A Beautiful Noise

THE BEAUTIFUL CONFUSION – “The Beautiful Confusion” CD ’09 (Private, US) – Call me set-in-my-ways…actually, that would probably be one of the kinder things that people have called me...but when I hear the words “Seattle, Washington” a couple things come to mind. Of course, like my home town’s O-No’s, there’s a bad baseball team, The Mariners. There’s also a wealth of wet weather, beautiful scenery and a Starbucks on every corner. When it comes to music, though, my focus is narrower: Queensryche and the grunge scene of the mid/late ‘80’s. And that’s how this beautiful Confucius say: “Open your mind, son, all is not what it may seem.”

THE BEAUTIFUL CONFUSION are a band from Seattle and they have nothing in common with prog-metal concept albums nor flannel shirts and long hair flailing. In fact, when I slid this one in and the strains of “December Morning” washed out of the speakers, I thought I was listening to an early Eagles gem, maybe off “Desperado,” something like that. Hmm…I thought, haven’t heard something like this in awhile, as the smooth-yet-ultimately catchy country rock of “Heartland Mystery” continued. Much like those California boys (before they took the corporate turn with their later stuff), TBF display a knack, not for anyone named Sharona, but for mixing deceptively hook-laden pop with a nicely-crafted musical base. Eric Sviridas guitars supply an open-air backdrop for Dalen Bakstad’s vox which sport a throaty, emotional Alex Band (The Calling) sort of vibe. Where the band really take off, however is with track # 5, “Campbell Drive.” This slow, hypnotic number may not seem much in theory (it’s basically a verse and chorus repeated twice), but in reality it is a stunning piece that I’ve gone back to repeatedly. Similar in it’s originality is the slow and ethereal glide of “Windows 3.” Here, and increasingly in the 2nd half of this record, Sviridas’ guitar and the pedal steel of Jason Kardong engage in some simply gorgeous musical conversations. While not over-the-top in notes per second, these guys mesmerize in their ability to work wonders within the framework of the song. Never is this more evident than on the lengthy (nearly 6 minutes) “Rain.” With an almost orchestral feel, embellished by some well-placed electronic effex, this one slips on a coat that I’d describe as something akin to “Progressive Americana.” Figure that one out, while you’re then drawn into the bizarre 50-some second noise-interlude of “Casablanca” and led to the conclusion by “Little Co.”’s understated strains. Better yet, don’t try to figure anything out. Just buy this CD, put it on late at night and allow it to wash over you. For a thoughtful, pensive mood this is as nice a record as I’ve heard in many a moon. No Confusion Here

www.myspace.com/thebeautifulconfusion
http://www.thebeautifulconfusion.com/

Peruvian Gold

FLOR DE LOTO – “Mundos Bizarros” CD ’09 (Mylodon, Peru) – A quick tour around the internet will tell you very quickly about the luminaries who have come from Peru. They range from Saint Rose Of Lima (the first Catholic saint to emerge from the Americas) to Paddington Bear (yup, that’s where the character originates). Included in the list are also such notables as Benjamin Bratt (Law & Order actor, who’s mother was from there), 1959 Wimbledon Champion Alex Olmedo and soccer star Nolberto Solano. Well to that interesting role call I’m about to add the name of the 4 dudes who are about to become your new favourite heavy rock band? Doubt me? C’mon, by now you should know I don’t blow smoke. I speaka da truth, son, so sit down and listen to my words.

FLOR DE LOTO are a quartet of Peruvians who have just issued their 3rd album, “Mundos Bizarros” and baby, it’s going to clean your clock. But first…let’s get a sometimes ugly piece of business out of the way. One of you, who is perhaps a bit anxious, is going to read the name of the band at the top of this review and you’re going to do it…admit it, you’re going to Google it before you read the review. When you do that, you’re going to come across those dreaded words, “progressive metal,” and you’re going to recoil in horror. You’re going to imagine visions of a curly-haired muso, sitting on a stool at a Barnes & Noble in-store, peering studiously over half-glasses at the fretboard of a custom PRS, playing some sort of convoluted Phygrian scale. STOP! RIGHT THERE! That’s over, so file it away until the next time Fates Warning reforms or whatever the hell else. No, FLOR DE LOTO is very heavy rock with innovative and unusual song structures. Think of a cross between Side 2 of the first Sabbath record and early Iron Maiden…with flutes! The foursome (Alonso Hererra – guitar, vocals; Jorge Pucchini – drums; Alejandro Jarrin – bass; Junior Pacora – woodwinds) do some wonderful stuff on this record and trying to narrow it down cut by cut over the 13 here would be patently unfair as much as a gigantic pain in the ass, so I won’t try that one. What I will describe is the flowing, organic power that surges throughout the 60-plus minutes on offer. Whether it be one of the many instrumentals (written with a memorability that belie their lack of words) or a vocal selection wherein Hererra lends his smooth mid-range pipes to the mix, there isn’t a weak spot. Hererra is a monster guitar player throughout, something you know this here scribe is just eating up! The guy is a master of going from a soft melodic and acoustic intro to a full-on barrage of metallic riffs with such ease that you’ll wonder how you got there but will be ecstatic you did. His tone is thick, full and powerful as hell and his leads are exploratory enough, with a flair that speaks of an Adrian Smith, yet never over-indulgent. In fact, that points up to something I really love about this band in general. The songs are nearly all within the 4-6 minute range, allowing the band to make a powerful statement yet surely not to wander. True, the final title track runs to the 11 ½ minute mark, but it’s construction is so gorgeous and well-done that it reminds me (in writing style, although much heavier) of the ancient, REAL Genesis. And, as a final point, I have to say that my “other” favourite thing about this bunch is the work of Junior Pacora. This cat lays down some flute work that is right up there with the best I’ve ever heard, and his playing fits the heavy music like a glove, similar to the way Ian Anderson blends his instrument into Jethro Tull's raucous fray.

