About a year ago, a new band came out in the local music scene, one that was somewhere between the DIY punk groups and hardcore outfits. Dirty, crusty, raw; scab punk, if you will. Almost a year later there have been a lot of shows, some lineup changes, a lot of work writing and recording, and now Repetitions have released their first album, Watch The World Burn.
When talking to people who just don’t seem to “get” this style of music, their number one complaint is always the same;
“I’ve got no idea what they’re saying!”
Because clarity of vocals and the ability for everyone to sing along is paramount, yes? But, to these people, I say give it a chance. Actually try to listen and understand. With Jay Buston‘s (formerly of The Clusterfuxx) vocals on this album, he is not trying to recreate Carcass frontman Jeff Walker’s sound, and all the lyrics are actually quite clear. Yes, he screams, shrieks, and strains his way through each and every song, but not everyone can be a Backstreet Boy, and really, would you even want that? While sounding great both on the record and live, Buston’s vocals help to make the music more accessible to those who might not otherwise give it a chance, all while accompanying some great instrumentals.
Watch the Wolrd Burn was recorded by Al “Yeti” Bones, and he did a fantastic job of capturing the sound and energy of the band.
Played by Sean Boone (formerly of The Posers) the drums take up their own space without being huge, beefy, arena-rock style. The snare is more of a whack than a crack or a pop, but you definitely hear it. The toms, particularly on the second track Warpath are simply disgusting. In an awesome way. The entire kit is not mixed in an overly loud fashion, but pulls through by squeezing in right in a frequency range left open by the low, chugging, crunchy guitars and bass.
Guitars by newbie Stef Paulton range from plodding hardcore to a groovy, almost bouncy, tone like you’ll find on the third track No Escape (one of my favourite tunes on here).
Songs like The House of Ribs and Chinese Food (another favourite) really showcase the guitar and bass sounds, with their low, doomy, qualities, but played in a way that I don’t feel right calling “upbeat”, but is faster and more buoyant than might be expected, based simply on the tones. Ash Richtig (of The Heatseeking Moisture Missiles) on bass was surprising to many at first, who were used to him as a drummer, but he more than shows off his skills as the other half of the rhythm section on this album.
Overall, as a debut release, and album in general, Repetitions did a fantastic job on the writing and playing of this record. Let’s give it four dirty bandaids and a mickey of gin.
Be sure to catch Repetitions on March 31st when they play with a reunion, one-off show by the legendary Disco Assault, Chatham’s Hundred Proof, Detriot’s Bas Assets, Toronto’s The Sofistifucks and Windsor’s DIY extraordinaires Suppressulant. This show will be happening at The Dominion House Tavern (3140 Sandwich St.), with doors at 7 pm, admission $7, and all ages welcome.
You can also take a listen to the whole album on the band’s ReverbNation Page.
* = Canadian Content
1 MAZ* – Telescope (Self-Released)
2 COUSINS* – The Palm At The End Of The Mind (Saved By Vinyl)
3 KETAMINES* – Spaced Out (Southpaw)
4 B.A. JOHNSTON* – Hi Dudes (Mammoth Cave)
5 THE MARK INSIDE* – Nothing To Admit (Sony)
6 THE HYPNOTICS* – Static Fuzz Radio (New Values)
7 DREW SMITH* – The Secret Languages (Self-Released)
8 DEL BEL* – Oneiric (Out Of Sound)
9 VARIOUS* – Nardwuar The Human Serviette & The Evaporators present… Busy Doing Nothing! (Mint)
10 BAHAMAS* – Barchords (Brushfire)
11 BAND OF SKULLS – Sweet Sour (Vagrant)
12 OCEAN CITY DEFENDER* – The Golden Hour (Self-Released)
13 HERE’S CAPTAIN HIGGINS* – Here’s Captain Higgins (Self-Released)
14 ISLANDS* – A Sleep & A Forgetting (Anti-)
15 JONQUIL – Point Of Go (Dovecote)
16 J.R LOUIS* – Talk Is Cheap, Whiskey Costs Money (Oceanman)
17 THE WOODEN SKY* – Every Child A Daughter, Every Moon A Sun (Black Box)
18 THE BLUE STONES* – Special Edition (Self-Released)
19 WILD DOMESTIC* – Wild Domestic (Out Of Sound)
20 D-SISIVE* – Run With The Creeps (Urbnet)
21 BRONX CHEERLEADER* – Real Punks Don’t Sing About Girls (Yummy)
22 THE MEGAPHONIC THRIFT – The Megaphonic Thrift (Sonic Unyon)
23 JOHN K. SAMSON* – Provincial (Anti-)
24 AMERIGO GAZAWAY – Fela Soul (Gummy Soul)
25 DOOMTREE – No Kings (Doomtree)
26 DUBMATIX* – Clash of the Titans (Renegade)
27 PROFESSOR UNDRESSOR* – A Tin Box (Self-Released)
28 RIVER* – Light Up To Burn Out (Self-Released)
29 THE BIG PINK – Future This (4AD)
30 CATL* – Soon This Will All Be Gone (Self-Released)
More Info?: www.earshot-online.com
Ontario Plates make it very clear that Forever is a
dedication EP for the late Robert Bracewell and Rose
Voyvodic. With that in mind, you donʼt have to press play to
realize that the album is going to be very emotionally driven.
Especially when I linked the dedicated surnames to the names
of the current band members.
I had the pleasure of going to see Ontario Plates perform in
Toronto recently, which made reviewing their latest EP a no brainer. I never got a
chance to ask where their style derives from or who their inﬂuences are, but in my
opinion they are a post-rock band that fuze jazzy undertones (evident in the drummers
style) to create elongated guitar and piano based instrumental pieces. They are the
deﬁnition of dynamic contrast, which made for a very enthusiastic and emotional live
performance. They primarily use two guitars, a stage piano, Tenor Sax, bass and a
The two actual songs on Forever, Robert and Rose, are around 10 minutes long and
according to the EPs prelude, were recorded in one take. Needless to say these guys
are far from being considered amateur. The ﬁrst song, Robert, is 9 and a half minutes
long, formulated by a loud-soft dynamic pattern which is consistent throughout the
course of both songs. Robert starts off soft and does not take long to get into the ﬁrst
shoe-gazing climax, which progresses into a math-rock styled jam where they truly
achieve ʻepicʼ. It then decrescendos into a melodic, up and down symphonic sounding
instrumental break until you discover the bands use of vocals. Now, the vocals used
arenʼt your typical post-rock, cutesy little spectral moans and hums, which can
sometimes make songs like these awkward (yah, you, Sigur Ros). No. It goes right into a
really well orchestrated sestina poem, which uses the same words over and over again
while following the same loud-soft dynamic until it climaxes back into the music’s usual
instrumentation. Three words. Yes, fuck yes.
