Carolina Rockabilly, Vol. 1

I stumbled across this Cd at the Heavy Rebel Weekender, and I was glad I did. This is a compilation featuring some of best Rockabilly bands of the Carolinas. There are tracks including a bonus cowpunk song. Some of my favorites are “”Put me in My Grave” by the Defilers; “My Kitten is Up a Tree” by The Tremors; and “Vegas Bound” by the Truckstop Preachers. But they are all great tracks. “Carolina Rockabilly” is indispensable for any Rockabilly fan.

www.rockstarincoprorated.com

Brian Setzer is one of the central figures of both the Rockabilly and Swing revivals. The Stray Cats brought Rockabilly into the modern mainstream; and the Brian Setzer Orchestra did much the same for Neo-Swing. As a fan of both genres, I awaited the new Brian Setzer CD with much anticipation. The cover of “13” is classic Setzer, with very Rockabilly inspired artwork. On the back, Setzer is featured mid-leap in a classic “Rock this Town” pose. The opening chords of Drugs and Alcohol (Bullet Holes)” were fraught with promise. But alas, that promise was to remain unfulfilled. You will find precious little of either Rockabilly or Swing on “13”. Most of the music is in the classic rock mold. For example, “Broken Down Piece of Junk” has guitar licks that remind me of Aerosmith. “Everybody’s up to Something” brings back shades of Rick Derringer. Oddly enough, “Bad, Bad, Girl (in a Bad, Bad, World)”, for me at least, has a hint of Devo. You get the picture. “Really Rockabilly” is a cynical, biting commentary of the commercialization of the Rockabilly scene. Maybe this explains Setzer’s departure from the genre, but this is nothing but mere speculation on my part. Sometimes the old Setzer does shine through. “Mini Bar Blues” might just be able to pass on a Swing Dance night. “When Hepcat Gets the Blues” has sort of a Swing/Hot Jazz feel that grows on the listener. “The Hennepin Avenue Bridge” has some charming ban, ukele and tuba, somewhat reminiscent of Leon Redbone. Fans of classic rock will enjoy this CD.  But if you are looking for the old Setzer style Rockabilly and Swing, you won’t find it here.

http://www.briansetzer.com/

At first listen, “Solace” appears to have much in common with darkwave bands such as Lycia and Love Spirals Downward. But this impression is quickly dispelled. While there is some of the same sense of dark reflection, Heaven Falls Hard dispenses with the “wall of synth” that other darkwave bands use so effectively. Instead, their approach is a stark, almost acoustic sort of feel that sort of reminds me of early Cowboy Junkies, yet of course, is much darker oriented. Languid piano and distant guitar balance Stacye’s beautiful voice to inspire a feeling of profound melancholy. But before going too far, the mood rises ever so subtly to a sense of wistful reflection. The listener thinks of things lost; or what might have been; os simply what once was. The opening track, “Frightened” has an edgy sort of poignancy, accentuated by a steady, slow percussion with bass and guitar chords that lead into unexpected directions. The layered vocals are particular effective with the haunting refrain “we should die together….” “Burn” begins rather  omionously. The measured, steady percussion, layered vocals, and guitar impart a Middle Eastern feel. The ballad-like “Take Anything” has a “fuller” sound than most of the other tracks, with more backing instruments. “Undone” is one of my favorite tracks. Along with the urgent despair in Stacy’s voice, it has a chord progression that somehow pulls at the listener’s soul. “Under Glass” is another simply awesome song, carried by wistful vocals and sparse, post-punkish guitar: “I ripped my fingers on the needles in your heart…” “Constant” continues in the same direction. “Still” begins with the sound of falling rain and piano, then Stacye’s vocals ensue with a slow, cabaret-ish air. “The Shroud” has a more electric sound, that would not be out of place on the soundtrack of a dark sci-fi movie. This change of arrangements is very effective after the preceding two tracks. “Thank You” starts slowly with piano, then rises to a dirge, with symphonic synth in the background. The vocals remind me vaguely of early Sinead O’Conner, with the refrain “I need an Angel…” “Aliena” aptly finishes the CD, with superb piano that gently ebbs and flows into dark, and then still darker, currents. “Solace” is a masterpiece that will be appreciated by fans of Goth, Ethereal, Darkwave, or anyone who enjoys deep, reflective music. Hopefully, this is just a taste of things to come from Heaven Falls Hard.

http://www.myspace.com/heavenfallshard

http://www.fossildungeon.com/fossildungeon/

“Arnaut am I. that hoards the breeze

I am the ox that hunts the hare

the man that swims against the tide”

-Arnaut Daniel

As a long-time fan of medieval music, I was very pleased to be able to review “Leys d’Amors” by the Italian early music ensemble Lilium Aeris. Though Lilium Aeris only recently formed in 2006, “Leys d’Amors” clearly establishes them as one of the best new performers of medieval music.

