Iain Petrie – I’ll Stay By You

Thanks to Mikey Serpico, we have a great review of Iain Petrie’s album I’ll Stay by You. Petrie’s music is as laid back as it can get. It’s a perfect listen after a hard day at work, when all you want to do is relax while having a quiet drink.

REEVE CARNEY live at The Roxy 2/6/08

When it’s all sci-fi, red pill, blue pill, things fail to amuse as frequently as they used to back in the days, unless we’re talking Nicolas Sarkozy and the “man-eater” OR music.

A case in point: the prolific and may I say extremely handsome Reeve Carney. The first time I heard Carney, the visual disconnect in terms of what I expected and what I received was just amazing. I mean, at the risk of stereotyping let me say this, I generally don’t expect quality, deep stuff from good-looking people. In a way that’s a bit unfair too. They have the best of both the worlds. Think male of the species of Norah Jones. I’ll reword it better when I’m slightly more awake, but you get the idea.

And he’ll be playing at The Roxy, CA this coming Wednesday, February 6. Don’t miss him, if you’re in or around that area. I really do hope he plays Forget about You.

———–

Steven Harlow Productions and the Roxy Theatre Present

CARNEY with Blackcowboy, Lukas Haas, and Biirdie

    The Roxy

    9009 West Sunset Blvd

    West Hollywood, CA

    8:00pm – $10 – all ages!!

    Tickets

5000 km-15 days-145cc vehicle: We could die

The least you can do is give us a tenner in aid of Mercy Corps.

In January 2008, a friend of mine and I are going to be taking the risk of our lives.

We’ll be driving across the length of India, right to the mountains in Nepal, in the lamest, most fragile and most breakdown-prone piece of engineering ever made here — the great Indian auto-rickshaw. And this is all for a noble cause — charity.

We need to raise at least a £1000 or more for the world famous charity org Mercy Corps before or during this 15-day-long odyssey. We’ll be trying to avoid cutting ourselves open, breaking our heads or crashing into an oncoming truck or a tree or a dog because dogs are nice. We might even have to slay pythons, manoeuver our way around a mud slide, hang from a cliff until help comes by and all that jazz — all while driving on not so particularly nice Indian roads.

Radiohead – In Rainbows

Radiohead’s decision to axe the middleman (the-soon-to-be-helpless record companies) has resulted in a truck-load of money for them. The marketing decision that was being expected to be the biggest debacle of the year has proved to be otherwise and that too in the extreme. By selling their music online at whatever price their fans think to be fair, Radiohead might have created a ground-breaking business model for the other bands. The average music lover it turns out is honest and doesn’t mind paying the right price for what he deems worthy. As for me, I haven’t been able to get my copy yet because the website just won’t load! I’ll keep trying though.

But the good thing is that an old friend of mine has been able to get past the server overload issue. Here’s a big thank you to Vishnu Erramilli for sending in a really awesome track-by-track review of the last album of Radiohead — In Rainbows.

The Moon Upstairs – Guarding the Golden Apple

Laidbackness thanks John Macky for submitting a fantastic review of The Moon Upstairs who have recently released their latest album Guarding the Golden Apple.

Gifted Children Records – US

Release date: June 26, 2007

OMG Oh My God’s Latest Album ‘Fools Want Noise’ Out Now

Laidbackness: Thanks to Jason Kaumeyer for submitting this information. If you are a fan of the Chicago based band Oh My God (OMG) there’s some good news for you all…

——————————————————————————————————————

“Apes have been employed…babies want their toys…Fools Want Noise! Here comes the crashing, thrashing, utterly smashing new album from Oh My God—their first recording with guitar, their most searing set of songs ever. Oh My God’s notorious blasts of organ overdrive, grinding bass, precision drum attacks and contagious vocal hooks have never packed such a jolt.”

The album comes out June 28^th on the brand-new Chicago label Split Red Records…the four-piece incarnation of the band hits the road now. The OMG website is getting a total revamp with audio-visual tour logs…Giuseppe Andres (of Troma fame) has already directed one video and another is on the way….say it: OH MY GOD!!