All told, I may have not yet heard FLOR DE LOTO’s first 2 records but I have to say that I HAVE heard “Mundos Bizarros” many a time now, and it is simply the real deal. You can call it prog rock, progressive metal, or whatever you want. Me, I say it’s not only one of the best exports from Peru…it’s one of the best albums of the year. Bizarrely Good

www.myspace.com/flordelotoprogre

You've Got A Doom Friend In PA - The ARGUS interview!

If you’ve been reading this site for awhile, you already know about the lavish mounds of praise I’ve slathered upon the debut release from Pennsylvania’s ARGUS earlier this year. If not, read as noted (it’s the 2nd one down in this review section below The Mishaps), then rejoin us to the right of the below link. Point is, if you dig heavy long songs, harmony guitar leads for the ages and vocals awash in all ranges of emotions, not to mention thought-provoking lyrics, ARGUS are for you…despite their somewhat hard-to-take-for-a-Ravens-fan NFL allegiances. But more on that later. You’ll just have to read the interview. So do it. Now.
http://raysrealm.blogspot.com/2009/07/killer-four-way.html



RAY - Butch, I know you were in PENANCE previously. That aside, I’m honestly not aware of the whole history behind ARGUS in general or you in particular. Can you give us a run-down of your career in music and how it all culminated (so far!) in this band?


BUTCH - I began singing in bands at age 17. First band was a band called DRUID. Had a lot of fun with that band – short lived as it was – maybe 1 year. That was the building block for all the followed. Played in a few bands in the Pittsburgh area – Lights Out and Child of Fire. When Child of Fire split I found an ad that PENANCE was looking for a singer. I auditioned and at the time it did not work out but we remained friends and eventually we started jamming for fun and from there began writing and that led to 7-8 years, 3 albums, a bunch of gigs and a short European tour. PENANCE finally came to a end/fell apart and I met the ARGUS guys. Erik Johnson is a fraternity bro of mine and I’d get these e-mails from him saying come see his band, ARGUS. Well, I never got out. Finally I get this e-mail – “Come see Erik’s last show with ARGUS”. Now I gotta go since I missed all the others. First things first – I was blown away by Andy’s bass playing. And the rest of the band was great too. I got to talking with Kevin when they were done and we stayed in touch via e-mail. We decided I’d come out and audition and if that worked out we’d work out a rehearsal schedule where I came out every other weekend etc since they were 1.5 – 2 hours drive from me. It ended up working quite well as 3 years, a bunch of shows and 1 album later will testify. That’s the short version. Every band was like a building block for the next. And I learned something new in every situation. I believe ARGUS is the best band I’ve been a part of and this album is the culmination of all my years in music so far. I am very proud of it.


RAY - What are your influences in music? Did you come up in a musical family? If so, how did that steer you toward your involvement in music today? Also, if so, how has your family felt about the heavier end of the music you’ve produced, have they liked it or have they recoiled in horror?


BUTCH - My folks liked music but not like I do. None of them were musical performers – I was the music nut of the family who decided he wanted to be in bands. My father died when I was young but my mother and stepfather were always very indulgent of my hobby as a music collector and very supportive of my musical activities be it chorus, choir, theater and later on my bands. They came to all my school performances and I think a concert or two when I started in rock bands. So, it was good to have folks who were on my side and kind of understood me LOL I’m not aware of how much of my recorded work they’ve heard. I know they heard some Penance because my mother and sister are aware that the song “Drown Me In A Sea of Empty” was about my father’s death. I’m sure the music isn’t up my family’s alley but I never really asked I guess.

My influences ? KISS was the most important. KISS was the band that made me want to be a musician. From the time I was 5 and my buddy and I would play “I Want You” over and over and laugh when Paul would stammer “buh-buh-buh-buh Babe I Want You !” to when I bought “Creatures of the Night” until today, they’ve been a constant in my life and have been a huge influence on me. I’m a KISS apologist – I’m the guy that will try to convince you that “music from The Elder” is a good album and that 80’s KISS is worth exploring. By the way – SONIC BOOM is one of their best albums ever. 2009 album of the year for me.