The use of electronics has become common among many groups who perform medieval music, and this is not necessarily a bad thing. It may resonate more with new listeners of the genre, who are used to modern music, and hopefully this introduction will cause them to seek out more authentic forms. But for me, there is something far more moving and evocative about hearing medieval music played solely on period instruments. We do not actually know how medieval music sounded or how some early instruments were actually played, since modern musical notation did not exist and very few manuscripts survived. But modern music scholars and musicians can make educated guesses (no pun intended) as to how medieval musicians would have originally sounded..

To my delight, “Ley’s d’Amors” features the music of the Troubadors, which is one of my favorite eras of medieval music and poetry. Listening to “Ley’s D’Amors”, one can almost see the forests and castles of old Languedoc and the pageantry of the Court of nobles like Count Raimon VI. Music of the most celebrated of the troubadours is here: Arnaut Daniel; Bernart de Ventadorn; Giraut de Bornelh, and more. These are rounded out with two Estampies, which will be familiar to listeners of medieval song. Arnaut Daniel’s “Lo Ferm Voler” has always been a favorite of mine, and Lilium Aeris’s version rivals that of Sequentia, which is quite a feat!

Lilium Aeris performs on authentic instruments, with the lovely voice of Serena Fiedro as main vocalist. Purists may argue that the best evidence indicates that the music of the Troubadours was performed either without accompaniment or with one instrument alone. But we are not really sure. Unaccompanied vocal arrangements have their charm, but can become tedious. Lilium Aeris stays true to the spirit and does each piece credit.

Haunting and plaintive, the music of Lilium Aeris rolls back the centuries, leaving the listener with a yearning vanished time which we never knew, except in dreams.

http://www.liliumaeris.com/?lang=en

http://www.myspace.com/liliumaeris

http://www.fossildungeon.com/fossildungeon/

Fine debuts are normally hard to follow, but with Lucas Lanthier and associates I knew this would not be a concern. Yet even I was taken aback by the sheer excellence of this release. To be sure, “A Seed Catalog for Extinct Annuals” follows in the footsteps of “An Entire Wardrobe…”, but takes an unexpected, meandering musical course that sometimes runs parallel to their earlier endeavor, and sometimes wanders off to the fringes of their haunted, neo-Victorian world to explore ominous shores filled with foreboding portents, before turning to flee back to more familiar confines, but only momentarily before dashing into the shadows again.

The apocalyptic instrumental “Intro”, aptly sets the stage. After a distant, operatic opening, the melody of “Polymelia and the Satyr” proves deceptively simple, like a dark nursery rhyme that proves addictive, staying in your head longer than the latest televison jingle. Marzia’s cello provides a superb melancholic counterpoint. The compelling arrangements of “Revenge on the Nursemaid” also stay with the listener long afterwards, with staccato percussion and flowing cello anchoring Lucas’s somehow disquieting vocals. “Meaty Bones and Porridge” has a bit of a rollick, opening with a nearly martial percussion. Lucas growls along with Marzia’s cello which rises and ebbs between the driving bass and guitar. “The Adventures of Jonas Mauken” is one of my favorites, a dark nautical tale featuring haunting piano and eerie vocals, which evokes visions of cobwebbed tintypes and long-forgotten waltzes.

Read More… The DeadFly Ensemble: A Seed Catalog for Extinct Annuals

I am generally not a big fan of electronica, so I don’t listen to much. But as the old adage goes, “I don’t know about art, but I know what I like.”

Frightdoll is a female solo project, which is rather refreshing in a genre traditionally dominated by cookie-cutter male groups. Frightdoll amply demonstrates that she can do as well or better than any four guys behind a wall of synths. “Automated”, “Sessions of Expression”, and “Tension” have deliciously dark undertones, and Frightdoll’s half-chanted vocals create an ominous feel that has the right amount of tension.

I particularly like the horror-movie intro and carnival effects in “Sessions of Expression”. The vocal arrangements and minimalist instrumentation on both this song and ‘Tension” has sort of an ‘80s New Wave sound. Right when this formula could get tedious, the pace changes with the slow and wistful “Questions”, which is one of my favorite tracks. “Marionette” has a strong rhythmic beginning that is almost martial, and in mid-track her vocals soar for the first time on the CD. The instrumental “Unit” changes the tempo a bit, with some computer-sounding effects and a quite catchy and pleasant melody that sounds rather like Kraftwerk-meets-Depeche Mode. “Neutrino Glaze” has a slow, brooding air that I rather like, with the vocals blending perfectly. “Gravity” continues in the same pace, and Frightdoll shows yet another side to her voice. “Crash” is another one of my favorites, with vocals that shift from almost cabaret to sultry. The edgy “Version” is rather bleak, with interesting Gary Numan-esque effects and a strong beat that does not overpower the vocals.