CD Release Show on Thursday, June 28th at Schubas

Schubas Tavern in Chicago

3159 N. Southport

Chicago, IL 60657

773-525-2508

$10 cover at the door show starts at 9 PM

 

Ages 18+

CD Release Show on Friday, June 29th at Schubas

Schubas Tavern in Chicago

3159 N. Southport

Chicago, IL 60657

773-525-2508

$10 cover at the door show starts at 10 PM

Ages 21+

PAST PRESS:

“Oh my god is a power trio with a twist: instead of a guitar it has an organ, but it’s so jacked up and cracked out you couldn’t be blamed if you mistook it for a Hiwatt half-stack. On their fifth album, “Fools Want Noise,” they mess with their own formula, enlisting the help of guitarist Jake Garcia.” –Chicago Reader

“FOOLS WANT NOISE blazes out of control…a thumping, surging, thrashing, bashing 16 track rollercoaster ride…O’Neil pilots this kamikaze mission successfully with tremendous vocal range and power…punk-rock-thrash with a soul. (4 out o 5 stars)” –Chataqua Region Word (NY State)

“Chicago glam-pomp trio of my god’s live shows are legendary for their lack of inhibition (on the part of the audience as well as the band).” –The Onion

Meshuggah — obZen

Many thanks to Sasha Koegler who sent in a great review of Meshuggah’s latest called obZen. I must admit that even though I am no fan of dark or heavy stuff, the review has certainly made me want to give them a listen. Enjoy!

Megha xx

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Imagine that, in the interest of challenging his creative capacities, a man locked himself in a box with a set of tools. Amongst the collection of tools there are many capable of penetrating the box and thus permitting the man to walk free. His goal, however, is not to break out. It is much the opposite in fact. This man intends to remain within his restrictive self-imposed confines, but always will he be experimenting with different means by which to place himself as close to the world outside of the box as possible.

It is such a challenge which Meshuggah have imposed upon themselves musically. For 20 years Meshuggah have been toying with a slew of approaches by which they can push on, slam into and manipulate the floor, walls, and ceiling of their contextually restrictive musical cage. It is truly an unparalleled experience to behold anything this band has composed, but one cannot fully appreciate the depth of the abstract concepts this band employs until one has come to terms with the fact that Meshuggah will never leave the framework within which they have confined themselves.

Unlike their previous two releases, Catch Thirtythr33 and I, concept albums which sought to explore growth through repetition, obZen consists of nine distinct tracks, each comprised of numerous memorable riffs and some instantly unforgettable lead guitar work, one of the sources of Meshuggah’s distinctly atmospheric sound.

All the sludgy, droning, dissonant guitar riffs that a Meshuggah listener would expect are present on the album, yet with exceptionally crisp production, a trait which developed significantly with Catch Thirtythr33 and the partially re-recorded and re-released version of Nothing (on which the band utilized their custom built 8-string guitars).

The heightened production values adorn Meshuggah with a transparent clarity, pleasantly revealing the layers of their complexity. Every instrument is individually distinguishable, and the listener comes to perceive Meshuggah as the oxymoronic mechanical organism that they are, constantly weaving in and out of themselves, but always securely and with purpose.

Of the countless engaging concepts Meshuggah employs throughout obZen, it is a challenge to find even one which has not been nurtured thoughtfully and then logically retired once it has served its purpose. This is a refreshing step away from the arguably redundant repetition sometimes prevalent on catch thirtythr33, and Meshuggah demonstrate that though they are confined to a rigid framework, they still have plenty of colors left with which to paint their walls.

That said, the familiar slow drone of indistinguishable chords through verse sections, as well as the customary use of guitars operating out of sync with more (but not much more) straightforward drum and vocal patterns, are prevalent throughout the album. The return of such commonplace techniques is not unwelcome, however, as they are thoughtfully crafted and employed with a vibrant and assertive tenacity, always pushing into thematically consistent but uncharted territory.