The last song, Rose, is in many ways similar to the ﬁrst song. It follows the same loud-
soft dynamic that eventually interludes into some more spoken word poetry. At ﬁrst I
thought it might have been too repetitive but soon realized that the similarities probably
have deeper meaning because of the prologued dedication. That made me realize how
different the song actually is and aloud me to appreciate and interpret the beauty behind
I found it extremely difﬁcult to ﬁnd any kind of constructive criticism throughout this EP,
other than the fact that I wish it was a full length album. In my opinion this music is what
I wish more artists would strive toward, and that is putting out something raw and real
with a gradual transition into something more progressive and produced. Its all about
ʻﬁnding your soundʼ ﬁrst, which is exactly what Ontario Plates have done here. There
are no cheap gimmicks or obvious studio trickery. This EP is tasteful musical bliss,
which isnʼt a term I ever use lightly, but dammit, thatʼs how I feel.
The album is available on their Facebook page for free with the option of buying both (which I highly
recommend). If you ever get the chance to see them perform live, I highly recommend
Favorite songs – I enjoyed the whole thing from start to ﬁnish.
* = Canadian Content
1 THE MARK INSIDE* – Nothing To Admit (Sony)
2 THE WOODEN SKY* – City Of Light (Black Box)
3 ISLANDS* – A Sleep & A Forgetting (Anti-)
4 COEUR DE PIRATE* – Blonde (Grosse Boite)
5 LEONARD COHEN* – Old Ideas (Sony)
6 VARIOUS – Please, Please, Please: A Tribute To The Smiths (American Laundromat)
7 THE CHIEFTANS – Voice Of Ages (Hear)
8 BALKAN BEAT BOX – Give (Nat Geo)
9 A PLACE TO BURY STRANGERS – Onwards To The Wall (Dead Oceans)
10 FORMER LOVER / NATURE SET – Former Lover / Nature Set Split (Self-Released)
11 THE HOOP* – Panda Boy (Self-Released)
12 THOUSAND YOUNG* – Thousand Young (Blacktop)
13 MASTODON – The Hunter (Reprise)
14 MIKE O’NEILL* – Wild Lines (Zunior)
15 MAZ* – Telescope (Self-Released)
16 PHONECIA – Demissions (Detroit Underground)
17 WILEY – Evolve Or Be Extinct (Big Dada)
18 SAID THE WHALE* – New Brighton (Hidden Pony)
19 CUFF THE DUKE* – In Our Time (Paper Bag)
20 JENNY BERKEL* – Here On A Wire (Self-Released)
21 ANDRE WILLIAMS – Hoods & Shades (Bloodshot)
22 KATHLEEN EDWARDS* – Voyageur (Rounder)
23 LOOM* – Epyllion (Self-Released)
24 JORDAN KLASSEN* – Kindness (Self-Released)
25 KEVIN HEARN* – Cloud Maintenance (Celery)
26 GONJASUFI – Mu.zz.le (Warp)
27 ROCOCODE* – Guns Sex & Glory (Head In The Sand)
28 BRANDON ISSAK* – Bluesmans Plea (Self-Released)
29 DREW SMITH* – The Secret Languages (Self-Released)
30 OCEAN CITY DEFENDER* – The Golden Hour (Self-Released)
More Info?: www.earshot-online.com
* = Canadian Content
1 THE HOOP* – Panda Boy (Self-Released)
2 A PLACE TO BURY STRANGERS – Onwards To The Wall (Dead Oceans)
3 TS & THE PAST HAUNTS – Gone & Goner (No Sleep)
4 FRED EAGLESMITH* – 6 Volts (Self-Released)
5 THE DIODES* – Action/Reaction (Bongo Beat)
6 ERIN PASSMORE* – Downtown (Hidden Pony)
7 OLD MAN LUEDECKE & LAKE OF STEW* – Sing All About It (Self-Released)
8 THE MIGHTY POPO* – Gakondo (Borealis)
9 CUFF THE DUKE* – In Our Time (Paper Bag)
10 THE BLACK KEYS – El Camino (Nonesuch)
11 COUNTERPARTS* – The Current Will Carry Us (Victory)
12 OLIVER JONES* – Live In Baden, Switzerland (Justin Time)
13 KATHRYN CALDER* – Bright and Vivid (File Under: Music)
14 DIXIE’S DEATH POOL* – The Man With Flowering Hands (Drip Audio)
15 THE JUST BARELYS* – Mad Bits (Dead Bum)
16 LOOM* – Epyllion (Self-Released)
17 CHARLOTTE GAINSBOURG – Stage Whispers (Because Music)
18 ANVIL* – Monument Of Metal (The End)
19 RAY CHARLES – Singular Genius (Concord)
20 VARIOUS – Putumayo Presents: African Beat (Putumayo)
21 K-OS* – Live (Crown Loyalist)
22 THE SPOOKY BUT NICE* – The Spooky But Nice (Self-Released)
23 LITTLE BARRIE – King Of The Waves (Tummy Touch)
24 MASTODON – The Hunter (Reprise)
25 THE MARK INSIDE* – Nothing To Admit (Sony)
26 COEUR DE PIRATE* – Blonde (Grosse Boite)
27 GONE WRONG* – Our Last Storm (Self-Released)
28 SUNPARLOUR PLAYERS* – Us Little Devils (Outside)
29 MAZ* – Telescope (Self-Released)
30 THE HYPNOTICS* – Static Fuzz Radio (New Values)
More Info: www.earshot-online.com
Falling with Glory is an extremely hardworking band that fits well in rock and pop-punk shows. Their live performances are quite the thing to see, with custom lighting, fog machines, and more energy in four guys than in a case of Redbull. The first song they released was available on The Windsor Zene Sampler for January 2011, and Fight With Honour caught my attention immediately. Since then they have had this as well as other songs played on the 89X Homeboy Show, shot a music video, and have gotten up to 1 442 likes on Facebook! Because we all know that’s really what counts.
Probably their best accomplishment to date, however, is the recording and upcoming release of their first EP, The Cities Will Fall. Tracks have been available for your listening pleasure on Youtube for a bit now, but the official release is set to take place this weekend. On Friday, February 24th, Falling With Glory will be playing at The Room Nightclub (255 Ouellette Ave.) along with The Tragedy of Mariam and Intra Meridian. Certainly a great lineup of pop-rock bands that is likely to draw quite a crowd.