Beyond KISS I’d have to say The Beatles, Black Sabbath, Iron Maiden, Judas Priest, Angel, Starz, Trouble, Saxon, Savatage, Metallica, Rainbow, Celtic Frost….. I don’t have enough time to list everyone. Metal, hard rock, 70s rock, old school R&B (Marvin Gaye, Funkadelic, James Brown, etc)…. I am a music nut – Johnny Cash…. Been on a big Southern Rock kick lately especially the Marshall Tucker Band…. I’m all over the map. And that’s just the old stuff. I’m surrounded by bands and musicians within this scene and otherwise that inspire me – Revelation/Against Nature, Orodruin, The Gates of Slumber, Pale Divine, Valkyrie, Earthride, While Heaven Wept, Slough Feg, Pharaoh, Apostle of Solitude….

If we’re talking vocalists – the biggest influences on me, or more accurately – my favorite vocalists are: Ronnie James Dio – he’s the tops, greatest metal vocalist ever. The complete package of power, range and charisma. Rob Halford, Bruce Dickinson, Bobby Liebling, Frank DiMino, Robin Zander, Paul Rodgers, Steve Marriot, James Hetfield, Paul Stanley, Gene Simmons, Peter Steele, Biff Byford, Ian Gillan, Brad Delp, Marvin Gaye, Barry White, Johnny Cash, Freddie Mercury, Paul McCartney, Lars Goran Petrov….again, I could be here until next week listing singers I love. I don’t think I sound like any of those guys but that’s a sampling of singers that have really inspired me over the years and made me want to do this.

RAY - I know that ARGUS did a previous work that was released by John Brenner’s Bland Hand Records. How did that go and how did you hook up with Shadow Kingdom for this new self-titled release?


BUTCH - We recorded a 5 song demo and made copies of it which we sold at shows for cheap. In fact the first time we sold them was at the Doom or Be Doomed Festival in 2007 and we charged like $2-$3 and gave every dollar to the Make-A-Wish Foundation. But John agreed to put the demo up on the Bland Hand site for download because we wanted people to be able to get it for free and hopefully dig it and spread the word. So, we’re definitely grateful to John and Bland Hand for giving us that platform. I’m hoping to give him some live stuff one of these days as well.

SHADOW KINGDOM came into the picture when our agreement with Tyrannusshit the bed. We knew Tim, had met him previously and it just so happened that as we relieved ourselves of a whole lotta nonsense he liked the band and was willing to release it for us. It was a no brainer – the label is already known for its great releases, it’s up and coming so we can grow with it, and Tim is a Pittsburgh guy so having our label in our back yard so to speak is a big plus. We are very happy things worked out the way they did.


RAY - What is the inspiration behind the band name ARGUS? I know that it is a many-eyed giant from Greek mythology and yet an old geezer like me from the musical ‘70’s can’t help but think of the legendary Wishbone Ash album from ’72 when he hears the name. Actually, the opening guitar piece at the beginning of “Devils, Devils” has that awesome, timeless dual harmony lead feel…yet it then explodes into something completely different. Comments?


BUTCH - Erik picked the name based on the mythological character. Obviously we hear the Wishbone Ash thing all the time and sharing the name of their biggest album plus utilizing guitar harmonies like we do – we’re always going to get asked that. The truth is that the band was named before I joined and before all the guitar harmony stuff really came into play in the band. When I first saw the band they had one song that had a killer double guitar section. That impressed the shit out of me. I eat that stuff up. I put mustard on it and eat it I tell ya ! When I joined and we began writing it was something we all wanted much more of and I’d have to say our influence there was a lot of Maiden and Thin Lizzy.

The intro to “Devils” was actually written initially as a way to start the album and it ended up that “Devils” would be the first song so the two were going to be side by side. Initially that intro was going to be given its own track # on the disc and be title….but we never came up with a title so we banded it with “Devils…” and there you have it. I like the majestic nature of the intro and then how it slams into “Devils, Devils” – I always loved when bands had these cool intros that were linked to their songs – like Judas Priest “Hellion/Electric Eye”…. Big, dramatic intro into that pounding song. Magnifique !


RAY - The “Argus” album certainly has doom metal overtones and yet, to me as a listener, it’s far from restricted to that area alone. There are, of course, those melodic harmony guitar parts and also is very aggressive, up-tempo & progressive at times as well, calling to mind bands like Slough Feg, early Maiden and, at times, even things like Confessor and Helstar, in the guitar dept. Commentary?


BUTCH - For sure, our influences are many and varied among us. It just so happens that they happened to overlap/intersect when it comes to the music we want to write, play and record. One thing we all love are guitar harmonies – Maiden, Slough Feg, Thin Lizzy, Valkyrie….so we look to add them where we can. We definitely also like to mix up the tempos and have some time changes. We don’t really set out to write a particular type of song but each person brings in a certain style and it just gels well. I’m sure if you asked any one person in the band there are things they’d like more of – me, I’d like to be a bit doomier at times…Jay would probably like to be more progressive….in the end, because we work so well together everyone gets some of what they want. It’s what makes us sound like we do and helps us fit in yet stand out with doom metal bands, true metal bands etc – we have a little of all of that working.


