Nevermind reached dizzying commercial heights mainly due to that song; you know the one about spirit with the video that has loads of smoke and cheerleaders. It defined the term ‘grunge’ to a lot of people, and for a few uneducated people, it probably still does. (more…)
Something caught our weasel ears when we pressed play on New Beard City, the recent album by New Beard. It was the freshness of the sounds, the kaleidoscopic nature of their music and the tuba attack (of course) what made us repeat customers. After chasing them for a while (and then them chasing us…they do fight back!), we got a cool Q & A with Ben Wigler (vocals, honey-drippin’ riffs):
A while ago, Milk Maid‘s Martin Cohen gave us an interview and he mentioned “A reverb pedal might try to simulate how a room sounds but doesn’t quite get it, and I like the reverberation of a room, specially for vocals.” (more…)
Ed & Pete play in a band called Pisco Sour Hour. While not fighting the Pitchforks of the world, they dedicate their time to review the whole back catalogue of The Fall.
In this instalment: How I wrote Elastic Man, Totally Wired and Peel Session #3. (more…)
Why the hate towards Pick of Destiny? I’ve still have to meet ONE person that actually hates it completely. Sure, I know that Kyle Gass has commented on some of the faults in the film (which I don’t mind, but I see where he’s shooting from) but the album was good and, let’s face it, ‘Beezelboss’ is fucking awesome (truly the best song in the world).
No, really, why did the film tanked? Every single person I’ve shown the film, they enjoy it, even if they hate the genre (including our very own webcomic illustrator, who is now a fan of the band).
6 years and now we have the return of Tenacious D. After the very funny pre-emptive strike that was the short video for ‘To be the best‘, we now have Rize of the Fenix, a very funny album that also manages to rock out quite well. I don’t know if the adjective “mature” applies here, though, but several critics keep bandying it around this release.
I’d go for cohesive and with great flow. The songs are satisfyingly rocking, with that witty (and puerile) humour that the band so well crafts. ‘Rize of the Fenix’ is a self-assessment of the past 6 years for the band, the turmoil and their Meat Loaf-style comeback. Jokes about tattoos are always good too and the bombastic nature of the track makes it an awesome choice for an opener (and easily a gem).
Again, the humour of the band is present, fully engaged on puerile mode (‘Low hangin’ fruit’ sounds like the love life many of us have) and even the shenanigans of the industry (‘Roadie’ is both awesome and true). “Epic” is another adjective to use in the songs, as there is a penchant for embracing how rock can be extremely operatic and bombastic, like in the melodramatic ‘Señorita’, the sci fi trip ‘Deth Starr’ which is as amazing as Firefly (I said it – also, it sounds like Stone Temple Pilots’ ‘And so I know’) and the showstopper called ‘The ballad of Hollywood Jack and The Rage Kage’, which again chronicles the turmoil in Tenacious D.
For the ones who enjoy their skits (a big part of the soul of Tenacious D), there’s longer sequences here. ‘Classical teacher’ is pretty funny, playing out how the band could kick Arcade Fire‘s asses (fact!), ‘Flutes & Trombones’ is what happens when both JB and KG want to add some extra instrumentation to a track and ‘They fucked our asses’ is that sour lamentation (with the inevitable call to arms ‘To be the best’).
An uncle in Tampico always remarked that he thought rock was ridiculous not because of the sounds, but because of the posturing and excesses that later become tropes and running jokes in parodies. When a band manages to take those tired stereotypes and play with them while still making some really enjoyable rocking tunes (and funny videos), the gain is evident. Thanks, Tenacious D, may you keep rocking that devil horn and its hazy smoke.
Oh, and David Grohl drums here. That is awesome.
Words: Sam J. “I’ve got a pick of destiny replica in my wallet” Valdes Lopez
#IFOWONPRO. That’s the only thing you need to think when you listen to Trojanhorse. Well, you could also think about socialism, space fights in ships resembling F-14 Tomcats (with T. Rex’s in the pilot seat, of course) or what would happen if you do an impromptu interview with a super friendly singer/guitarist with a penchant for prog loveliness, a voice like Simon Pegg in Spaced and an army of well armed finches in his beard.
So, yeah, Nicholas Wyatt Duke from Trojanhorse, a man wanted in 4 boroughs for baptising sweet lyrics and bootlegging overdubs, is sitting across me in Nexus Café, in Manchester. The coffee is excellent and the music is just the right shade of suave, so I ask him a few question while the finches steal my eccles cake. Selah. (more…)
It was a strange, funny day when Retribution Gospel Choir came back to Sheffield. It snowed heavily in the morning (not a problem for the Duluth trio of rockers) and by the time their set ended, the snow was all but gone. There’s some possible witty remark/pun/fanboy musing about their music melting snow, but can’t think of any.
Drenge opened the night. Loudly and fast, the way they know how to do it. Some of their zines (Blood and Milk, just like their rocking track) were available for free, which included a good pisstake on The Kooks. The sounds of Drenge are loud and fast, jazzy and punk.
Retribution Gospel Choir were in pure rock mode. Their psychedelic sounds are amazing, even if it might have been a bit overbearing for some of the ones in the audience. “That was fucking ridiculous!” yelled an anonymous heckler, after ‘Poor Man’s Daughter’ placed the band on jam mode. It’s a song that I enjoy and I loved the rendition that was played that night, but if you’ve never heard it before (or seen the band before), you’ll be in the “befuddled heckler” section.
The Revolution EP (which we totally reviewed - cheap plug) was played in its entirety (loved ‘Maharisha’) and some classy tunes from their previous albums were played too. ‘Kids’ always makes me think of Red House Painters‘ ‘Make like paper’, ‘They knew you well’ is always an appreciated punch, ‘Take your time’ works well in both Low and RGC form and ‘Hide it away’ is the poppier, happier side of the band.
Had the luck to talk to both Alan Sparhawk and Steve Garrington about their recent albums. The same question was asked to both: “Do you feel the albums by Retribution Gospel Choir are becoming less stark than the first one?” Interestingly, both replied “no” with a sly smile. Both were quite friendly too.
As much as I love Low, it’s Retribution Gospel Choir the band that connects the most with me. Superb and intimate gig with two very rocking bands.
Words: Sam J. Valdés López (a gushing fan from hell, I guess).
PS: We featured ‘Poor man’s daughter’ in a radio drama a while ago.