Dead Light Shines' Debut Will Blind You

Dead Light Shines

The debut album by Dead Light Shines will catch you by surprise.  This Arizona-based progressive metal band may be newcomers on the scene, but they are at the top of their game.  "Fall To Rise" is a complex musical collection, held together with tight composition and arrangements.  The songs flow seamlessly together to create a brilliant concept album.

I have long said that metal is the new classical music.  This genre is the vehicle for the creation of symphonies of sound every bit as intricate as anything composed by Mozart.  This is evident in the ear-blasting songs by Dead Light Shines.  There is a trick that they do - I don't know how they do it.  Take the pounding drums of Jeremy Wall and the bass-slapping of Kelly Morales and combine these into a lurching rhythm that is like the gears of a race car engine with no oil, about to explode.  Then combine these with the buzzing riffs of Norm Wall.  It's like clockwork with components spinning and careening, threatening to collide and fall apart.  But it all stays together and creates a sonic landscape that is at once tachychardic and evocative.

I had the privilege of watching some of these guys growing up as musicians in the small cow town of Saint Johns on the Arizona/ New Mexico border, the nearest incorporated town to my ranch.  They always had tastes in music that went beyond the pop/ country that seemed prevalent in their hometown.  Kelly once told me, in regard to the thrash metal movement of the '80s, "I was born 10 years too late."

But after listening to "Fall to Rise", I am convinced that they were born right on time.  These songs are sometimes dreamy and contemplative and sometimes explosive and raw, sometimes reminiscent of great bands like Tool or Dream Theater.  Bree Cole's mournful vocals dominates most of the album while Shaina Rock-Wall lends her pipes to three of the tracks.  Guest vocalist Greg Norris sings on the final track, "Too Deep", which is one of my favorite songs on this collection.  Other favorite tracks are "Where I Belong", "The Descent", "Lost In You", "Even If I Die", and "In the Dark".  But, really, the whole album is good.

This album is a strong opening.  If it is any indication of how good, I can't stop listening to it.  Right now, the band is in the studio, putting together a collection of new songs (which I will review).  The band also has a new line-up.  I am excited to see what else they will do.  Definitely check them out.

Less Is Better: Review of Jess Williamson's "Native State"

Jess Williamson

Whenever I need new music, I contact my music guru, Nikki, and she sends new music my way.  One of the acts she shuffled my direction was Texas-native, Jess Williamson, one of the many performers at this year's prestigious SXSW festival in Austin, Texas.  I downloaded her debut album, "Native State", which came out last year.

First of all, I must say that this is my kind of music - very folksy, very minimalist.  It reminds me of the acts I used to see on 6th Street in Austin, or at Bandaloop's in Salt Lake City, or Fiddler's Dream in Phoenix.  Musicians who would get up with very few instruments and spin stories and emotions with haunting voices and as few notes as possible, crafting it seemingly out of nothing, out of cigarette smoke, the smell of coffee, and the attention of a mesmerized audience, caught in the glow of the music.

This aptly describes Jess Williamson's music.  There is a guitar here and there, or maybe a banjo.  She relies on her quavering voice and earthy lyrics to paint an impressionistic, gestalten image.  This is mood music, and what a mood I get when I listen to this.  It reminds me of other minimalist, artsy bands of the '80s that I used to listen to - like Area or Hugo Largo.

There are only seven songs on this album, and each one is resplendent.  Notable songs are "Blood Song" and "Native State".  My favorite, though, is "Field", with its use of strings.  It is absolutely haunting.

Word is that she is in the studio, recording new music.  I can't wait to see what she produces.  I'm willing to bet - if you haven't heard of Jess Williamson, you will soon.

Punk Grows Up: Review of Cloud Nothings' "Here and Nowhere Else"

Cloud Nothings

If punk rock was a child, being born in the mid-1970s, it would now be approaching middle-age.  The genre has seen many mutations - from the "1-2-3-4" of The Ramones to the sneering British version to California and D.C. hardcore to the bubblegum punk-pop of the late '90s and early 2000's.  It has been nice to see punk mature in the music of bands like Against Me!, Bad Religion, Gaslight Anthem, and Cloud Nothings.