RAY - As far as Pennsylvania goes, you guys are from up near the Pittsburgh area, aren’t you? How does it feel to know you’re being questioned by a Ravens fan at this very moment? Does it increase your propensity to lie or simply to say “Your football team sucks!”


BUTCH - I’m a uniter, not a divider, Ray. I say “Love your Ravens fan as yourself”….because no one else will.

I do enjoy smack talk though but it is so much more enjoyable to do it in person when under the influence of many alcoholic beverages tempers can flare and fisticuffs can be threatened and perhaps utilized.

My wife’s sister married a Ravens fan. Imagine the shock in our family. He’s a good guy but…jeez.


RAY - Mike Wisniewski left the band since the recording of the album and was replaced by Erik Johnson. How has that transition worked out? I would think the intricacy of the guitar parts in these songs would call for a lot of practice in this regard? Am I right in that Erik was previously a singer? Did he hear Eric Johnson’s “Ah Via Musicom” album at some point and realize that, with a name like “Erik Johnson,” he oughta start playing the axe?


BUTCH - Erik was actually named after a serial kamikaze cunnilinguist, Erich Schwantz-Johnson. Erik has played guitar for years and he was the singer that preceded me in ARGUS. The transition was very smooth, we haven’t missed a step musically and personally he fits us to a T. The fact that he grew up with these dudes was a huge bonus. We couldn’t have made a better decision than the one to bring him back in.


RAY - Butch, you’re vocals are very melodic and yet quite powerful at the same time. That combination reminds me of, not style-wise, but in assuredness of Robert Plant. Also, Solitude Aeturnus/Candlemass singer Robert Lowe comes to mind. What kind of, if any, training do you have vocally? Do you do any special sort of vocal exercises?


BUTCH - I’ve sung since grade school – chorus, choir, drama, honor chorus/ensemble…. I have had some formal lessons but truthfully I have long been a very lazy student so I have learned some things but mostly what I do is untutored…. But when you have 4 different vocal coaches plus years of singing in school or bands you pick some things up….even some good habits amid the bad ones ! I am flattered by your comparisons – I would hesitate to even mention myself in the same breath as those guys.

For exercises – for years I used a warm-up CD that was a combination of some lip and tongue trills (via Seth Riggs Speech Level Singing course which is what a prior coach, Tim Aymar, used as his base teaching course) and some scales/vocalizes that I had on tape from a voice school I attended at one point. I just bought a warm-up CD by a jazz singer named Ellen Johnson. About a half hour- 45 minutes before I go on stage I do these warm-ups…which means I always miss bands I like that play before us L It does help prepare me to sing…doesn’t guarantee a flaw-free evening but it definitely helps. Otherwise I don’t have any exercises I follow – just superstition and habit – lots of water, trying not to talk before I show (inevitably I bump into someone I’d really like to talk to ….murphy’s law), no smoking pre-show, no alcohol leading up to the show, drinking throat coat tea…… There’s a health-food store in Squirrel Hill that sells these lozenges that I love (name escapes me…but I know them on sight).


RAY - How about lyrics? I know some singers don’t like to delve into their lyrics but if you don’t mind, could you take, say, 3 songs from the album and talk a little about them lyrically?


BUTCH - Yeah – I’m not a huge fan of trying to explain my lyrics because I feel like I know what they mean to me but I like that others can, and have, interpreted them to their own experience. But for you, a fellow traveler in the world of ANGEL, I’ll talk about a few……

“Devils, Devils” deals with the darker side inside us all. We all have traits that we are cognizant of that are not pleasant be it selfishness, jealousy, narcissism… SO basically “I’m a phantom, my demeanor – facade” is basically “Look, you are seeing one thing, the good person but inside there’s this ugliness that might make you feel differently about me…”

“The Damnation of John Faustus” is based on Christopher Marlowe’s EXCELLENT “Doctor Faustus”. I highly recommend it to anyone looking for a good read. The story follows Doctor John Faustus who has sold his soul to the Devil in exchange for power on Earth given him by demons who do his bidding for 24 years (for 4 years and 20 as servants we lay at your feet). Of course the catch is at the end of this period its time to pay up – his soul. And how he is taken is not pleasant – being torn limb from limb. It’s the classic tale that’s been told many ways over the years and this is our version of it. For this one I adapted some of Marlowe’s wording directly into the song itself. I think it came out great and is one of the first things I’ve done based on literature. It won’t be the last.

“None Shall Know The Hour” is based upon the case of the Millerites who were a Baptist group led by William Miller. Miller convinced them that the Second Coming of Christ would be October 22, 1844. Many of them gave up their possessions. There are stories of people digging graves and lying in them waiting for the Lord to take them. They waited on hill tops, dressed in white. When Christ did NOT come it became known as “The Great Disappointment”. The story itself was very interesting to me but so is the other context of the song which is the eternal debate of belief and unbelief and the fact that no matter what side you fall down on no one knows…. No one.