Without a doubt, one of the most pleasant surprises that obZen manifests is its impeccably timed transitions from one rhythmic or atmospheric idea to another.

Implemented throughout the album are versatile arrays of concepts which are likely to leave any fan of Meshuggah deeply satisfied. Without sacrificing their rigid boundaries these Swedes have managed to create nine distinct but cohesive tracks which thrive with life. Each track blossoms into a colorful and versatile series of polyrhythmic portraits of sound, striving always to present the listener with fresh ideas but never deviating from the bio-mechanical paranoia which characterizes this band’s music.

Every song weaves together like a complexly balanced organism comprised of mechanical parts, and this monstrous melding of biology with mechanism both unsettles and intrigues.

Meshuggah’s slow drones are both sublime and threatening, obscuring the air with apprehension, while the faster and more complex riffs are consistently piercing in their abrasive purposefulness. The lead guitar parts on obZen are approached from countless angles. There are deceptively simple leads such as the one at 2:20 in Electric Red, which resonate slowly and subtly over a rhythmically complex chugging drone, creating a justified apprehension for what is to come.

Meshuggah possess a distinguished ability to lull a listener into a specific state of expectancy, creating an atmosphere that serves as the foundation for whatever abstract concept is to follow. At 4:12 in Bleed, a lone guitar, reminiscent of that in catch thirtythr33’s Mind’s Mirrors, opens a void out of which life comes spilling 33 seconds later. At this point Fredrik Thordendal sets free a guitar solo which flows fearlessly and purposefully through the obstacles provided by a palm muted chugging and a lonesome lead pattern which dances artfully through the chaos.

Successfully, Meshuggah have employed a restrictive use of clean guitar parts as well, adding to their dynamic range while always retaining the unique intensity by which they are characterized. Twenty-nine seconds into Pravus, a riff reminiscent of Perfect Drug era Nine Inch Nails sets the tone for one of the most vicious onslaughts Meshuggah has ever put forth. Combustion, the first track on the album, opens with a riff reminiscent of Tool and then shifts in and out of what can only be described as thrash metal filtered through the Meshuggah maze. But diehards needn’t fear. Meshuggah may be painting with a larger array of colors but the canvass is still the same.

It is worth noting that Tomas Haake has forsaken his programmed drums, returning to a natural and organic approach with obZen. While the computer charted percussion of catch thirtythr33 was a unique experiment which emphasized Meshuggah’s mechanistic sound, Haake here demonstrates the superfluousness of digital precision by providing a consistent and flawless performance with his hands and feet.

His relentless percussive attacks instill images of mechanization while acting as the foundation for chugging riffs, but also wander with a confident freedom through the web of sounds which this five-piece is constantly weaving. It becomes apparent in tracks such as Pineal Gland Optics, that there is no one instrument which acts as the foundation of Meshuggah’s sound. It is their ability to piece together a musical puzzle with constantly morphing pieces that allows them to establish an intricate coherency, and every piece of instrumentation acts to both stabilize and simultaniously confound the whole.

Jens Kidman’s vocals can be easily overlooked when one is focussed on the unique complexity of the instrumental arrangements, but once acknowledged, they will not be forgotten. His percussive assault is extraordinarily raw and yet feels refined as it blisters with unsettling confidence. Rather than stand out above the instruments, however, it instead holds its integral place in the web of sounds through which it is constantly navigating.

Kidman’s vocals often, but by no means always, remain in time with the percussion, and one will regularly find oneself absorbed by the rhythmic patterns produced by mouth and drum. This paves the way for a unique dissociative effect that occurs when the listener suddenly recognizes that the droning guitars, which seem to be supporting Kidman’s intimidating vocals are, in actuality, travelling along an entirely different course. These divergent paths brought to light, one will naturally try to follow them simultaneously, only to discover that merely one path can be given a listener’s full attention through the course of any of these perplexing segments.