The CD concludes with the remarkable “Strange”, which highlights Frightdoll’s vocals as no other song here does, and leaves the listener wishing for another track. One of the hallmarks of the CD is that Frightdoll knows how to avoid mere repetition. With “Reference Version’, Frightdoll shows that EBM can be danceable and imaginative without the headache-inducing, pounding BPM’s so beloved of club DJ’s. If there were one thing I would change, it would be to bring out her lovely voice a bit more from behind the vocal distortions. Best wishes to Frightdoll, and we look forward to hearing more.

http://www.frightdoll.com/

http://www.myspace.com/frightdoll

Imagine a friend coming to you and saying “Hey, I found a box of old albums in my closet. I’m not into this stuff anymore, you can have them.” Inside the box, you find classic Goth Rock albums. Rosetta Stone, Fields of the Nephilim, Ikon, The Prophetess, The Shroud…well, you get the picture. Then you find another band, one you have never heard of before. When you put it on the turntable, you get a chilling feeling of Déjà Vu. You close your eyes and you are transported to a club sometime in the late ‘80s, listening to a new song. This is the feeling I got when I listened to Plastique Noir.

Plastique Noir was formed in Brazil during late 2005, and quickly became very popular in the local scene and beyond. Listening to their demo, it is not hard to see why! The arrangements of “Shadowrun” remind me somewhat of Rosetta Stone, fast-paced and danceable. “Creepshow” opens ominously, and then spins into edgy guitar which falls into somber, echoing vocals, bridged by steady basslines overlaid by percussion that is constant yet not overpowering. “Desire of Disease” is one of my favorites. Also very danceable, it combines very dark evocative vocals with a visceral arrangement that soars into an energetic chorus. “Six Feet Under” begins with a spoken intro, then combines post-punkish guitar riffs underscored by synth, with vocals. “Killergarten” has a horror-movie type intro, then leads into vocals that remind me of Fields of the Nephilim. Deathrockish guitar riffs and background synths complement each other. “Silent Shout” is sort of Cure-esque, poignant and yearning, yet catchy at the same time. “Empty Streets” is rather bleak, dominated by steady percussion and guitar over deep vocals. “In Thorns and Blades” combines very effective guitar hooks with powerful backing synth, and vocals that rise to a fast paced chorus.

Very well produced with tight arrangements, Plastique Noir is much more than just a Goth Rock tribute band. They infuse other elements that give and updated feel to a familiar sound. Amidst the plethora of high-pitched artsy-wartsy Sex Gang Children wannabes that are prevalent these days, Plastique Noir is a welcome reminder that Goth is indeed not dead. We look forward to hearing more!

http://www.myspace.com/plastiquenoir

On any deathrock forum, most deathrockers will be quick to say that deathrock is “punk not goth.” So I was very surprised when a prominent deathrock magazine refused to print this Ramones DVD review, even after the editor had enthusiastically given me the OK before I even submittedit. Later, I was told that they were concerned with “new bands,” not tired old stuff like the Ramones. However, this DVD’s was only recently released, and I felt it was important to introduce it to both young listeners who had perhaps never seen the Ramones in their glory, as well as longtime Ramones and Punk Rock fans. Unquestionably, the Ramones were one of the greatest and influential bands of the Punk era, whose influence cannot be overestimated. They inspired many people to go and start bands of their own. Without bands like the Ramones, Punk would never have grown to eventuallyspawn the entire Goth scene. Maybe be they are not “new”, but they sure as hell aren’t old and tired. Maybe it’s about time to put the “PUNK” back in “ARTPUNK”. Yeah, baby.

Released in 2005, “End of the Century” chronicles the entire career of the Ramones from their childhood to the breakup of the band. With a length of 150 minutes, the DVD presents a comprehensive look not only of the Ramones, but of the era as well. The story is told through interviews not only with the Ramones, but with virtually everyone of importance who was connected to the band. This is almost a Who’s Who of the early scene, with interviews or footage of Iggy Pop, Blondie, Johnny Thunder, Joe Strummer, Paul Simonon, Captain Sensible, The New York Dolls, Richard Hell, Wayne County, Areturo Vega, and many, many more. Interspersed between the interviews are concert footage and videos that are simply fantastic, from the early CBCG days to the Ramones’ final concert. The interviews are brutally honest, showing the dark side of the Ramones as well as the more popular publicized view. No one holds back, but far from being a negative thing, this immeasurably enhanced my understanding of the band. While I knew about the feud between Johnny and Joey, I did not really realize how bitter the feelings ran until I saw this DVD. The infighting and tensions between the band members is not glossed over. But neither is the very real creativity and originality of this seminal group, and their dedication despite all the challenges and pressures they endured. The many extras include additional interview excerpts; a “Who Wrote What on the First Three Albums” feature by Tommy Ramone; Marky Ramone drum techniques; and a deleted scene. For a no-holds-barred, candid look at the history of one the greatest bands in the world, “End of the Century” is a vital acquisition. It can be found on www.amazon.com.