hit the website was it that I realised that Killer Mike, responsible for making R.A.P. Music last year (pretty sure I reviewed it? Was AWESOME) had teamed up with producer EL-P in order to make a new, free to download boom rap record. I was in rap heaven. Completely stoked. On top of this the album was fantastic, which is why I’m reviewing it. Free amazing rap record? People NEED to know.

Now there’s multiple reasons this album works. I like to think of Killer Mike as Kanye for people who don’t listen to Kanye. Killer Mike is about delivering heavy raps with a strong sound behind him. He's got a way of handling lyrics which has a certain cleverness that GZA knew how to exploit, and that's  the how and when of it - he knows the exact thing to say at the exact time, in the exact way. It makes him sound louder than he really is.

EL-P's contribution - the music - is full on. Big beats. Really big beats. My bass speaker was pumping out elephant footsteps and my housemates were loving it. The rest of the music was really different from what I expected from any sort of rap record. It was more, I dunno, trance? Very electro, focused on good synths and not so much what you’d expect from your typical rap album which usually relies on instruments and samples. This almost seems like the antithesis of the surge of club-hop that artists like Dizzy Rascal (and unfortunately, Roots Manuva too. Way to sell out.) have been putting out lately. As in Run The Jewels isn’t terrible and a fucking insult to music. Quite the opposite.

Anyway, here’s a link to it. You're 20 something and poor. Just do it.

http://foolsgoldrecs.com/runthejewels/ 

Finally! Updates.

Before you dig in, two things.

First - this blog is a pain in the ass to format. If I get back into doing it seriously, I'm going to consider trying wordpress or some other crap. I'll bring over all the old reviews, for sure.

Second - These last six reviews are oldddd. I chalked them up at work but my busy schedule* prevented me from posting them. Added bonus for this? I've got post scripts on some of them to let you know if the album is still good or not after listening to it a couple of times. Boom.









*thinking up of dumb ideas for T.V. Shows such as Crime Dog (copyright TB 2013).

Raekwon - Only Built for Cuban Linx (feat Ghostface Killah)

Rainy Dayz - Raekwon ft. Ghostface Killah/Blue Raspberry

Freakin tune! Check those beats. Ghostface's opening lines pretty much highlight my point as to why he works so well on this album.

I want to preface this review by saying that there’s also a bit in here about ‘Cuban Linx 2’, the follow up to this album, and how I’m interpreting the importance of the interplay between good MCs and producers. Let’s have a chat if you’ve got any ideas or think I’m full of shit.

I’ve been getting into a big Wu-Tang hip-hop phase lately and my adventures have taken my ears down some new and exciting avenues. So far I’ve gone through Enter the Wu-Tang, Wu-Tang Forever, GZA’s Liquid Swords, Ghostface’s most recent 12 reasons to die, half way through Ghostface’s Supreme Clientele and got through Only Built 4 Cuban Linx pt.2… along with this album.

Now before I started listening to it, I read that it received rave reviews, and was comparatable to GZA’s Liquid Swords as a strong competitor for one of the greatest Wu-Tang solo efforts, if not hip-hop albums of the 90s. A lot of reviewers, magazines and the like will confirm this, both reviews that were contemporary to the album’s release and several retrospective reviews.

But shit man, I don’t know! I really don’t know.

Honestly, a lot of what I found good on this album came from Ghostface’s work on the album. Every song where he featured, every line he spat, absolute gold. Now there’s a lot of his input, he’s a major collaborator on the album, but I think it fell a little bit short compared to the rest of the Wu-Tang stuff I’ve been hearing.