This is the beauty of Meshuggah, and Kidman’s ability to wail relentlessly through a devastating maze of instrumentation makes the experience all the more exciting. There is not a split second at which his integrity as a vocalist can be questioned, and at moments such as 1:12 in Pravus, Kidman’s piercing screams are exceptionally ferocious, tearing through the droning guitars as a wolves teeth would tear through raw meat.

This track also showcases some of the most fabulous bass guitar work on the album, Dick Lövgren’s rich tones reverberating in a manner reminiscent of Primus, but in a darker and more sophisticated context. Lövgren and Mårten Hagström (rhythm guitar), together, create some of the sludgiest sounds heavy metal has ever heard, and it is a craft which they have perfected on obZen. While bands such as Gojira and Mastodon, have experimented with droning and sludgy tones and techniques, Meshuggah have mastered this art, essentially creating an instrumental language of their own.

Listening to obZen, it is difficult to imagine that these musicians know any other way of approaching their instruments. They are one of the true innovators of heavy music, who, rather than mimic and replicate current trends, have sought for decades to produce a distinct sound to call their own, and with obZen, it has been mastered. Scene kids and trend followers may be turned off by this band’s narrow focus, as while popular trends in metal currently lean toward cramming as many ideas into as little space as possible, Meshuggah retain a narrow focus and develop ideas thoroughly within their narrow confines. Those willing to recognize the skill necessary to craft such diverse songs within a restrictive context, however, are in for a treat, as each song that is put forth on obZen is ripe with ambitious life and atmosphere. It is albums such as this which help to define the line which separates mere music from art.

Note to long time fans: The Spiteful Snake 3:16

How To Achieve A Disconnect: The Long Winters

Like fragrances and colours, music has the power to change not just one’s state of mind, (which is actually kind of obvious) but also the trappings in which one endures the dullest of quotidian events. Turn on a nice piece and see the hottest of summer afternoons transform into the most pleasant and delightful of evenings. I am sure most Indie lovers have experienced that first hand. The Long Winters is exactly the kind of band that bolsters the trust of us indie-gummers in surrealism. Musical surrealism, that is.

But then again not all songs (genres even) possess that sort of clout. Hip hop, as it is, is yet to get over certain parts of female anatomy– take that homies, ner ner. Admittedly though, even Indie fails to produce such gems regularly. Most of the time, one has to feel content with commonplace tunes. Well as long as it is Indie and tolerable anything goes. Example: Field Music – A House is Not a Home, Love of Diagrams – Pace or the Patience, etc. What were they thinking? It is an atrocity considering how much indie-maniacs like us are in love with all things “obscure”. Obscure reminds me I was going to make this post all about The Long Winters and not turn it into one of my whine sessions. I am tempted to say wine sessions.

The Long Winters are from Washington. Yes, Washington again. The self confessed paranoid John Roderick forms the core of The Long Winters. This singer/songwriter is capable of churning out melodies that prove to be handy whenever you are in that state of ethereal disconnect. However, the USP of the band lies in its lyrics. It is a skill to be able to put complicated thoughts across without being cheesy. “John Roderick writes songs that make you feel like you’ve been talking to someone really interesting in an airport for the last hour and, although you know you’ll never see them again, you just told them your whole life story and a part of you will love them forever. “ (Source: The Long Winters website).

My favourite song by The Long Winters is Delicate Hands (Ultimatum). In fact, this is the first Long Winters song that I heard. Needless to say, I immediately fell in love with it (I want to feed you butter-rum candy/but someone beat you to me/beat you to me/someone beat you to me). This is indie at its best. Even though it fits the bill perfectly, let us just forget about the obscure criterion for just once and concentrate on the tune for what it is. I am sure you’d concur it is quite nice.

Pushover from their latest record Putting the Days to Bed is lyrically not as good as Delicate Hands but it kind of makes up for that by flaunting stronger riffs. Fire Island, AK is well groovy and that is why me likes it loads.

