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(10/05/06 4:00am)
My Morning Jacket are an amalgamation of many genres, so it's hard to pinpoint exactly what they sound like. Phish, Coldplay, Beck, Radiohead, Flaming Lips, Pink Floyd... take your pick. If you like any of the above, then you happen to be in the right place. Okonokos is a sprawling live album, almost two hours worth of sonic landscapes and jams that will make your ears bleed in a soothing way. Southern rock took some shrooms and stumbled onto stage, and this is what you hear. It's some pretty amazing stuff. \nA lot of bands that perform live vomit out a carbon copy of their studio performances. In this case, things are exactly the same to the T. My Morning Jacket puts up their middle fingers to these bands by playing old songs in a brand new fashion. If you've heard the originals, you'll be caught off guard at times, but it's this changing of the guard that makes this album almost a brand new batch of songs. \nThe album is all about feedback and reverb. The recording is solid -- very clear, very clean, but what makes it stand out from other live albums is the haunting effect that is present in the echo of the vocals. There is still a feeling of raw emotion present, but it's nice to have a live album that doesn't sound like shit. \nThese guys have been around for eight years. I've seen bands put out live albums after two full-lengths. The Jacket have enough material under their belts for a couple double-live albums, and it never gets boring. The album is very relaxing at times -- a lot of texture and atmosphere, even hints of country rock. You will get engulfed in sound, maybe even lost, as this sonic scenery progresses. \nHippie music? Stoner music? Well, not necessarily. There is enough variety on this disc to satisfy almost anyone (I say almost anyone because if you're into Justin Timberlake or anything of that caliber, perhaps you're out of luck). The jams are a lot of fun; the quieter songs are haunting and relaxing. You really don't know what to expect. If you're a fan of the band already, you'll be blown away. If you're not a fan, you might become one.
(08/03/06 4:00am)
Jurassic 5 is a stunning array of talent. Take five MC's (each with their own distinct sound) and two DJ's putting out honest, raw and catchy hip-hop reminiscent of the old-school days of NWA and the Wu-Tang Clan (when ODB was still alive and not in jail). This is the boys' 4th release, entitled Feedback. Party people, get ready for some old-school party rap here.\nUnfortunately, this release is a bit disappointing for a J5 fan. First off, the production is weak. This can be explained by the departure of DJ Cut Chemist, who is pursuing a solo career. Gone are the goofy samples and speedy cutting and crossing that Chemist brought to the distinct J5 sound. On Feedback, the beats are kind of bland. DJ Nu-Mark tries to go it alone, and guest producers take a stab at things, but it just falls short.\nLyrically, this album isn't on par with their earlier releases either. The lyrical content is very typical: relationships, popularity, etc. The fun loving lyrics of Quality Control (their first release) aren't here. But this can be overlooked at times because these MCs can deliver.\nThere are some fun tracks here. "Red Hot" could have been on their second release Power In Numbers, with goofy beats and slick rhymes from all the boys. "In the House" is a party track, with bouncy Sugar Hill Gang synth bass. "Radio" talks about the old days when hip-hop was about being real and having fun, not about money and fame. Icy beats and a catchy chorus, this is a pretty tight jam.\nIt's seems like Jurassic 5 wanted to go mainstream on this one, and for Buddha's sake…on "Work It Out," Dave Matthews makes an appearance. I abhor this. "Brown Girl" is also a very weak track; it definitely sounds too radio-friendly to be the J5 that I know and love. At 15 tracks, it's almost cut down the line between solid tracks and skippable ones.\nAll in all, I can't hate the 5. The flow is amazing, but this isn't what I've come to expect from a group of such talented MCs, but I guess I'll have to live with it until their next release. If you're new to Jurassic 5, you might actually want to pick up this first, because you'll have nowhere to go but up.
(08/03/06 4:00am)
Well, it's kind of difficult to review live albums. Personally, I'm not really a fan of live albums. I would much rather go to the show personally and experience the band firsthand. But I realize that this isn't always possibly, especially with bands that aren't around anymore (like the Clash). Anyway, I'm rambling. I haven't even told you what's being reviewed yet. Flogging Molly have been on the top of their game for several years now, and they don't plan on stopping anytime soon. The band has followed up their brilliant 2004 release Within A Mile Of Home with a new album entitled Whiskey on a Sunday. Four acoustic tracks, five live tracks, and a brand spanking new studio track. \nThis isn't Flogging Molly's first live album. Their first release ever was Alive Behind the Green Door, a live set they did in Los Angeles way back in 1997. Since then, they have put out three hugely successful studio albums and have toured intensely around the globe. Flogging Molly are a special blend of Irish folk and California punk, taking a nod from pioneers the Pogues, but sounding like their punk peers the Dropkick Murphys. \n"Laura" (the new track) is solid Flogging Molly, complete with soaring fiddles, pounding drums and gritty Irish vocals. This isn't one of their best, but a good ballad nevertheless. \nThe acoustic tracks are slowed-down versions of the originals, putting an interesting spin on things. The live songs capture the spirit of the band's performance, and the quality is very slick as far as live songs go. "Black Friday Rule" is a real jam song, spanning almost 12 minutes in length. The energy, however, can only really be achieved by actually seeing them (I've seen 'em live…they're a blast). \nWhat redeems this album is that it's accompanied by a bonus DVD. It's a full length documentary, following the band into the studio, at home and on tour. Interviews tell the story of the band and the individual members, weaving in tour and studio footage. The live bits are well shot, recorded in seven different countries and give you a feel for what it's like to see the band close-up. There are also two full live songs in the bonus features.\nIf you're not an avid fan of the band, this probably isn't the best place to start. Check out Drunken Lullabies or Swagger first. But for the fans, this is a real treat. The CD is the real bonus disc here; you'll want to take in the DVD, one of the better music documentaries out there.