The album sprawls for a lengthy 18 tracks and a lot of it is good, well produced and full of interesting lyrical themes, other featured Wu-Tang artists and was considered ground-breaking at the time, but I can’t enjoy Raekwon’s rapping as much as other Wu-Tang artists. I think he’s good at what he does, but half the brilliance of the other Wu-Tang artists comes from the fact that they work really well with each-other, but above all with RZA’s heavy drum and smooth sampling approach to production. Maybe what really got me here is the length of the album – 18 tracks is difficult to sling while keeping fresh and original, and while the start and the finish of the album has some solid tracks, there’s a bit in the middle that I couldn’t enjoy. I also wasn’t too sure that ‘Can it be all so simple’ really needed that remix.

That said, there’s some tracks where it all works really well. Incarcerated Scarfaces is a smooth track and Raekwon hit the nail on the head with that one. Rainy Dayz is well produced, catchy as hell and Ghostface’s opening rap is smoothly delivered. There’s a reason this album is considered a classic, I just don’t believe it’s on the same level as Liquid Swords.

Now that said, go check out Only Built 4 Cuban Linx 2. It was actually a really good, albeit different (thanks to the difference in 90s and late 2000s production) album. What’s more, Rae’s rapping is way easier to get, either he’s learned out to enunciate or the production was so well done that it made him more audible than this album. Maybe both! Sadly though, not a lot of people heard the album and while critically it deserves the praise it got, Hip-hop has taken an ugly turn in the space between the release of both albums meaning it got largely ignored.

American Football - Self Titled LP

American Football - Never Meant

Sigh.

Mike Kinsella of Capt’n Jazz fame went on after the band dissolved and created American Football, an indie/Midwest emo band which featured floaty guitars, songs about goodbye and odd drumming rhythms. They only released an album and an EP (as far as I know?), both of which were self titled. This review concerns the album, one that’s slowly crawling in as a standout and a favourite in my books.

The album is a healthy crossover of intricate guitar work exhibitioned by acoustic folk artists such as Elliot Smith, mixed with indie-rock band ethic, the strange rhythms similar to unwound in a way. Kinsella’s voice isn’t about yelling as it was with cap’n jazz, but more about floating smoothly over the rest of the song, creating an effect that has been described as ‘ethereal’ by other listeners.

The album sticks close to a single style and doesn’t really change around much from track to track, although the songs are pretty varied in terms of timing. there’s short and catchy songs such as ‘Honestly’ or drawn out tracks such as ‘Leave Home’, a build-up of layered guitar and drumming. As far as song structure goes, it’s all very aesthetically pleasing, calm, and fresh – a brilliant sound that should be replicated but may have gone unheard by many. Give this album a listen if you’re into calmer music and I guarantee you won’t be disappointed.

GZA/The Genius - Liquid Swords (WU-TANG!)

GZA - Living in the World Today
So hard to pick a favourite. This might be it if not just for the awesome bassey production.

So recently I’ve found out that one of the most fun practices in my life involved cooking up dinner whilst listening to Enter the Wu-Tang. Maybe that’s a reflection on how boring things have gotten in my life the moment, or more so a reflection on what my weird idea of fun is. As a result of this, I decided I’d get into a few more Wu-Tang hip hop records, the best of these so far being GZA’s Liquid Swords.

I did a bit of homework before I listened to it. People were saying it was a contender for one of the best hip-hop albums of all time, and I didn’t quite realise what that meant until I’d listened to it. This album was way ahead of its time, and despite hip-hop not being my main calling, I’ve got an appreciation of this which is throwing it up as one of the best albums I’ve listened to. RZA’s production fluctuated from that gangsta beat style he nailed on Enter the Wu-Tang, to a dark, heavy groove. GZA’s rhymes highlight why he’s called The Genius, his lyrical style shows a certain cleverness that put him a cut above other lyricists of the time. Besides this, I think all the members of the Wu-Tang Clan were featured in some capacity on the album with especially commendable input from Ghostface Killah on 4th chamber and Method Man on Shadowboxin. This still keeps the feel of a Wu-Tang album while being a little bit heavier, due to the nature of the production.