RAY - Can you picture ARGUS ever doing a song about a huge…er…entertaining woman like “Whole Lotta Rosie?”


BUTCH - Somewhere there’s a song about a woman named Bertha, a big sack of flour and a young lad aiming for the wet spot.


RAY - Does ARGUS get a lot of female fans? I mean, hey, even if a chick is a Steeler’s fan, if she’s hot, she’s hot, right?


BUTCH - Have you taken a good look at our band photos ? Other than our wives/girlfriends, who all wear glasses, ain’t no woman-folk throwing their panties on the stage at an ARGUS show. I think the length of our…..songs is not stripper pole friendly enough or something. It inspires sweaty young males with bad skin, worse hair and beer bellies to get drunk and proclaim “I love you man !” or “wooooo!!! METAL !! Fuck yeah !!”

Just as an aside – I take it as a personal insult to my masculinity and birthright as a lead singer that in 21 years of fronting bands not once have a had female undergarments thrown my way. It’s a sad day when a singer, even an ugly one, can’t even come home with a soiled pair of granny panties with the Ravens logo emblazoned on the arse.

RAY - RED LIGHT CHALLENGE: If you had the choice of one of the following, which would you pick:a. An audience with the Popeb. A chance to give Angelina Jolie private vocal lessonsc. An opportunity to join the southern rock band of your choice


BUTCH - By “give Angelina Jolie private vocal lessons” do you mean showing her my oral skills ? If so, answer B. Otherwise – plunk me down in a Southern Rock Band…so long as the set list includes “Blue Ridge Mountain Sky” by the Marshall Tucker Band.


RAY - What’s up with ARGUS as far as gigging goes? I know you’re playing the fest in Frederick MD in early September. Any long-term touring plans or gigs closer to Baltimore? What about overseas? If you have a steady job & family, how does this impact the touring decisions?


BUTCH - Having families and serious, full time jobs puts the brakes on any idea of ARGUS ever being a touring band beyond some weekend warrior type stuff and the possibility of a very short 1-2 week tour once every couple of years. The fact that at this point the costs for that stuff comes out of our pocket also hinders what we can do easily. I’ve got 4 little kids. Jay has one. Andy has one. And Jay and I are the only guys in the band who actually get paid vacation so that aspect makes it really hard for us as well.

That being said – places like Maryland, Eastern PA, Ohio, New York, Virginia, Indiana, Illinois….these are all places we can easily hit on weekend trips so hopefully we can squeeze several road trips in over the course of a year.

As far as overseas – we have our fingers crossed for 2010. Unfortunately nothing solid yet but we’re exploring the possibility of a short European tour. I would love to go to Japan as well but not sure how to go about making that a reality.


RAY - I know it’s awfully early on, so I don’t expect you to be awake…no…I mean, the album has just come out, but is there anything new on the agenda as far as new ARGUS material? Do you see Shadow Kingdom as a long-term home for you guys?


BUTCH - We’re writing the next abum now. It’s coming in in bits and pieces but we have many bits and pieces. The challenge is to write an album that we can honestly look at each other and say it is better than the debut. That’s going to take some time and some brutally frank talk at rehearsal but I think it will be worth it to be very open and picky when called for.

We’re happy with Shadow Kingdom so far. We’ll have to see how the CD sells and how he feels about it when the time comes to talk album 2.


RAY - What do you think of the whole “download” vs. “hard copy” (CD, vinyl) presentation of music these days?


BUTCH - You can’t stop technology so there’s not much sense in fighting against it. It would be like folks who read by candlelight bitching about the light bulb. That being said I am still awfully enamored with LPs and CDs. I think the whole download thing really takes away from the whole experience of listening to the music and reading the liner notes, looking at the album art etc…. I love to have the whole thing. The music is the most important thing so as long as it gets out there – great…but it just isn’t as much fun to simply download something as opposed to spending hours in record stores flipping through LPs and studying the art and band pics and trying to guess what they sounded like. This was how I bought a lot of good albums back in the day. “Hey – who’s this band, Fates Warning? This one is called Awaken the Guardian…look at that cover….it’s gotta be metal. I’m buying it.” Ditto “Run To The Light” by Trouble, “The Warning” by Queensryche…. Just to name a few.

I’m glad vinyl seems to be making a bit of a comeback. And a lot of the labels taking the time and risk on vinyl are really doing a great job with it quality-wise – heavier vinyl. Nice packaging. Extras.


RAY - RED LIGHT CHALLENGE: If a meerkat were to mate with a Gibson Flying V, what kinds of effects would it sound best plugged into if the radius of China is temperate?


BUTCH - Aisha Tyler naked is the obvious answer.


RAY - Always a favourite around the Realm, this one: Tell us a crazy, wild, obscene or just plain grotesque story from the annals (anals?) of ARGUS, either on the road, in the studio, etc.