The EP itself, indeed, the reason for all the fuss, is certainly worth it. A very well recorded disc (or download) of six songs, the entire thing was recorded, mixed, and mastered at SLR Studios by Marty Bak, and has the wonderful, shiny quality that all of Marty’s work tends to possess. Definitely a great combination of producer and band, with styles that compliment each other well and that have culminated in an exciting sounding new local release.
Starting with the cleverly titled Intro, it is immediately apparent the amount of work that went into the production of these songs. Space-like and a tad creepy with maniacal female laughter, this is a pretty epic track that is an immediate warning to listeners; This is not a garage recording, and these guys are not a garage band.
On the track From the Start we hear a mixture of modern sounding, dancey synth and tribal-esque drums. Our first look at the band’s lyrics, this track has a great message, one of following dreams, working towards a goal, and staying above the influence of anyone else’s negativity. The vocals are sweet and pleasant, but the conviction behind the words is easily heard.
This is a band I can strongly recommend to fans of A Day to Remember. The vocals here tend to stay away from the screaming you’ll find with ADTR, but there are a lot of similarities elsewhere. Add to that some definite Avenged Sevenfold influence, and you’ve just about got the idea of these guys. Solid songwriting and arranging for catchy, radio-friendly tunes is likely to help them take their act far, as well as their penchant for meaningful lyrical content
The song Crash is a great example of this, a heavy-sounding track that addresses drunk driving. Party music like this often jokes about these sorts of issues, putting the emphasis on fun above than anything else. Here, Falling With Glory points out the obvious dangers of getting behind the wheel after consuming. An eery segment of dialogue puts things in a different, more real perspective than just the music would have done, an effective tactic for sending a message and making their song memorable.
This groups’ eclectic style of electronic, pop, metal, and punk makes for an exciting listen, and it’s hard not to feel pumped up afterwards. Comprised of talented and hardworking musicians, Falling With Glory is a band to watch in the coming years.
The Cities Will Fall EP gets a rating of two Converse All-Stars and a pair of skinny jeans. Check out their CD, and their live show.
Falling With Glory officially releases The Cities Will Fall EP on Friday, February 24th with Intra Meridian and The Tragedy of Mariam at The Room Nightclub (255 Ouellette Ave.) tickets are $7 in advance or $10 at the door, doors open at 9 pm and 19+ are welcome.
Last night I was laying in bed, my mind racing like Nascar, thinking truly about everything under the sun. When going to bed, I usually have peace and quiet with enough time to reflect on what got done today, how I did things yesterday, and what needs to be tackled tomorrow. It’s also why I get up so early everyday too. How can I sleep in, when I know deep down, most of my goals haven’t been met yet? How am I expected to advance my career in music, when i know that someone out there, is getting up even earlier than me, and doing more than most to get what they want in life?
It’s like Basketball. Growing up wanting to be in the N.B.A, even as a kid, you realize from the times of “Pistol” Pete Maravich, to the generation of the “Big Three” (Magic Johnson, Larry Bird and Michael Jordan) all the way to present day, with guys like Kobe, Lebron and Wade; you don’t get there without putting in the time honing your craft.
Music doesn’t exactly work like sports, but the idea and principles behind accomplishing goals are pretty universal I think. They transcend sports, music, education, and life.
Being in a real band is more then just practicing in the basement and thinking how awesome you are!
Rule #1: Your band is NEVER as good as you think it is. Plain and simple. If you think your band is the shit, chances are you live inside a bubble that’s even smaller then Windsor, and the population is: “You bro!”
I think because of the internet, and how readily available music is now, bands just seem to think, “if I keep putting music out there, eventually people will hear how awesome we are, and we’ll get signed and make millions!” –This thinking is not only the furthest thing from the truth, but it’s also the furthest thing from sanity. Oh sure…your band is so amazing, and nothing needs to change, you’re perfect exactly the way you are. Yea right.
Truth is, no industry in the world works that way, why would the music industry be any different?
There are plenty of ways to get what you want out of your musical ambitions, but you have to be willing to do a few things first. Work really fucking hard at, honing your craft in songwriting, learn the music business, and play the game. You must play the game. there are a few things to keep in mind when playing the game, and I’ve decided to let people know what the game is, and how it’s played if you want your band to gain the respect of your peers.
-NETWORKING IS KEY. Should I say that again? Or did you hear me the first time.
There is no audience if there is no network. I have a mailing list of over 3000 people I’ve come in contact with over the last 10 years of touring North America. That requires my time and attention to be placed on internet networking, as well as face to face and cultivating those relations. (ie… going out to shows, bring your cd with you, talk to people in the other bands, talk to them about their band, and your band, and how we should all trade off shows.)–this also gets very important when playing with out of town acts, you should always befriend them, and if you have a place for them to crash you should ALWAYS suggest it to them, as a gracious hospitality move, that will TOTALLY COME BACK FULL CIRCLE, because guess what? While you were so busy opening the show, and packing up all your shit and running it back to your practice space and then decided to have a little introvert gathering with your band and your girlfriends, or while you were so busy having cigarettes outside talking to your “friends” about how awesome you were, I was partying with the out of town band at the show, and then at my house, making sure they left our city knowing who the fuck I was, and what I want from them in the coming weeks. The more contacts/friends you make, the band will benefit from them. If you know how to work it of course, a.k.a “playing the game”.
Its’ always important to note* NOT to be the guys that are introverted and sit and hang out with their girlfriends at a table and don’t mingle with the guests. The people that come to see you, are there to not just see a show, but be apart of the overall scene. I personally come to shows to support certain bands, and see my friends perform, but I am also cognizant of the fact that I am also present because we are representing a scene. This is important when touring, because if you don’t make contact with people at the show, you’re forking out $100 for the hotel each night, instead of sleeping on a floor somewhere, making relations with people in each city. With regards to our city, people go out to drink, and they like to see shows. People in Windsor also have a pretty good “bullshit meter”. In my mind, if you have an ego about your band, you better have done shit to back it up! If I see the same band every weekend perform at the same club, you are not going to be seeing me there very often. How much better could a band actually get within a span of 7 days? How do you expect to build a fan base when you are just on auto pilot every weekend? Sometimes it happens so fast, no one even knows you’re playing again. When you are at shows, it’s important to network with people, otherwise what is the point of playing shows other than basically jerking off in front of everyone? That doesn’t mean to be introverted, or even overly extroverted for that matter, just cordial and cool. You see, there are these unwritten rules, that really apply in smaller cities like Windsor, one of them being, if you show up to someone else’s gig and let them know you are from “insert band name” and you came to see them. I SWEAR TO GOD, they will all be at your next show. The one’s who don’t. Can all go to hell. Seriously…
Another one is, stay till the last band, and be one of the bands’ that make it be known that you stayed. hit the band up on facebook the next day (make individual relations with other band members), hit them up and tell them “i saw your set, it was awesome, let’s do it again some time.” Anything, to let them know you are involved and engaged with the scene.