This album is filled front to back with solid hip-hop songs. Not a single skippable track. Like I said, even if you aren’t into hip-hop, there’s a good chance you’ll be able to get into this. It’s good, sometimes gritty but always awesome. GET INTO IT!

P.s.

So yeah, this might be my favourite hip-hop album ever. GZA might be my favourite Wu-Tang member because of it after RZA, who is probably my new-found god of producing. Guy knows how to fucking work *with* the music, not just alongside it.

Iceage - You're Nothing

Iceage - Morals

Piano? Punk bridge? It can be done - and how!

Ok, first impression I got from this was that it was tuneless wailing over over-fuzzed punk instrumentals, you know, the vibe you get from bands who you don’t believe have a fucking clue what they’re doing. Then I got about 8 minutes into the album and it began blowing my mind.

There’s a stack of catchy, well written songs here with intense drumming and unique riffwork. The vocals are rarely in tune which ends up complementing most of the songs in its own weird style, kind of in the same way that hardcore punk vocals help the music out by being its own instrument. You don’t believe me – and it’s hard to explain, but it works. Like maple syrup and bacon (kinda sorta). There’s a real energy to it that’s signature of punk rock but the sound divorces itself from the normal groundwork by the unconventional use of the fuzzed out guitar and the weird wailing, and this is where it’s strength lies. It’s got a strong feel of originality to it, and it doesn’t allow itself to stagnate and become repetitive.

They’re also clever enough to mix a couple of different styles into the album as well. The track - Awake has a rock and roll bridging riff near to the end, Ecstasy has it’s own mix of noise-rock instrument work with snappy drums and Morals, my personal favourite track, mixes a piano build-up with a furious punk chorus.

Honestly a lot of people are dissing on it because some of the guitar is indecipherable at stages. This is a great album for noise-rock enthusiasts and indie punks alike. Give it a go. Three or four tracks in and I promise you’ll love it.

P.s.

So once again, this is an old review I failed to publish earlier. What I'd like to say is that I still give this album a spin, if only for Morals. there's some decent stuff here, but Morals is just a standout.

Baths - Obsidian

Baths - Miasma Sky

I reckon this is/has made it as one of the album's singles. Check below for a track by track album review.

Might not do a whole review here, time doesn’t really permit it with my work these days, so I’ll chalk up a review from youtube clips I’ve had a gander at!

Obsidian seems like a pretty decent glitch-pop album from what I’ve gathered. Vocals are pretty relaxed, some of the sounds resemble a remixed 8-bit noise. There’s piano work as well. It’s all a bit familiar though, kind of reminiscent of the Australian electro-indie scene that’s sprung up over the past couple of years. Some of the beats are pretty wicked as well. No Eyes has a hard synth drum roll. Lyrical use seems to be conciencious too, the words ‘fuck me’ used with emphasis for an impact effect.

Ambient parts are really well done. A lot of the construction done on the songs are intense. Worsening has a good climatic effect and jumps from soft to hard electronica.