BUTCH - Honestly dude, we’re pretty boring. We’re pretty well known for our gas, in the van and at practice. Some of it is joke stuff like me whipping Erik in the face with my sweaty underpants or me sitting a short and curly on the toilet paper roll in our hotel room for the next guy to find. But mostly, lots of farts.


RAY – Any final comments?


BUTCH - Thanks so much for the honor of this interview ! It means a lot to us. And to the folks reading – thanks for your continued support and interest – we hope to see all of you in 2010 !

Oh, and….. GO STEELERS !!!



Anyway…. Do me a favour! I don’t care which NFL team you support or hate, if you’re a metal fan you simply cannot afford to go without immediately ordering the massive debut CD by ARGUS. Besides easily being one of 2009’s standout releases (it is Godly!), it is also much cheaper than a Steelers PSL and won’t cause you nearly the heartache this season.

www.myspace.com/theargus

Dark Emerald Crush

KILLING LAZARUS – “Killing Lazarus” CD ’09 (Private, Ire) – I have a list of places in the world that I want to visit before I shuffle off this mortal coil. They are as different as they are distant, locales ranging from Boston’s Fenway Park to Tokyo, from The Great Pyramids to New Zealand. And yet the place I long to plant my feet more than any other is my mother’s homeland, Ireland. My fascination with The Emerald Isle lies not only with my heritage, I suppose, but also with the fact that one of my 2 favourite bands off all-time, Thin Lizzy, called it home. I’m funny, but when I find out that a band is from Eire, my ears perk up a bit more than usual. Interestingly, it’s an instinct that’s generally led me to good places: Celtic Legacy, Cruachan, Mourning Beloveth, etc. Sure there may have been a few duds over the years. All the same, I’m steadfast enough that if a monkey with an accordion and a pair of cymbals sent me a packet with an Irish postmark, I’d give his CD more than a cursory listen.

KILLING LAZARUS do not include any non-human primates in their line-up (at least I think not). What they do have, however, is one hellvua debut release on their hands. Described in bios and other reviews as having begun life as a Dax Riggs tribute band, they guys force me, at once, to be honest. I’ve been actively listening to music for 40+ years and to this day, have no idea who the hell Dax Riggs is, so that description means nothing to me. What does mean something is what I hear when I listen (repeatedly!) to this CD.

KILLING LAZARUS (Chubbs – guitar, Dan McSorley – drums, Al Colohan – bass, Dave Lee – vocals) open this album with “Kill For Fun.” I’m immediately caught by the quietly eerie opening laced with an echoed guitar lead and somber vocals. Somewhere around the 4-minute mark, the guitars segue into a chugging locomotive metal riff as Lee’s vocals rise to a crescendo before then entire thing slips back into the vapor of a coda, haunted by creepy volume swells. The band’s sense of dynamics continues right away with “Split The Sky,” a spare offering of acoustic guitar and vocals. It’s far from what I’d call a traditional ballad, however, as the effect is chilling. In, then, comes the rolling bass-heavy rhythm of “I Wanna Get Fucked Up,” a track as insistent as any you’ll hear, yet with almost pop-like sensibilities. KILLING LAZARUS continue to show a commanding mastery of yin-yang, light-shade with the acoustic “Dream Killer,” featuring whispered vocals in the verse and a chorus highly reminiscent of Neil Young.

At this point, the band has probably touched on more ideas than most do in a full album and yet they’re just beginning to motor. “Hide And Go Eek” is lashed to the sturdy backbone of a raw Motorhead-like rhythm. Unexpectedly and brilliantly, the chugging effex at several points lend a Hawkwind feel. (Perhaps that all does make sense, though, considering the fact that both of those bands featured a certain Mr. Kilmister). Amazingly, KILLING LAZARUS have saved the best for the last 2 songs. As “We Rot” opens, a plaintive acoustic lead nestles atop gentle strumming. Harmony vocals then slide in, providing something the band is quite good at: writing melodies that are left-field and not immediate, but ones that after several listens, become second nature to the listener. That’s not easy to do! Finally, they bring the album to a close with possibly it’s strongest number, “Germinate.” A long (10+ min), slow, seether, it’s based on a series of brutally heavy, serpentine rhythms that bring Tool’s “Lateralus” album to mind. This is the kind of song that’s possibly launched 1000 ships and at least, I’m sure, caused music aficionados to spontaneously buy tickets on Aer Lingus. The sound bites included throughout spike the intensity level up to what I’d call riveting.