If you make friends with certain other members of different bands, invite them out to the Coach, or Pogo‘s or something, (YOU MUST hang out where the scene is taking place) to go drinking, and get to know each other. Sounds cheesy, but I can’t tell you when the last time I actually played in a band with “friends” i know or grew up with. I only play in bands now with people I’ve met through the scene, and have become tight with over the years, because of these infamous drinking sessions we embarked on. At this point, I’m in two bands, one being Gypsy Chief Goliath, where we all live in separate cities across Ontario because these are musicians I either toured, played, or recorded with at one time, or another and I felt close enough to them and wanted them to be in a band with me. The other band I play in is called The Mighty Nimbus, which is a band from Minnesota. (Whom all were apart of 2 of my favorite bands before they formed this one.) I was lucky to have been apart of it. Explore your options, and expand your horizons.
Start a side project with other dudes in other bands, this is a small enough scene and city that your name will spread quicker if we all work together.
A lot of time, bands booking TOO MANY shows in the same city each month can also turn people off. You may think you are conquering the world, but in fact you are playing at the same place every weekend in Windsor Ontario Canada.
Hit the road, go out of town, time to have your dues paid back to you, from housing all those out of town bands that played with you in Windsor!
Impressions mean a lot so to give off a good one, you have to be supportive of others, and find bands in the scene you feel compliment each other well when billed on the same show, and slowly try and build. Those bands fan’s will eventually become your fans, and vice versa.
Each member in the band should take a bit of the responsibility. Everything should NEVER be on one guy, (although I cant tell you how many times this occurs.) It’s just sad. But at the end of the day, if you are the guy that is doing all the business, and you are networking and being the “face” of the band when you are out at night, then you will be the one ultimately associated with that “branding” of your band. Which is never a bad thing. Because you will earn the respect you deserve. But the guys might wonder why you’re the one everyone knows. I got the name Al Bones, because everyone used to just call me, Mr. Bones. Well, Mister Bones used to be a band in this city. We weren’t one guy. We were a band. And now we’ve all gone off to sprout new bands in the last decade.
It’s important to be aware of what’s going on in our scene and just be apart of it, by simply “being there.” the more you put in though, the more noticed you become which is great. If you wonder why “OUR” music scene sucks, chances are, you are not in it, and you are simply watching the scene from the outside-looking-in. It doesn’t require you to be apart of it by doing push-ups in the Coach & Horses bathroom until the next gig, but you should be able to stray from home once maybe twice a month and pay back those people in bands that came to see your show. It’s the decent thing to do.
Setting up shows and asking other bands to play with YOU instead of always waiting to be asked, is also good. Not promoting just yourself, but others is a good move too.
If everyone promotes only their own band, then you get that whole debaucle where people come to see YOU but then leave for the rest of the show, or they only come in to see your set and then leave. It happens a lot in this city, and it has something to do usually with, not having an idea of who’s fanbase is there, and why aren’t they integrated.
For instance, I can walk into the Coach N’ Horses building and tell you the names of every bouncer, bartender, server, manager, owner, past employees etc.. (that goes for the entire building) and the reason I know this is, I party with these people as well, because they are in my network. I consider them colleagues of mine in the greater business of the music scene here in Windsor, and I’m proud to say I consider most of them to be my friends.
Instead of sitting at home on a Saturday night, because your band isn’t playing downtown, you should go out once a month for example, and check out a few shows in a night, and let them know who you are and that you came to see them. Like I said, they will all return the favor.
Remember, the easiest thing to do, is to stay at home and chill. That won’t help your band any. But if you are looking for something easy that can help your band grow, come out to other people’s shows. I swear to God, they will return the favor. If you bitch about the scene, and wonder why it sucks, like I said, come out to some shows, we’ll bitch about the scene together!!! But at least we’ll be networking and advancing our bands in the process.
I manage bands so I know and am aware of the scenarios each band may have in their lives that prohibit them from doing the things I’ve mentioned. I know, that time is an issue, work and all the excuses in the world right…? but the point is, the band is a gang, and that gang needs to be known, if it is not, nobody knows you are in a gang, and that’s the opposite of being in a gang.
My name’s Adam D’Andrea, and I’m pleased to say that I’m The Windsor Zene’s newest music reviewer. Many of you know me as the drummer for local band The Nefidovs. Some of you may know me as that really tall guy who goes to shows and is usually drinking Steamwhistle. But anyways. For my first review, I had the pleasure of skipping past amateur hour and listening to the excellent new self-titled album from The Spooky but Nice.
My initial impression of the album, even before I finished the first song, was that I couldn’t wait to see how this stuff would play out live. The music on The Spooky but Nice is very unique and original to Windsor. More often than not the songs sound very full and orchestral, but when you listen a bit more closely there may only be 3 or 4 instruments playing. I think one aspect of the album that adds to the “orchestral” sound is the scattered use of different instruments such as timpani, Latin percussion, saxophone, and other instruments that go past the bass-guitar-drums formula. For bands that fall under the “rock/alternative” umbrella, I’ve always felt that adding in those unusual instruments can make a huge difference in your sound, even if it just means adding some hand claps or shakers here and there.
I’m not really sure how to describe the overall sound of the album without giving an overly detailed track-by-track description. I guess you could say its “alternative” music, but of course that leaves open a whole world of interpretation and assumptions. The album works great as a cohesive unit, but many of the songs are clearly influenced by different genres. “Sun Goes” sounds like it could have been on the classic Jesus and Mary Chain album Darklands, while “The Embassy” channels an island vibe and has some pretty calypso-sounding guitars. “Go My Way” and “Next Stop” have very Western feels to them, and sound like they could be included in the score of a Quentin Tarantino film. In fact, if I were to ride into a small town on a horse and challenge someone to a duel, I would probably want “Next Stop” playing in the background. But I digress.
With regards to the production of the album, it’s clear that this wasn’t just a “plug in and go” recording session. You can hear that many different recording techniques were used throughout the album, and clearly a lot of thought went into the sound and production of each individual track. This makes the album far more interesting than hearing the same production values for 9 songs straight. It also shows that taking some risks when recording can be a great payoff. Being a drummer, I also know how big of a pain in the ass it is to get a good drum sound. It can take hours (days, even) to get an ideal sound that’s in between too one-dimensional and too distorted and muddy. The drums on the album sound thick, full, and ballsy. It’s a phenomenal sound that compliments the rest of the instruments perfectly.