Worsening – Good blend between art-pop and electro. Super chilled then thumping. Wicked piano work, really beautiful.
Miasma Sky – Think this is a single if ever I heard one. I mean the lyrics are pretty downbeat and that’s cool and all, but the song as a whole is pretty poppy and reminds me of a couple of the other electro-pop acts which I’ve HATED over previous years.
Ironworks – not sure. Perhaps unconvinced. The piano and violin work is pretty nice, but the vocals aren’t doing much for me, and the deep groove the drums are throwing down isn’t quite doing it either. Although the bridge is pretty good.
Ossuary – High bass and catchy drum lines gives it a post-punk sound, kinda. I really like the bass line and this might be my favourite track so far. It’s both funky AND electro!
Incompatible – I mean I like the glitch sounds and stuff, but I think these slow tracks are kind of the opposite of what I like about the album.  Honestly this track does nothing for me. Love the rest of the album.
No Eyes – I dig the big electronic drum smash, almost metronomic. Lyrically it’s solid, and he beats out the words ‘fuck me’ with various inflections throughout the track to hit the listener. Plus there’s a build-up throughout the whole thang! By this stage of the album, you can tell this guy knows how to make a song.
Phaedra – Cool fuzz drums with a rapid beat. Plus building pianos. And experimental chimes! Vocals aren’t too abrasive… lyrically is kind of ow. ‘Phaedra it is you that made me want to kill myself’? Phwooar. I mean it’s like a mash-up of an emo piano track mashed up with drum and bass and it WORKS.
No past lives – don’t know what to think at first. There’s a deep synth groove but he breaks it up with a really weird piano line. Also breaks it up with glitch parts which are actually pretty cool… he leaves the weird piano and lets you get on with the track though and it’s pretty smooth if not a bit dark.
Earth Death – Heavy drums and bass. I really liked this one on the first run through. Kind of sliiightly reminds me of older stuff by ‘the knife’ (I say that loosely, I never properly sat and LISTENED to them if you get me.). maybe a little less ambitious than the rest of the album, but a cool song nonetheless.
Inter – light guitar with the weird, orchestral warbling he uses throughout parts of the album. Bit of a flat track, but it kind of works as a fade out, and lets face it, the album gets pretty intense by the end of it. You kind of need a break and this track is it.

Yeah, shit. I’m actually willing to give this a full five stars. It’s really well constructed and sets moods. I can’t say I’m a fan of the vocals all the way through, but the quality of the music is just mind-blowingly good.

I wrote this review a couple of months back and now looking back on it, while I believe it was a good album, Obsidian didn't have any staying power. There's no aesthetic that draws me back to it. A one night stand album I guess.

Joy Division - Unknown Pleasures

Joy Division - New Day Fades

Pretty epic build-up if I do say so myself.

Look, I don’t think I need to give these guys a proper review. It’s an album that’s been well received and still features in pop culture since it’s release in ’79, popping the fuck up all over t-shirts everywhere, movies and documentaries, the sound constantly being ripped off by bands like Interpol, editors and that third really shitty band my brother likes (the vaccines I think? And to be fair stuff of their second album is actually ok), so on, so forth. I’ll dot point this and make it quick.


1.       Ian Curtis’ voice is unique and different enough to warrant copying.

2.       Peter Hook’s bass use includes him playing it as if it were lead guitar (for more info, see: awesome)

3.       Guitar uses a lot of reverb, supports it all very well.

4.       Drums are snappy (I say this a lot)

5.       Song construction is different, involving. Really climatic at times through creation of mood, slow rolling bass and drum lines with guitar steadily rising above it all.

I mean if I had to say two parts of this album were able to change the face of music, it’d be Curtis’ voice and the construction. Hook’s highs are a nice bonus and should have set a trend for more bassists but I can’t find any examples which is super weird.

Anyway listen to it. Some of the tracks have aged well, but I wouldn’t say all of them by any means – the album starts getting good by about three or so songs in but kind of drifts out at the end.

That’s all. Go listen.

I've been slack, have some art in the meantime.

I've seriously got about four reviews done for stuff I found last month, but instead of putting those up, half assedly editing them, I'm gonna post links to websites for guys who've done album artwork I've liked. I've been posting these to people who are looking for Tattoo ideas, and some of this stuff you can't go past.

Heads up though, it's gonna be pretty much all metal. If that stops you from appreciating it though please feel free to fuck yourself.