Other songs that deserve a mention: Scent of Lime (The Worst You Can Do is Harm), Stupid, Blue Diamond (When I Pretend I Fall)

Songs on LB’s MP3 player: Delicate Hands, Stupid, Fire Island AK

Till we meet next time…

Keep moving forward (Meet the Robinsons style)

Megha

The Long Winters Discography

Putting The Days To Bed (2006)

• Pushover
• Fire Island, AK
• Teaspoon
• Hindsight
• Sky Is Open
• Honest
• Clouds
• Rich Wife
• Ultimatum
• (It’s A) Departure
• Seven

Ultimatum (2005)

• The Commander Thinks Aloud
• Ultimatum
• Everything Is Talking
• Delicate Hands
• Bride And Bridle (Live)
• Ultimatum (Live)

When I Pretend To Fall (2003)

• Blue Diamonds
• Scared Straight
• Shapes
• Cinnamon
• Bride And Bridle
• Blanket Hog
• It’ll Be A Breeze
• Stupid
• Prom Night At Hater High
• New Girl
• The Sound Of Coming Down
• Nora

The Worst You Can Do Is Harm (2002)

• Give Me A Moment
• Carparts
• Samaritan
• Mimi
• Medicine Cabinet Pirates
• Unsalted Butter
• Government Loans
• Scent Of Lime
• Copernicus
• Shanty Town

Airplane/Primitive – The Slip (Music Video)

What I wouldn’t give to see them live.

Indie Track Review: Airplane Primitive by The Slip

Airplane Primitive/Saw it and thought it was some kind of bird

Question: What do you get when you cross overwhelming melodies with subtle emotional effects?
Answer: Airplane-Primitive by The Slip

Get over banal rock that does nothing but flaunt pretty guitar hooks. I know I like that but there is a limit to everything. The Slip are here with their avant-garde yet sensible style of indie rock.

The Slip are two brothers and a mate:
Brother 1 – Andrew Barr (drums)
Brother 2 – Brad Barr (guitar/vocals)
Mate 1 – Marc Friedman (bass)

They are powerful with their melodies and even more powerful with the kind of rockstar-less aura that they have. How can they be such geniuses and yet be so laidback? There’s nothing pretentious here. Their latest album Eisenhower is a proof of that. Eisenhower is exactly the kind of music that made me get over my aversion towards blogging and spurred me towards writing about indie.

Airplane-Primitive is one of the most guitar-intensive tracks from Eisenhower. It is also one of the most guitar-intensive indie tracks I have heard in a long time. The six-stringed melody interlaced with cymbals and harmonica is what makes Airplane/Primitive such an overpowering tune. 7 minutes is too short a playtime for this song because by the time one absorbs all the melodies and discovers, leave alone comprehend, all the layers the song is already over. One has to hit replay.

Give the song a listen and I bet that by the time it ends, you’d be surprised that you spent your last seven minutes nodding your head to indie!

In case you agree/disagree, feel free to leave a comment on here.

Megha (Don’t watch Apocalypto)

Airplane/Primitive lyrics in case you are interested:

It’s the day before the rest of my life
And I feel like Dylan Thomas
Says my muse if you stay I’ll go
If I’m not lying I’m not being honest

It’d be the death of me to keep her pace
And my bride I haven’t even laid eyes on
But my ghosts they come to me these days
My companions from the day I was born

Airplane primitive
Saw it and thought it was some kind of bird
It landed, he made up his mind
Can’t, can’t live

Airplane primitive
Saw it and thought it was some kind of bird
It landed, he made up his mind
Can’t live knowing that there’s some other world

Well come with me on one last run
Then I swear I’ll join you in the sun

Airplane primitive
Saw it and thought it was some kind of bird
It landed, he made up his mind
Can’t live knowing that there’s some other world

Where men fly up in the sky
Strapped himself to the wing for a one way ride
And in the air, above a cloud
There his soul stayed when his body fell down.

Airplane primitive
Saw it and thought it was some kind of bird
It landed, he made up his mind
Can’t live knowing that there’s some other world

Where men fly up in the sky
Strapped himself to the wing for a one way ride
And in the air, above the clouds
There his soul stayed when his body fell down