Since I was raised on punk rock, I inherently like my music to be upbeat and energetic. While this album is mostly laid back, it doesn’t lack energy and I never lost interest while listening to it from start to finish. One reason why is because of The Spooky But Nice’s great use of dynamics. For example, “Dollin” starts off with a very quiet and isolated-sounding verse, but picks up about a minute in and becomes a pretty danceable song. This is something many bands lack today, with many songs just being consistently loud all the way through or consistently boring all the way through. Interesting song structures also kept me interested while listening to the album. Don’t expect too much “verse-chorus-verse-chorus-end” type stuff here, not that that’s always a particularly bad thing.
Overall, listening to The Spooky but Nice was a very enjoyable listening experience. I give the album 4 out of 5 unexpected sax riffs.
The whole album can be streamed for free on their Bandcamp Page.
Last weekend was a slow one for the Windsor Music Scene, as everyone took some time nursing the hangovers from everything that happened the week before. But we’re back in full force this time, with lots of great shows to choose from.
Thursday, February 16th
At Villains Beastro (256 Pelissier Ave.) Toronto’s Teenage Kicks will be joining up with Windsor acts Orphan Choir and Raised By Weeds (now a full band!) for a night of punk rock. With a new EP scheduled for release in March, and free downloads available on their Bandcamp page, Teenage Kicks are working hard on their old-meets-new punk sound. Teamed up with the infamous Orphan Choir, this isn’t a show to miss, even though it’s on a Thursday. 19+, $5 admission, 10 pm.
Friday, February 17th
Villains (256 Pelissier Ave.) must be in a very punk rock mood, as they’re continuing the trend on Friday night when they bring in The Rowley Estate and The Magnificent Bastards. The former are a trio following in the steps of Blurt with their aggressive skate-punk sound. The Bastards are comprised of seasoned local musicians teaming up to bring back the glory days of Windsor’s punk scene. These bands on the same bill are certainly spanning the years in the evolution of punk rock. 19+, 10 pm.
Newfoundland’s moustached menace Mark Bragg will be playing with his full band at Phog Lounge (157 University Ave. W.) livening the place up a bit with his saloony jazz rock. Dancing shoes recommended, here. Joining the bill will be Hamilton’s Wax Mannequin who always brings the party with his brand of broken down folk rock. Windsor’s Kara Kaufmann will add some femininity to this show of rambunctious boys, her pure and soulful voice and piano accompaniment making for a great way to open the night. 19+, $5
The Dominion House Tavern (3140 Sandwich St.) will play host to the one night only world tour of EVL and NeanderTHRALL before the first mentioned punk-rockers go off and hibernate somewhere. NeanderTHRALL made their debut last year and have been doing well ever since, with their doomy, chugging, stoner-metal music. Joining them will be thrash band Dead Weight, prog group The Riptide Project, and heavy metal monsters Dead Man’s Will. Doors to this show open at 6:30, all ages are welcome, and admission is $5 at the door.
Saturday, February 18th
The Coach and Horses will be hosting Listowell’s fun-loving punkrockers Chachi on Acid and Brantford’s skanking headbangers Hangman Pinata. Local acts on this bill include crusty punks Repetitions and Valerie Page. $5 to help out with gas for visiting bands, 19+, 10 pm.
Things will be heavy at The Dominion House Tavern (3140 Sandwich St.) when the stage is taken over by local bands Devilz By Definition, Dead Man’s Will, and After Ashes as they play along with London death metal outfit Psychopathy. 19+, $5, doors at 8 pm.
Monique Belanger will be bringing her voice and acoustic guitar to Taloola Cafe (396 Devonshire Rd.) for a free, all ages show that starts at 9 pm.
Phog Lounge will be welcoming rock and rollers Diesel Junkies, proggers Awake to a Dream, and Toronto’s Stone River who recently returned from France where they played the MIDEM Festival. Their sound is clean, classic rock with a southern tinge.
Sunday February 19th
New Song Church (999 Drouillard Rd.) has become well known for hosting hardcore shows, but they also dabble in acoustic ones, as well. This Sunday they’ll be doing another installment of Cafe Glo, featuring the Eastern-Western blend that is Daniyal Malik, the sweet songs of Our Little Show, and the reunion of the mellow Moonland Drift.
With sludge metal, crust punk, and other grossly named subgenres of rock music covered by local bands already, it’s about time we got a grunge band, and Shimmer Demolition is here to fill that void. The debut release of this one man band is called Nothing To Do/Kiss Her, and was mastered by Johnny West.
Consisting of two songs, the first, titled Nothing To Do (Shocking, yes) is slow and dirty, with low, muddy, fuzzy guitars, and neanderthall-esque vocals. Driven mostly by guitars and cymbals, the song chugs along through it’s diverse lyrics (I love you and I’ve got nothing to do!) in a way that makes you want to sit back and nod your head, perhaps with a bit of a smoke.
The second, and last song, wait for it, Kiss Her, furthers the idea of noisy grunge punk, with all elements mixed tightly together into a puddle of nifty drum beats and smooth bass lines. While still not music that makes you want to punk the guy next to you, this track has a stronger sense of urgency and a tad more aggression than it’s predecessor. The way the vocals are buried back in with everything else makes for a nice change from a lot of music where vocals are front and centre at all times.
Overall, two tubes of lip gloss, well done. But I am certainly curious to hear a sample of work larger than two songs.
Check out Shimmer Demolition‘s Bandcamp Page, where the EP is available for download.
I can honestly only think of one thing I really hate about this band. That one thing is that they rarely play live. I’ve only seen them twice in the last 18 months or so and that simply not enough. I understand wanting to build anticipation in between shows but c’mon now. That being said, their live show is very intriguing to say the least. Thunderous drums, dirty rock guitar riffs, rollin’ bass lines and vocals that could if you’re not careful knock up your old lady right before your eyes. I also vaguely remember vomit being licked up off the floor, if I’m not mistaken by local iconic musician Jamie Greer but I could have just imagined that part.
I’m not here to talk about their live show as much as I am their most recently released album, The End Of Men. If you were lucky enough to be at the c.d. release show and picked it up, it was accompanied with a picture book of sorts. Filled with distorted images (copyrighted I might add) of famous characters and just plain weird things. But that’s really the whole point of the book. Everything any “artist” releases is really just borrowed from someone who’s already done it before them. I don’t want to divulge too much more about it seeing as you should probably find a way to own it yourself. Clever? Maybe, but that will have to be up to you to decide.
Now let’s get right into this filthy record. It all starts with the ironically titled “In The End”, a slow creepy intro of sorts. Contained within a drone-like drum beat, eerie guitars and vocals that sound like one too many valiums was taken. And now the rock begins with “Rock Salt” and “Too Tight“. Two dirty, filthy rock songs Poughboy is known and loved for, a fist in the air type of songs.