John Dyer Baizley is the guy responsible for the cover art for Pig Destroyer's 'Phantom Limb', All of Baroness' records, and a few other bands.

http://aperfectmonster.com/gallery/covers/

This next guy, Justin Bartlett did the cover art for The Secret's 'Solve et Coagula'. I'm a big fan of his detail, and the artwork itself is fucking gritty.

http://www.vberkvlt.com/pages/personal_art/

Finally I'm going to post Alex from Fall of Efrafa/Light Bearer's blog. His detail is insane. He's also done concept art for books, most notably Watership Down (go figure) and Alice in Wonderland. There's a lot on here, and while I've only shown it to two people, they were as blown away as I was.

http://www.atheological.com/

Alright, that's enough. I'll finish those other posts later. I'll do a review for Baths - Obsidian, got one in the work for Shellac I think, should do one for Queens of the Stone Age's new album, Appleseed Cast, Joy Division, Capt'n Jazz... shit I've been busy half assing.

In the meantime, the Unwound Archive got updated. You can read an interview about the period when the band broke-up. Really interesting story there about alcoholism and the inability for people besides the drinker to cope with it. Very insightful.

Until I'm less lazy then people.

Mount Eerie with Julie Doiron and Frederick Squire - Lost Wisdom

Lost Wisdom - Mount Eerie w/ Julie Doiron and Frederick Squire

Title track/opener of the album. Isn't too short, sets a narrative and is a pretty powerful track without the use of many instruments.

Lets all get together, have a hug and listen to a break-up album.

Phil got lucky here and has managed to record with one of his musical idols in Julie Doiron and her collaborator, Frederick Squire. The album has the signature, soft guitar that Phil uses in some of his less experimental tracks and it’s one of the driving forces of the album. The album itself isn’t as experimental as any of the other Mount Eerie/Microphones albums either. Every track is a light, acoustic driven folk track. Julie’s voice is wonderful and layers the tracks with a certain femininity which acts as the yin to Phil’s ‘delicate man’ yang. The songs sound as if two lovers were singing to each-other and on the track Lost Wisdom itself, it’s done to great effect – setting up a narrative in the song. Some tracks sound happy, some sad. A lot of the themes are easily tied to failed relationships – ideas of leaving, abandonment and the questions asked in the wake of those actions are the basis for most of those songs, the main question being ‘what do I do now?’. I guess that’s the clever thing about Lost Wisdom is that most of the tracks encompass that idea itself.

Here’s my main criticism of the album – it’s far too short. Most songs, save the opening track, last for less than two minutes each. I think if anything what I like about the album come more from the minimalist approach, which seems that much better here rather than on the other mount eerie/microphones albums. No crazy effects, no intense drumming, yes Julie’s soft voice. It works. While it’s sad, it’s still a very pleasant listen for a cozy, sun drenched autumn afternoon on the porch.

Palace Brothers - Days In The Wake

Palace Brothers - You Will Miss Me When I Burn

Bittersweet and minimalistic. Nice... but sad.

Continuing on my binge of singer/songwriter based folk music, I came across this gem from back in the 90s. Palace Brothers is one of the earlier projects of Will Oldham, who went on to release several other records under different monikers, many reaching critical acclaim. Days In The Wake is one of his earlier albums, exhibiting a display of quiet acoustic tracks accompanied by clever lyrical work.

The strongest impression the album gives is delivered through a certain delicateness in Will’s voice, often trembling and sometimes warbling to a point where it fetters out. Combined with some of the lyrics, the music can be described as bittersweet. He uses interesting wordplay with his lyrics, delivered as if they were out of a children’s book whilst carrying adult themes such as loneliness, pain, death and loss. That vocal delicateness complements both the childish and adult sides to the wordplay, making the more childish lyrics sound as if they were from a nursery rhyme while the more adult lyrics purvey a sense of shattered innocence and damage. The acoustic work isn’t anything too complex, but it complements the music nicely and gives each song a very relaxing tone.

This won’t be an album that strikes you as amazing right away. Some of the wordplay is a little strange, and until you really begin to listen to what’s going on in each song, you probably won’t draw huge enjoyment from it. Trust me on this one though, it’s a fantastic album which is both calming yet slightly neurotic at the same time, and will do the trick when you’re having a bit of down time at home.