One subject I have to broach is the following: I know that some people may find criticism with the rather primitive and sparse production values that are present on this album but I submit that it works very much to the record’s advantage. The raw, garage nature of the sound here only intensifies the dark & threatening yet, paradoxically highly personal feel of these 7 songs. KILLING LAZARUS has created not only a stunning debut here but one that carries with it the confidence and depth of the works of wily veterans. Now, get me back to Orbitz so I can order those damn tickets! They Have Risen

NOTE: I must take the time to thank The Pope from The Ripple Effect webzine for turning me onto this killer band. Thanks, bro! http://www.ripplemusic.blogspot.com/

www.myspace.com/killinglazarus

Especially For The Who

THE SMITHEREENS – “Play Tommy” CD ’09 (Koch, US) – Funny how sweet coco can be. No, that’s not it, that would be a review of the 1971 Sweet album. Or maybe another band’s rendition of it. Huh, you ask? No, children, what I mean to say is funny how we arrive at certain things, like the way I managed to navigate to this SMITHEREENS release. I first heard the Carteret NJ band (Christ, I used to stay in a Holiday Inn there all the time when I made record buying trips to NYC) in 1986. There I was, minding my own business driving to work in my hideous grey/tan (never figured out what colour it really was) Cavalier and suddenly this awesome, jangly REM-like guitar monster was on the radio. Best part yet was that the singer was going on about being “Behind The Wall Of Sleep.” Now, I knew this wasn’t Sabbath but who else would croon those lyrics? Well, I found out said cut originated from THE SMITHEREENS “Especially For You” album and I immediately sought out a copy. I was instantly caught up in the suitably jangly “college” racket raised by the guitars of Jim Babjak & Pat DiNizio, the latter’s immediate and slightly sarcastic mid-range pipes. Mostly, though, I fell for the brilliant indie-pop-rock melodies throughout the record. Much like the aforementioned “Behind…” there were gems like the insistent and haunting “Blood & Roses,” not to mention lesser-known but equally great tunes such as “Cigarette” & “Hand Of Glory.” I quickly grabbed the band’s next effort, 1988’s “Green Thoughts” and was just as impressed. And here’s where it gets funny…. For some reason known only to God, or maybe Bon Scott, I simply never got around to buying any of THE SMITHEREENS’ following records. For years, I was aware that they’d put out several discs and I always had intended on snagging them, but in a fit of some sort of Ray-induced idiocy, just never did.

Now, it’s the fall of 2009 and my prog/bowling buddy Rick says to me, “Hey…Pat DiNizio is doing a solo show at a place right up the street in a couple weeks, wanna go?” I stood stock-still for a moment, squinted into the sun like Clint Eastwood and said, “Yup.” It was then that I finally realized that this band who had so captivated my listening in those ’86-’88 years had been thoroughly ignored by your’s truly since. Still, this was going to be a solo DiNizio show so I stopped by the local store, intent on picking up the latest Pat D solo effort, a tribute to Buddy Holly. My first discovery was that they were out of that one. Shit! But, my 2nd discovery was that THE SMITHEREENS themselves had done their own version of The Who’s “Tommy,” released earlier this year! Wow! That is different! Of course I bought it. Was it a great find or a misguided purchase?

Let’s put it this way, I’ve gotta believe Pete Townshend has a bit of a smile on his face if this one has bounced off his eardrums. At first, I have to say, I was a bit leary. Covers in general strike me as “Ok” at best usually, cool if done off-the-cuff in a live format, ok if put on an album in the right place & time. Fleetwood Mac’s “The Green Manalishi (With The Two-Pronged Crown” done by Judas Priest is a great example. But this, an entire album, particularly one of this stature, that is a helluva leap of…something…by THE SMITHEREENS. The truth is, however, it works famously and here’s why I think it does. In my opinion, the best covers are done by artists who are great songwriters themselves. Think about it…the aforementioned “…Manalishi” done by prolific songwriters Halford-Downing-Tipton. Metallica doing jaw-dropping versions of numbers by the likes of Diamond Head, Budgie & Mercyful Fate. Even on a local Baltimore level, the best cover band in existence is Deadlock…and, by another name, they’re Shift who’s all-original CD I salivated over in the September blog. What I think it is, and what THE SMITHEREENS display on “Play Tommy” is this: intense songwriters respect intense songwriters. They have an understanding of what it takes to craft and love a song, to nurture it and allow it to take shape. They understand the care and love that songwriting takes. And that’s why a band like THE SMITHEREENS, when having a go at something like “Tommy” would never try to replicate the original. In an interesting duality, there is a sincere and fervent effort to both take care with the writer’s original and yet allow their own creative juices to flow over the song and make it something different. Listen to “Pinball Wizard” here, for example. The harmony vocals bring a Beatle-esque feel to the proceedings and when DiNizio unexpectedly takes his voice down an octave for the “How do you think he does it?” section, the effect is startlingly brilliant. “Sparks,” one of my favourite Who pieces begins in ungodly heavy fashion here, Babjack’s lead guitar howling like a banshee and yet then the band manages to toggle back & forth between that jangling they’re so known for and crushing metallic power chords. “Eyesight To The Blind” sounds like a whole new song and then the band smartly stick close to the vest with their take on “We’re Not Gonna Take It / See Me Feel Me”…until the crushing bridge riff they use sounds like a Tony Iommi fuzz-storm from “Vol. 4!!!” Well, Pat Di Nizio has mentioned being such a huge Sabbath fan that he nicked the “…Wall Of Sleep” title from the Sab 4’s debut album.