Things slow down considerably with “Fuk Politics”, taking on a sludgy consistency. The guitars hold long harmonious notes that sound a little spacey. Perfect for your first time using mushrooms perhaps. Just when you think the record is giving you a relaxing break “Tape 2: For Men” and “Tape 1: My Love Will Eclipse The Fucking Sun” kick in. The first is a minute of schizophrenia featuring belligerent vocals and some fancy off beat drumming by one of Windsor’s best drummers, in my opinion, David Allan. The second is a spastic-fantastic electronic influenced track. With percussions that make it sound like they recorded it in a dildo factory running at full capacity.
If you like groovy rhythm then “The Brazilian” is right up your alley. With the weirdest little organ solo you’ve ever heard it would fit perfectly in a Ween song circa 1990. Also has a really phat bass line to groove too. Also very grooving is one of my favorites on the album, “Two Shivs”. An intense song that’ll keep today’s youth wanting to stay out of jail, to say the least.
“Hands ups, who wants to fuck?” is asked in this next tune, “Gadgets” aka “Teledildonics”. A very upbeat track with drums that switch back and forth between a fairly fast beat, to a straight-up tribal one. Somewhat of a sing-a-long for the crowd who responds with “Hands up, we want to fuck!”
Where have I heard this next song before? Classic glam metal fans will know, although is a bit disguised by being slowed down considerably. This one I’ll keep for a surprise. Okay, here’s a clue. This song is formally known as “Blackie Lawless Can’t Touch Me Now” keeping to the whole copyright theme of the accompanied book.
A cool chillin’ slow rock track is next with “The Pink Sock”. How could you not love a song about pedophilia!?! They keep it on the slow side of things with “The Canary” gradually intensifying things closer to the end. The organ accompaniments are quite fuckin’ awesome, as are they on a select few tracks on this record.
Right here, Poughboy transitions nicely into a stoner rock vibe, big time with “The Fashion Dyke”. At this point we start to notice that the vocals sound progressively more and more drunk. The song fizzles out with a fading guitar riff that makes one think Adam has finally passed out.
The title track is up next and features a solo in which there are no actually notes being played, figure that one out! Great melodic musicianship from the gang. Sexy as fuck bass line going on ‘til the break of dawn. Last and definitely not …ah, you get the point…is “Man Up” and definitely Poughboy’s “anthem”. When it comes to sing-a-longs at a live show. “Maaaan up! Don’t be a pussy! Maaaan up! Stop your cryin’! Maaaan up! You fuckin’ baby! Maaaan up!”
To close I am going to end with a quote from Uncle Piss, a letter to the reader of the Poughboy book:
“Everything in here has been stolen… and you’ve essentially paid for someone else’s work but the fact of the matter is that we don’t particularly give a fuck. We’ve got your money, and by the time you read this, it’s likely been spent already. What are the original “artists” going to do? Sue us? Good luck. But really, what doesn’t boil down to a whole lot of poaching in the end anyways? Everything you listen to, everything you watch, everything you create is just borrowed, and at the end of the day, you and everyone else are as unoriginal and rotten as we are. Hope you are enjoying yourself so far. And thanks for the loot. Love, Piss.”
I give this c.d. 5/5 raging boners. It is a must have, so message me later and I’ll rip it for you. Thanks for the awesome night, Poughboy, and the awesome CD that is now my favourite coaster.
The sounds that it opens with had me concerned, at first. “Oh shit,” I said to my water bottle, “they kept on with that wacky dubstep-ness from that tape recorder session they did back in the summer.” Shortly enough though, that sound I took to be the fuzzy bass of a dubstep track resolved itself into the fuzzy sound of the bands’ guitar. Crisis averted. And the song turned out to be I Like Rumble Fish, the first song I ever heard from these guys, and one I happened to really like. A number of the songs on this album are ones that had already been released, but for this collection they’ve been re-recorded in all the lo-fi glory that is Weirdonia.
On this album of thirteen are a lot of strange sounds and amusing lyrics. Among the strangest of the sounds is the eighth track, Roboto, which was just a solid three minutes of what the fuck. But this band always was one that didn’t take themselves too seriously, so I’m really not surprised.
What did at first come as a shock, however, was the song 13 Miles. Although already aware that these boys like them some ukulele, I didn’t expect it to show up in a starring role on this album. But of course keeping in the spirit that is the odd-ness of these two, theylyrics that they wrote to go with it are a bit on the disturbing side. Mixed with the oddly timed and layered vocals, and you’ve got some solid nightmare fodder.
And just because they can, a country-esque tune has bee included, under the name of Suicide Song. This is one that shows some of the most diversity in instruments, and seemingly the most thought in arrangements. Still with the dirty sound that can be expected from this band, though.
In the other songs on the album you’ll find a great mix of noise, punk, blues, and rock, all done with a very distinct low fidelity fuzz, and strange effects all over the place.
The entire album is available for download in digital format, and physical copies can be ordered as well, from the group’s Bandcamp page.
In closing, we’ll give it two broken guitar strings and an eye-less teddy bear. Worth checking out.
Once again Windsor’s premiere blues rock band, The Blue Stones have teamed up with director Gavin Booth of Mimetic Entertainment to create a music video, this time for the track Vain Vixens, originally released on their self-titled EP, and once again available on their new Special Edition full length
The live performance portions of the video were shot at Villains Beastro (256 Pelissier Ave.) where music lovers were invited to come out dressed in their best 50’s style gear. This nostalgic feeling coupled with the black and white in which the video is presented makes for another hit from this combination of band and director.
Sexy and exciting, The Blue Stones have done well with this song and video, and the best of luck to them as they go to dominate Canadian Music Week in Toronto next month.
EVL started as a recording project in 2007, has gone through numerous line-up changes and hiatuses (hiatui?) since then, and now has an album they call Strong Rock: Live! The “Strong Rock” part is a running joke the band has been going with for a while now, ever since they chalkboard outside Milk Coffee Bar described them thusly. Is it accurate? Meh. At times. Not exactly the wording that comes to my mind when I hear them, but I can see where one might think that
This particular collection of recordings starts off with In Your Mind, a rather eclectic track that mixes feelings of doom, punk, and being charged down by an army of occupy protestors, if they were to actually do such a thing. One of the best tracks on here, to be sure.
I’ll Keep Mine has a great moral, for any of those out there who might happen to be pro gay rights. Great to hear opinions on this issue, especially when they’re ones I can sympathize with.
And because this band is just that ADD, from there we move on to a song about a card game. Solitaire has a decidedly melodic, Bad Religion-esque feel to it that I found quite enjoyable.