Hot Snakes - Thunder Down Under

Hot Snakes - LAX

A pretty good showcase of their riffwork. Catchy? Yes. Different? Yes. Awesome? Fuck yes.

I don’t know if I’ve made it clear yet about how good this band is, but I figure if there was an album to pick, this would be it.

Hot Snakes re-unites the Reis/Froberg duo of Drive Like Jehu and Pitchfork fame. Citing the length of songs as the reason for disbanding Drive Like Jehu, Hot Snakes as a band took a drastic turn to making music that sounded more ‘rock and roll’ yet still outdoing most bands through John Reis’ GOD tier riff work. Thunder Down Under is a live record made especially for Triple J, showcasing some of the band’s best work before they disbanded in 2005 (not to worry, they reunited in 2011). It’d be pretty safe to call it a ‘best of’ album in a way.  The live recordings also add a new strength to a lot of the tracks making some of them sound loud and raw, like you were at one of their shows.

This album should be a pretty good entry point for anyone looking to get into the band or try out some fantastic modern rock (what I feel is a dying genre). Thunder Down Under has live versions the best tracks from their last two albums and two songs that (I imagine) are B-sides or from EPs. The tracks involve clever and rhythmic drumming layered down with some catchy, near hypnotic riff work with Rick Froberg’s signature high toned yelling. Many different styles are employed from song to song, including furious, almost hardcore riffs, some heavy blues type riffs and then some indie rock tracks which will have you dancing around the place or headbanging inappropriately in lifts or busses. I recommend this based on the fact that most people who’ve heard it (namely rock/indie enthusiasts) get a certain spark in their eye that you get when you see an unusually pretty girl. So I guess what I’m trying to say is that people want to have sex with this album. I’m pretty confident in that statement.

Ken Mode - Entrench

KEN Mode - Counter Culture Complex

Runs for: 3:19

The opener for Entrench. Give the rest of the album a listen on the bandcamp, there'll be a link at the end of the page. That said, you cannot deny the wicked guitar work! YOU CANNOT!

The captains of insane Canadian noise metal, KEN Mode, have returned to plunder your booty with their highly anticipated album, Entrench. Ok, so by highly anticipated I’m pretty sure I’m only referring to my opinion – but then again this is my blog so suck it, I’m still right. What we get in this album is some impressive technicality delivered with a certain callousness that grips the listener with the urge to bang heads and break everything with the same ferocity as a stampede of pissed off rhinos.

The album reflects on their old work in many ways, combining the brutality of their older albums with the polish and diversity of their newer albums. The use of spoken verses defined and set a tone on their first album and they’ve chosen to incorporate that often in the new album amidst the usual chaotic howls. The instrumentals are fiery, rapid and incredibly constructed much in the same way that a lot of tracks off their second album were, and it’s all brought together with the same polish that the last three albums had which results in a berserk, yet crisp sound. What’s fast and aggressive on the track is done perfectly with a certain respectable technicality to the instrumentals. The bass tone is visceral and roars like the exhaust on a motorbike. There are moments where all the instruments start playing in absolute sync to create a furious onslaught of musical perfection. Other moments are incredibly heavy, ‘No, I’m In Control’ can only be described as bass induced carnage (I think they used two bass guitars on the track along with some lead guitar layering), every note unleashed bellowing with a well toned thunderous growl.

If I have one criticism of the album, I believe it felt a bit too short. If I had two, it'd be that the album was a bit too short and the 'prog rock' tracks weren't executed as well as their heavier stuff or even previous attempts at prog. Otherwise, they’re back in fine form. Entrench is full of mind-blowing math riffs, bass heavy tracks and powerful, well timed drumming. Plus there’s a cameo by Dave fucking Verellan from Botch. And it’s good. What’s not to like?