Gotta say, in conclusion, that I sure as hell didn’t see this one coming. A complete album cover of a icon-level classic by a band that I’d sort of put on the shelf for a bunch of years and yet here it is, currently dominating the Realm-o-Matic play pile. Funny how sweet that coco can be, eh babe? Amazing Journey

http://www.officialsmithereens.com/
www.myspace.com/officialsmithereens

Golden Colorado

SMAUG – “Path Of The Crow” Demo CD EP ’09 (Private, US) – If you’ll recall, last year I did a nice write-up and interview with Colorado metal fiends, SMAUG, giving their debut full-length (self-released) platter “…As My Blood Runs Cold” a helluva review. If you don’t recall, well then, I guess that goes to show you that you’re memory’s shot and you need to take a dose of ginseng or something. But, since I have a tendency to be nice and forgiving at times, I’ll fill you in. SMAUG are from the Rocky Mountain State and in 2008, they produced a platter of lengthy, raw and ass-busting metal epics that took me back to the days of the late ‘70’s and early ‘80’s. Beards & long hair flying (well, the pics would indicate this), they filled that disc with gnarled riff-after-riff, mid-range vox and dueling lead guitars that took their cue from the best of Tipton & Downing. So, suffice it to say that a nice warm feeling of…ok, a nice cold feeling of metal from the mountains washed over me when the latest brown package from the return address of “SMAUG” tumbled out of my mailbox recently. This time a 3 song EP, SMAUG have upped their ante in a couple ways. To begin with, while I loved the 8 & 9 minute opuses of “…Blood…,” this time we see the band streamlining things into the 5-6 minute range and the focusing only serves to increase the volatility. “Plight Of The Converts” opens on just a massive stuttering mid-paced riff and what I love immediately is the production. It is as nasty and haggard as hell while still retaining a world of grace and melody. When the song shifts into a galloping coda wherein guitarists Jeff and Keith simply unload the snarling lead goods, my ass is up and bangin’! This reaction (which is being stared at, in a cross of awe and disgust by my kids) only continues with the metal-thrashing mad chainsaw of “Onward To Glory.” This one takes me back to the days of “Kill ‘Em All” and Exciter’s first 2 records (John Ricci was god!). Pounding metal, indeed. It all comes to a super-cool close with the title cut, also featuring vocalist Alton’s best pipes thusfar. Clocking in at just under 7 minutes, “Path Of The Crow” has the feel of a lost jam between old Priest and embryonic Metallica and when the harmony lead kicks in around 5:17, it’s like an unholy marriage between “Stained Class” & Lizzy’s “Black Rose.” How can you fucking beat that?! For a vintage metal fan, you really can’t and all I can say is that after hearing this trio of new SMAUG muthas, I’m mega-psyched for full-lengther # 2. Something To Crow About

www.myspace.com/rockymountainsmaug

Alice In Wonderland

ALICE PEACOCK – “Love Remains” CD ’09 (Private, US) – ALICE PEACOCK is originally from White Bear Lake, Minnesota. Maybe it’s just me, but even if I had never heard her music before, there has gotta be a little room in my heart for somebody from a place called White Bear Lake. Secondly, ALICE has made her current home in Chicago, IL. This Windy City is the current home of some of my favourite metal bands like Bible Of The Devil & Imperial Battlesnake, so it’s safe to say she’s set up camp in a cool musical environment. Now understand. ALICE PEACOCK does not play butt-stomping underground metal But also understand that ever since I heard her previous 3 records, I’ve had a soft spot for her music. Interestingly, it’s music that’s had a chameleon-like face and yet, underneath there’s always a special heart beating that is purely ALICE. While her early efforts took on the vibe of an American folk songstress, her 3rd record, “Who Am I” let us see a lady who was taking a look within, borne on the gentle wings of a piano. Now, with “Love Remains,” Ms. PEACOCK has taken a fork in the road leading to the country-rock genre. But don’t think for a minute that what we have down here is some watered-down Shania Twain pseudo-country piffle. Right from the alt.country rock of “All About Me,” highly reminiscent of Australian Kasey Chambers, ALICE exudes a genuineness that is real & sincere. Same thing with “City Of Angels,” further on in. You get a jaunty rocker on the surface and running all through it is the determined story of a woman who, yeah, has taken some lumps but ain’t taking no crap either. In the same breath, PEACOCK can slide into a gorgeous ballad like “Lovely” and rip your heart out, not to mention take you on a flight of emotion with the soaring “Fairborn.” Through it all, her voice is clear, vibrant and displays an ease of delivery that bespeaks the best in the field, while her lyrics are real and poetic. Topping the whole thing off is the nimble instrumental work of the band, the players flashing enough chops to make things interesting but never trying to elbow ALICE out of the way. Not that I think this lady would have any of that anyhow. Strictly speaking, I think that ALICE PEACOCK has fully arrived as an artist on “Love Remains.” The only thing that really remains to be seen is how long it’ll take the world to figure that out. Lady Sings The Country

http://www.alicepeacock.com/
www.myspace.com/alicepeacock