Lead vocalist Jawn Dee’s stylings are generally reminiscent of Bill Manspeaker, but in the track Working Class Majority, I find that his connection to the Green Jelly frontman extremely apparent. This entire track is a perfect example of the fast and dirty sound I typically associate with this band.
When you listen to Jesus is the Law, try to tell me you can’t picture the main guitar riff in an action film. I dare you. And excitingly groovy tune, I was really digging the drums on this one.
In covering the Misfit’s song Skulls they really sped it up, and gave it an all-over more gritty feel, while still keeping in the theme of creepily needing skulls. As if it’s possible to want to put skulls on a wall in an un-creepy way.
Out of Reach is a classic EVL tune, one that I can easily see protestors chanting as they toss fists into the air. Also get’s the band back into their morally charged songwriting.
The Black Flag influence is easily noted in the track Glory.
One of my favourites to hear live, Villain has a heavier feel and encompasses all of the aforementioned influences and reminiscences. If all my favourite punk bands came together to make a song, I imagine it would be something like this.
Ending the whole experience with No, All by The Descendents is either very clever, or very lame. I’m torn as to which.
The band’s bass player Chris Wilbur did a great job on the recording and mixing, and now folks can get a taste of what an EVL show is like. Probably a good thing to have the available, as the band is set to return to their nearly perpetual state of hiatus after a show at The Dominion House Tavern on February 17th
Over all, let’s give this one an upside down cross, two and a half skulls, and a safety pin. Very enjoyable.
* – Indicates Canadian Content
1 THE HYPNOTICS* – Static Fuzz Radio (New Values)
2 OLD TIME MACHINE/OLD CABIN* – Old Time Machine/Old Cabin Split (File Under: Music)
3 KATHLEEN EDWARDS* – Voyageur (Rounder)
4 THE BLUE STONES* – Special Edition (Self-Released)
5 CLOUD NOTHINGS – Attack On Memory (CarPark)
6 GUIDED BY VOICES – Let’s Go Eat The Factory (Self-Released)
7 RIVER* – Light Up To Burn Out (Self-Released)
8 HANDS & TEETH* – Hunting Season (Self-Released)
9 THE SCHOMBERG FAIR* – Mercy (Self-Released)
10 THEE OH SEES – Carrion Crawler b/w The Dream (In The Red)
11 D-SISIVE* – Run With The Creeps (Urbnet)
12 COEUR DE PIRATE* – Blonde (Grosse Boite)
13 RICH AUCOIN* – We’re All Dying To Live (Sonic)
14 VARIOUS – Putumayo Presents: Latin Beat (Putumayo)
15 THE BLACK KEYS – El Camino (Nonesuch)
16 ELIZABETH* – Hazards, Horrors & Liabilities (Self-Released)
17 TIM BASTMEYER* – Tim Bastmeyer (Grassfire)
18 TRAILER TRASH TRACYS – Ester (Double Six)
19 JOHN CARROLL AND THE EPIC PROPORTIONS* – Everybody Smokes in Hell (Self-Released)
20 DUBMATIX* – Clash of the Titans (Renegade)
21 5TH PROJEKT* – V (Organik)
22 MAZ* – Telescope (Self-Released)
23 OLD MAN LUEDECKE & LAKE OF STEW* – Sing All About It (Self-Released)
24 JON MCKIEL* – Tonka War Cloud (Saved By Vinyl/Youth Club)
25 GRAYDON JAMES* – Live at Dublin St. United Church (Self-Released)
26 WILD DOMESTIC* – Wild Domestic (Out Of Sound)
27 SUNPARLOUR PLAYERS* – Us Little Devils (Outside)
28 ORIENTEERS* – Orienteers (Antique Room)
29 LIJADU SISTERS – Danger (KF)
30 CHARLOTTE CORNFIELD* – Two Horses (Self-Released)
More Info?: www.earshot-online.com
It’s going to be a busy weekend in Windsor for music, but with such a diverse array of shows, it’s likely everyone will be able to find something to make them happy.
Friday February 3rd
At Phog Lounge (157 University Ave. W.) the walls will be shaking, and the roof might fall in, as this cozy venue hosts a super-loud-ultra-amazing stoner rock show! Classic Windsor groove metal band Gypsy Chief Goliath will be bringing their tunes, fresh off the release of It’s a Walk in The Mist released through Sweden’s Black Vulture Records. They will be joined by Cellos, a highly-talked about three piece local metal band, who often play in a droning, noisy style. Rounding out the bill is London’s Thunder Hora. Show starts at 10 pm, admission is $5, and 19+ are welcome.
The Dominion House Tavern (3140 Sandwich St.) will be offering up a show to fans of hardcore, featuring Chatham’s Anu Beginning, Abide from Hamilton, and locals Desertion, Dead Man’s Will, and Always A New Day. It’s set to be a night of shredding and blast beats, complete with rambunctious crowd and growling vocalists. Doors open at 6 pm, admission is $5 in advance and $7 at the door.
At The Room (255 Ouellette Ave.) Windsor’s newest darlings, the unquiet dead will be showcasing their hobo-folk music. This ten-piece features past and present members of Magic Hall of Mirros, Surdaster, Two For The Cascade, Magnificent Bastards, and Jamology, among others. Their eclectic, ethereal sound has been making waves in Southern Ontario since their debut in October 2011 – in fact, this is their send off show as they prepare to take the show on the road, having been selected to play at Canadian Music Week in Toronto this March. Joining them will be the ambient, psychedelic, instrumental duo Learning, who will be spilling out their electronic and guitar jams. Finishing it off will be The Swillingtones, an entertaining group of rockers who are experts at their craft. This show is 19+ and doors open at 9 pm, with music starting at 10. Tickets are $7 in advance and $10 at the door.
An early show at Taloola Café (396 Devonshire Rd.) will feature Efan and his ukulele. This all-ages show is the solo project of one of the members of Michou, a Windsor pop group who have been celebrating some recent national success. Efan’s show is a light-hearted hour of fun acoustic ukulele and vocal entertainment. Music starts at 8 pm, all ages are welcome, and there is no cover.
The Hypnotics will be hosting the official release of their new album, Static Fuzz Radio, at FM Lounge (156 Chatham St. W. Main Level). Their surfy garage pop rock album has been charting on college radio stations across the country, and peaked at number 11 nationwide. They will be joined by brassy punk rockers The Nefodovs, garage band Raised By Weeds, and the city’s favourite indie band, James O-L and The Villains.