Also Jesse from the band sent me the lyrics for the album. I'm asking on their facebook if I can put them up but I aint gonna do it unless they're cool for it. Please don't stalk me all you randoms.

http://kenmode.bandcamp.com/album/entrench

EDIT:
Yeah I'm chucking them up. Doubt anyone's gonna mind but they're more than welcome to say if so.
All the legal hoo hah should be in the starting thing - all lyrics belong to ken mode, not myself etc etc

Guilty Parties: Jesse Matthewson - Vocals, Guitars, Bass, Piano, MicroKorg ● Shane Matthewson – Drums ● Andrew LaCour – Bass, Vocals ● Piano on ‘Counter Culture Complex’ by Andrew LaCour. String orchestration on ‘Monomyth’ by Andrew LaCour. Strings on ‘Monomyth’ and ‘Counter Culture Complex’: Natanielle Felicitas – Cello, Michael Scholz – Violin, Carolyn Scholz – Viola, Julian Bradford – Double Bass. Additional vocals on ‘No; I’m In Control’ by Tim Singer, ‘The Promises of God’ by Dave Verellen, and backing vocals on ‘Your Heartwarming Story Makes Me Sick’ and ‘Daeodon’ by Adam Dyson. ● All songs by KEN mode, except ‘The Terror Pulse’, by KEN mode and Chad Tremblay. ● All lyrics by Jesse ●Produced by Matt Bayles and KEN mode. Recorded September 2012 @ Private Ear Studios in Winnipeg, MB, Canada by Matt Bayles ● Mastered by Ed Brooks @ RFI Mastering in Seattle, WA ● ’cloudghoultrillghost’ sculpture by Ben Bonner. Photography by Ryan Klatt. Layout and design by Randy Ortiz. KEN mode logo by Aaron Turner ● www.ken-mode.com / www.facebook.com/kenmode / www.twitter.com/kenmodenoise / www.kenmode.bigcartel.com / www.kenmode.bandcamp.com ● Band: kenmode@shaw.ca ● Management: Josh Eldridge josh@conspiracypr.com ● US, Australia, South America Booking: Erik Jarvis Erik@tonedeaftouring.com ● Canadian Booking: Adam Sylvester adamsylvester@theagencygroup.com
● European Booking: Nanouk de Meijere nanouk@avocado-booking.com ● KEN mode uses Orange Amplification, Bare Knuckle Pickups, Levy’s Guitar Straps and Gig Bags, Vater Percussion Sticks, and Paiste Cymbals ● All songs copyright KEN mode

Counter Culture Complex

“Poor baby boy, is that a negative spell honing in like a loaded black cloud set to burst? Hang in there for just one minute while I trivialize your emotion, your motivation, your hopes, your dreams. You cannot feel ire, you will not shed tears. A lesson to learn: as long as there's pain, as long as there's fear you should feel ashamed of every instance of indignation you’ve ever felt. As long as you are male, you don’t deserve this un-fulfillment. Your pigmentation disallows your choler.”

I’d like to thank you for the speech you’ve delivered from your condescending high-horse, like you’re the only one that’s lived; traveled; experienced destitute from an elevated Maslowian bubble. You’re smarter than this, and human psychology is more complex than you prefer to credit. But I won’t argue. I’m not seventeen anymore.

No; I’m In Control

Help me limp through the hour where the last remnants of my sanity are plagued by the burden of consequence. Encourage focus from chaotic despair; focused indifference; focused repudiation. Frustration, not chaos, reigns.  I am the weapon to usher in your destruction: I am control; I am command. This is for the survival of the fittest; repercussion be damned –a tradition of bridge made ash. Let’s break this situation down like an old world primate; driving the point home more poignantly: this simply will not stand. My brain turns to a dry porous sponge as the broken record skips; reminders of just how loathsome you’ve become. No; I am in control.

Your Heartwarming Story Makes Me Sick

I fail to see the humour in having a pulse.  Your insipid hopes and dreams will only serve as a further catalyst to an ageless resurgence, and reminding me ad naseum drives the point home stronger than ever. I refuse to be sorry for denying a spoon fed a destiny that simply cannot fit. I hope you enjoy slaving away for someone else’s dreams just so your wife can have a bigger house. If this is your fairy tale, then your heartwarming story makes me sick.