Now, Cloud Nothings are not middle-aged rockers like Bad Religion.  They are all young musicians, having only been around for about six years, and "Here and Nowhere Else" is only their third album.  But the punk sound is now more mature.  It is no longer just thrashing guitars thrown together with sloppily-screamed lyrics with every song held together with the "punk gallop" drumbeats.  (Remember G.B.H.?)  The songs are now carefully crafted and even melodic.  The songs of Cloud Nothings are longer than two minutes and put together so well that you don't have to be a fan of punk to appreciate their music.  Every song is driven by a freight train of percussion, the locomotive beats clipping along, pulling with it a heavy bass and buzzsaw guitars.  Dylan Bondi's voice sometimes growls, sometimes screams, but mostly sings pensively the thoughtful lyrics.  There is even a song, "Pattern Walks", that dissolves into an avant-garde, progressive wall of noise for a solid minute that would make Sonic Youth proud.  This is a more mature punk sound.  It reminds me quite a bit of D.I. or even Descendents in the '80s, and Sunny Day Real Estate in the '90s.  It is not really pop, because it retains its artistic integrity.  But it is not screamo, either.

Many of the selections are aggressive and furious like the opening track "Now Here In", "Just See Fear", and "No Thoughts."  My favorites are the songs that start out subdued and then slowly go critical, like "Quieter Today" and "Psychic Trauma".  "I'm Not A Part of Me" is the main single, and it is probably my least favorite song on here.

This music is definitely mosh-worthy.  I will probably like these guys for a while and will probably be checking out their back catalog.  I'm glad to be a guy in my 40s who still enjoys punk.

Black Metallic: Retro Review of Catherine Wheel's "Ferment"

Catherine Wheel

I remember driving early one morning in 1993 down the freeway in Salt Lake City, Utah.  My brothers and I were driving to Bluffdale for priesthood meeting.  We had X96 on the radio, Salt Lake's alternative radio station.  My brother Tony, who was always a metalhead, turned up the volume very loud when a certain song he liked came on.  It was my first time hearing "Crank" by Catherine Wheel.  I liked it.  It was hard and heavy, but the guitars were swirly and atmospheric.  For some strange reason, it reminded me of my favorite band, Cocteau Twins.

The next year, I had relocated to Mesa, a suburb of Phoenix, Arizona.  On a visit, Tony gave me his copy of Catherine Wheel's second album, "Chrome".  I fell in love with this record.  To this day, it is still one of my favorite records.  I can listen to it over and over, and I usually break it out once a month for a listen.  It has a certain sound or characteristic about it - soft vocals, pounding, headbanging drum beats, and guitars set at ethereal distortion.  I didn't know what shoegaze was at the time, but I knew that I liked this sound.

I was working in a clean room at this time with a couple of guys that I had known for a while.  In 1995, one of them brought in "Happy Days", Catherine Wheel's third album.  I gave it a few listens and was singularly unimpressed.  It was a good rock album, but that dreamy feel, those guitar pedal effects and wash of white noise was gone.  The element that made "Chrome" so special was missing.  It was more of a straight-up rock album.  So for me, "Chrome" was enough.  It was this band's swansong.  And it was for other people as well.  Both Interpol and Death Cab For Cutie have cited "Chrome" as being a major influence.

In the present day, I was reading how the band's 1992 debut release, "Ferment" was actually their top-selling record, and their most shoegaze.  Curiosity got me, so I downloaded it.

The first song, "Texture", with its heavy bass line, reminds me a lot of Lowlife, former Cocteau Twins member Will Heggie's band.  This is definitely a shoegaze album, as demonstrated in the opalescent pieces, "Indigo Is Blue", the title track, "Ferment", and "Flower To Hide".  The best selections here are "I Want To Touch You", "Black Metallic", and my favorite, "She's My Friend".

This album is moody and textured, a good start for a good band.  However, it is not "Chrome".  It is not as angry, as heavy, or as emotional.  Whereas it is a good record, it will never hold the place in my heart as their sophomore album.  It seems as if they were still coming into their sound.  Still, it is not bad, and it will always be a pioneer effort for a genre that is beloved to me.''

Golden Sunrise: Sir Sly's Tantalizing Debut

Sir Sly

This is what happens when amateur journalists get behind on their reviews.  I try to bring you new bands by reviewing debut EPs, and, in the interim between purchase and review, they release their first albums.

Such is the case with Sir Sly's four-song EP, "Gold".  I have it.  I have listened to this thing like crazy since its released.  But they already have a major album on Interscope that I have not listened to  I hope to.

Originally from Los Angeles, this trio has a big sound, primarily electronic, that creates huge orchestral landscapes.  Each song is slow and steady, moving forward with a purpose, inevitable like a glacier.  Huge sonic landscapes driven forward by stroboscopic electronic beats like insistent bursts of ultraviolet radiation on ice.