Saturday February 4th
A couple of weeks back The Blue Stones invited music fans to come out to Villains Beastro (256 Pelissier Ave.) dressed in their best 50’s getups to take part in the filming of their new video for the track Vain Vixens. It was directed by Gavin Booth, the same guy responsible for their first video featuring the use of the iPhone 4 Facetime technology for the song I’m A Stereo. This new period piece is set to be unveiled the place of it’s creation this weekend, and patrons are once again invited to don their 50’s and 60’s duds. This time the best dressed will have the chance to win a signed copy of The Blue Stone’s new Special Edition CD, featuring new tracks, live recordings, and the originals from their self-titled EP. 19+, no cover, 9 pm.
Will Currie and The Country French are an indie rock band from Waterloo that will be visiting Phog Lounge (157 University Ave. W.). This is a band that has toured Canada extensively with acts such as Our Lady Peace and Tokyo Police Club. Their melodic vocals, poppy drum beats and energetic sound make for great dancing. 19+, 10 pm, $5.
For a group that planned only to be a for-fun recording project, The Hypnotics really don’t have much to complain about. Their first full-length album has already reached number eleven in the Canadian College Radio Charts, hit number one in Windsor multiple times, and received airplay in cities across the country. All of this even before it’s official release.
Static Fuzz Radio is the follow-up to the bands debut EP, Soul at Seven, which came out in October of 2010. Their new album was recorded at Chemical Sound in Toronto, a studio known for it’s use of analog gear, and has recorded such acts as The Black Keys, Hunter Valentine, and Tokyo Police Club. It was produced and mixed by Dean Marino (of Papermaps) and Jay Sadlowski.
Set to be officially released this Friday, February 3rd at FM Lounge (156 Chatham St. W. Main Level) The Hypnotics will be joined by James O-L and the Villains, The Nefidovs, and Paul Jacobs (now working under the moniker Raised By Weeds). Admission to the show is free, and the album will be available in both CD and vinyl formats.
This CD is a great ten-song collection of vintage-sounding surfy garage rock. Moving through the songs you’ll find a lot of varying influences that the two song writers draw from. The Brothers Konstantino, Dave and Mike, handle the bulk of that, and leave the beat-writing to drummer TJ Dowhaniuk.
Opening with Here She Comes Now, listeners are treated to some lovely fuzzy bass before the full song kicks in with some new-wave sounding garage punk. The bouncy sound of the song fronted by Mike’s adorably unique vocals makes this song the epitome of the band’s sound, and a great introduction to what they do.
TV Blues is one of my favourite songs, and I first had the chance to hear it when they played an opening spot for Orphan Choir at the 2011 Harvesting the F.A.M. Festival. This was a great gig for The Hypnotics, exposing them to a larger audience than had previously been able to enjoy them. This track I find to be particularly enjoyable for it’s terrific guitar riff and fuzzy tone, played at a moderate, plodding pace. All elements really fuse together to create a spectacularly groovy tune.
Getting a bit more punk, Lipstick on My Collar is a much different feeling, missing a lot of the higher sounds you’ll find in previous tracks. Still with that new-wave sound to it, this track features a nice guitar solo, a beautiful bass lines, and ends with a surprising and amusing “cha cha cha!”
Holiday in the City is an example of Dave’s songwriting and vocal abilities. This is a song that requires some dancing shoes, for sure. A very fifties-inspired sound, there are some great drum fills on this one, and the whole thing rolls through it’s boisterous two and a half minutes with a lot of energy.
By this point in the album it’s very easy to see why college radio stations are eating it up, and now we’re into a song about love gone wrong, which could only be expected. Nobody But You features some of the best drum-work to be found on the CD, providing an interesting background and really helping the song to stand out. TJ’s diverse musical background is now really becoming apparent in his playing with this group.
The second side of the vinyl starts with Radio City, a heavily rock-influenced piece. A very 60′s sound and more aggressive performance gives this song a unique feel. A great mix of all elements, this track can easily be imagined as a live performance.
One of the more popular songs off the album so far, Our Generation is The Hypnotics’ song about the current state and mindset of young people in our society. Think Bad Religion’s 21st Century Digital Boy done with a surf-rock feel, and you’ll get the idea of this track.
She Gives Me Everything is another rock song, one with some great sing-a-long lyrics. Upfront vocals,atop a bed of punky guitars, fuzzy bass, and quick drum beats.
Seemingly a follow-up to Nobody But You, A Modern Romance is asking for another chance. This is one that will likely induce dancing in listeners, with it’s poppy rhythm and quick beats.
Closing off the disc is another one I highly recommend, Paradise Beach. A very different sound that it’s preceding songs, it’s got watery sounding coming from the left, and an altogether stripped down feel. A good one for swaying along to, this is a low-key track with a great groove and feeling to it.
To pick up your copy of Static Fuzz Radio, visit The Hypnotics on Bandcamp, or go to their show at FM Lounge this weekend.
Static Fuzz Radio will be released by The Hypnotics at FM Lounge (156 Chatham St. W, Main Level) on Friday, February 3rd, along with James O-L and the Villains, The Nefidovs, and Paul Jacob. Doors open at 9 pm, admission is free, and 19+ are welcome.
Aurelia is a 4 piece alternative punk-rock metal fusion powerhouse from Windsor, Ontario. The four songs that I had a chance to listen to are available on their Bandcamp page. I had the option of streaming or downloading everything for free, which is considerably nice of them to offer since all of the songs were recorded by Glenn Fricker at Spectre Sound Studios.
While Iʼm on the subject of Spectre Studios I just want to say that bands of this genre are smart to use Glenn to record their sound. He truly lays down the right amount of production needed to capture all of the technical aspects that bands like these base their sound around. Notably the drums, bass, guitar and vocals were all very clear without overpowering each other. This allowed the band to create some truly brilliant dynamics in all of their songs.
I only had to listen to the EP once to realize that the musicians in the band all have different tastes (either that or they all suffer from severe cases of ADD). They were able to tastefully blend and fuse together multiple genres of music into single songs, which made everything they had to offer really interesting to listen to. The song Bobʼs Overwhelming Rage demonstrated their amalgamation of genres that included some blast-from-the-past punk riffs into some savvy tech-metal polyrhythmic drum patterns.
Since there were only 4 songs available for listening it was hard to really come up with any major criticisms, other than that sometimes it felt like they were trying too hard to create something original by changing the style too drastically during some of the songs. I think more drawn out transitions would help make some of the songs more conceptual and easier for the listener to follow without thinking that they accidentally hit ʻnextʼ on their iPod.
I definitely think that Aureliaʼs originality will be the reason why theyʼll do so well in this city and ones they visit. They are a great addition to Windsors ever expanding music scene and I look forward to hear what else these guys have to offer. Overall, Iʼm happy to report that I thoroughly enjoyed Latex, and Hot Sex (a double entendre? maybe.)
Favorite songs – Rip it out / Bobʼs Overwhelming Rage