The Terror Pulse

I’m not playing. Logic keeps me bound; keeps the pieces in check, and every beginning has its orchestrated conclusion. This is a lack of everything that was claimed to have stood for. A lack; skittering and unapologetic: within the eye of the storm, taking refuge in small comforts; easy answers. Playing Judas and shirking accountability. A serious lack. That was wrong, it wasn’t okay and no, I’m not okay. This is goodbye to the man you once knew. Or did not; it doesn’t matter anymore.

The Promises of God

I thought I’d learn, but I’m an idealist. I thought I’d wait, but I deserve it. How about we go out of our way to complicate the process? There’s a certain thrill to this strategy, no matter how idiotic it may seem. Let’s blur the lines until the flames drown in wax and there’s nothing left to give/take. I want it: all. This close to dawn I'll relinquish to a single word. I refuse to live like I'm alone given this framework. Give me a sign that I'm not simply being absurd. I've stumbled through years on broken time to reach such conclusions. These are the promises of god. 

Romeo Must Never Know

The odds are not in our favour.
There’s little hope left.

What optimism existed has been strangled to the very last breath.  Shuddering on strangers floors at 5 am; focus a shattered mess near the litter box that this apartment’s aroma resembles far too clearly; allies become foes in the blink of an eye.

But This
Won’t
End.

Augment me.  Cut out the poison; detach from chaos; pacify desire; quell instinct;

But don’t
Quit.

Too many hours logged, too many miles conquered, too many grey hairs.

Too much love to let go.

Secret Vasectomy

I feel like something profound and meaningful should be espoused from this platform; words wise beyond their years - a message of some purpose or consequence. There is nothing. I pretend to dig deep, but the words are passionless, derivative…the sentiment is painfully hollow. Slumped over in a chair once hoped forgotten, facing enemies passed as quick fixes to greater, deeper set issues. Suitable diction proves elusive – as my mind dances like a mongoose ‘round a cobra - but I’ll bury broken muses; my own hidden Burgess Shale. Pull up another black hood, warming my cold weathered hands, curl up in lose fit flannel and self-preserve.

Figure Your Life Out

The procrastinator. It’s far too easy to hide behind abundant distractions and coyly whittle away at the hours with hollow preamble these days. Trade one uphill battle for another. Old injuries strain deep as my hunched shoulders and neck, slightly askew, peer forth awaiting just one word, a solitary notification: Am I alone? Is someone there? Tongue to teeth; feet curled beneath a finely crafted adjustable chair; time, seemingly irrelevant: this is my black hole.  I am lost to possibility; equally terrified and delighted. Figure your life out.

Daeodon

Staring at a blank slate; reaching out for nothing, expecting nothing, wanting nothing, but cycling through the process consistently and obsessively in an attempt to avoid any kind of forward motion. I wish I could tell you why, but I'm unaware of the motivation. I don't want help; I don't want to move. The act of physical combat is the only thing that remotely excites me enough to leave my quarters day in and day out. Stereotypical enough to laugh at the concept that the only temporary relief to this weight is the adrenaline rush from having the life choked from your body. Get me on the road, so I can live again. 

Why Don’t You Just Quit?

Have to keep my words close; keep them safe and succinct. So much has changed, but I can’t tell just how thoroughly. Maybe this ice age is reaching its twilight and we’re reading too far into the damage done - maybe there is still hope; maybe this is ridiculous.

Expression is suicide, admittance: sure death. Granite to steel, familiar bookends to this chronically distorted heightened perceptive state. I hate this hell; this is weakness, this is forfeit.

Monomyth

For Morgan Kemp…RIP
These are not skies for dreamers. I can hold my breath, but I’ll die here waiting.