Probably the best song on here is the title track, "Gold".  This tune has made it on virtually every mix CD I have made in the last eight months.  An electric surge tempered by the layered vocals of singer, Landon Jacobs.  "Where I'm Going" and "Ghost" continue this exploration of musical horizons that is slightly reminiscent of Brendan Perry's work with Dead Can Dance.  The EP is rounded out by the happy "Found You Out", with a catchy beat and slightly sappy boy band feel.

These young artists show promise, the ability to stretch the definitions of pop music.  I am sure we will hear more from them in the future.

Broods Makes Beautiful Mood Music

Broods

I'm a 44 year-old man, which means that I have a fairly good grasp of music from the last millennium,  But I have a music guru.  Every person over the age of 40 needs one to help keep them relevant.  Mine is a mother and yoga instructor half my age named Nikki.  Nikki is always making music recommendations to me which is great for my blog.

One of the artists she steered me towards was Broods, a brother and sister synthpop team from New Zealand.  I am glad she did.

I am reviewing their eponymous debut EP, "Broods".  Since my purchase of their  six-song EP, they have released their first full album.  But I have not acquired the album yet, so I will review the EP.

How do I describe Broods?  First of all, they have garnered much attention in the international scene, but back home in Aotearoa they are kings.  They share the same musical producer as fellow kiwi, Lorde.  There is a similar sound, but I much prefer Broods over their surly teen counterpart.

This music is atmospheric, moody, whispered, and slightly melancholic.  Definitely electronic, but less Depeche Mode and more trip hop.  They remind me quite a bit of Imogen Heap.  This is music designed to evoke feelings, and it does.  It takes a few listens to get into it.  But once you do, you move past Georgia Nott's breathy vocals and see some exquisite musical arrangements provided by sibling, Caleb Nott.

The EP starts out beautifully with "Never Gonna Change" with gentle synthesizers and staccato drumbeats that would make Massive Attack proud.  The second selection, "Pretty Thing" evokes Chvrches, and the best part is when brother and sister mirror the lyrics back and forth.  "Bridges" is the main single, and it is for a reason - a shimmering, bittersweet song with sad, wistful vocals with a vibrant, electronic pulse.  My favorite song is "Taking You There" which starts out with a simple acoustic guitar.  The song doesn't seem to quite fit the rest of the EP, which is perhaps why I like it so much.  It stirs something in me when I listen to it.

This is a great start for Broods.  There is not a bad song here.  I am eager to check their album.  Hey, you should, too!  Thanks to my music guru for suggesting this to me.  I, in turn, recommend it to you!

The Feelies Will Grope You: Retro-Review of The Feelies' "Only Life

The Feelies

It was 1988.  It was just after new wave and just before grunge.  There was a sound.  Mainly, it dominated college and alternative radio.  R.E.M. was at the forefront of that.  Dramarama.  They Might Be Giants.  The Connells.  The Silencers.  Dead Milkmen.  Camper Van Beethoven.  The Reivers.  The Bolshoi.  And The Feelies.  Jangle pop, dream pop, Americana.  This was the driving music of my teen years.

Honestly, this band from New Jersey had a history long since I ever heard them - 1976.  The Feelies had two albums before "Only Life".  But I never heard them.  I still haven't.  The nerdy punk of "Away" was frenetically pulsing on MTV's "120 Minutes" every Sunday, and I had to get that album.  So I went to Zia's in Tempe and bought the cassette (that I still have).  This album was one of the many anthems of my senior year in high school.

To review this album, I downloaded a digital copy.  First of all, it sounds really dated.  It has that "sound" that I was talking about - right at the tail end of the "Me Decade".  But isn't that the sound that is kind of hip now?  This album, even rooted in its time period, is as catchy as hell.

Both "Away" and "For Awhile" have their signature sound - songs that start as mellow pop songs and then slowly build in tempo until they feverishly having you shake your mop of hair and are starting to pogo in your living room.  This record is definitely guitar-rock, but it is also a dance album.  You can dance to every single tune on this selection.  This is especially true with the opener, "It's Only Life", as well as "Deep Fascination", "The Final Word", and "Too Far Gone".

My favorite selections are the R.E.M.-ish piano and guitar ballad, "Higher Ground", and the haunting "The Undertow", driven by bongos and a desperately strummed acoustic guitar.  These two songs are highly nostalgic for me.  The album ends nicely with a Velvet Underground cover, "What Goes On".

This is music that I tell me family, "This is my music."  I'm proud to own it.  I'm proud that I was there, not listening to what the mainstream was listening to, and I am glad that I still have this music with me.