(08/02/06 7:11pm)
Well, it's kind of difficult to review live albums. Personally, I'm not really a fan of live albums. I would much rather go to the show personally and experience the band firsthand. But I realize that this isn't always possibly, especially with bands that aren't around anymore (like the Clash). Anyway, I'm rambling. I haven't even told you what's being reviewed yet. Flogging Molly have been on the top of their game for several years now, and they don't plan on stopping anytime soon. The band has followed up their brilliant 2004 release Within A Mile Of Home with a new album entitled Whiskey on a Sunday. Four acoustic tracks, five live tracks, and a brand spanking new studio track. \nThis isn't Flogging Molly's first live album. Their first release ever was Alive Behind the Green Door, a live set they did in Los Angeles way back in 1997. Since then, they have put out three hugely successful studio albums and have toured intensely around the globe. Flogging Molly are a special blend of Irish folk and California punk, taking a nod from pioneers the Pogues, but sounding like their punk peers the Dropkick Murphys. \n"Laura" (the new track) is solid Flogging Molly, complete with soaring fiddles, pounding drums and gritty Irish vocals. This isn't one of their best, but a good ballad nevertheless. \nThe acoustic tracks are slowed-down versions of the originals, putting an interesting spin on things. The live songs capture the spirit of the band's performance, and the quality is very slick as far as live songs go. "Black Friday Rule" is a real jam song, spanning almost 12 minutes in length. The energy, however, can only really be achieved by actually seeing them (I've seen 'em live…they're a blast). \nWhat redeems this album is that it's accompanied by a bonus DVD. It's a full length documentary, following the band into the studio, at home and on tour. Interviews tell the story of the band and the individual members, weaving in tour and studio footage. The live bits are well shot, recorded in seven different countries and give you a feel for what it's like to see the band close-up. There are also two full live songs in the bonus features.\nIf you're not an avid fan of the band, this probably isn't the best place to start. Check out Drunken Lullabies or Swagger first. But for the fans, this is a real treat. The CD is the real bonus disc here; you'll want to take in the DVD, one of the better music documentaries out there.
(08/02/06 7:09pm)
Jurassic 5 is a stunning array of talent. Take five MC's (each with their own distinct sound) and two DJ's putting out honest, raw and catchy hip-hop reminiscent of the old-school days of NWA and the Wu-Tang Clan (when ODB was still alive and not in jail). This is the boys' 4th release, entitled Feedback. Party people, get ready for some old-school party rap here.\nUnfortunately, this release is a bit disappointing for a J5 fan. First off, the production is weak. This can be explained by the departure of DJ Cut Chemist, who is pursuing a solo career. Gone are the goofy samples and speedy cutting and crossing that Chemist brought to the distinct J5 sound. On Feedback, the beats are kind of bland. DJ Nu-Mark tries to go it alone, and guest producers take a stab at things, but it just falls short.\nLyrically, this album isn't on par with their earlier releases either. The lyrical content is very typical: relationships, popularity, etc. The fun loving lyrics of Quality Control (their first release) aren't here. But this can be overlooked at times because these MCs can deliver.\nThere are some fun tracks here. "Red Hot" could have been on their second release Power In Numbers, with goofy beats and slick rhymes from all the boys. "In the House" is a party track, with bouncy Sugar Hill Gang synth bass. "Radio" talks about the old days when hip-hop was about being real and having fun, not about money and fame. Icy beats and a catchy chorus, this is a pretty tight jam.\nIt's seems like Jurassic 5 wanted to go mainstream on this one, and for Buddha's sake…on "Work It Out," Dave Matthews makes an appearance. I abhor this. "Brown Girl" is also a very weak track; it definitely sounds too radio-friendly to be the J5 that I know and love. At 15 tracks, it's almost cut down the line between solid tracks and skippable ones.\nAll in all, I can't hate the 5. The flow is amazing, but this isn't what I've come to expect from a group of such talented MCs, but I guess I'll have to live with it until their next release. If you're new to Jurassic 5, you might actually want to pick up this first, because you'll have nowhere to go but up.
(07/20/06 4:00am)
I'm sensing a reoccurring theme here: England tends to put out some damn good music. This summer has seen some great Brit-rock releases. First Keane, and now Muse, who hit it massive in the US in 2004 with their epic, hugely successful album Absolution, accompanied by hundreds of major performances across America. Muse is back in action with Black Holes and Revelations, a more politically-driven, harder rocking and varied album than their previous three efforts have seen. \nIf you're not familiar with Muse, they can roughly be described as Radiohead, Queen, Rufus Wainwright and Black Sabbath rolling down a hill, fighting to the death. Regardless of their influences, Muse has a sound of their own; and this sound is very hard to channel into one coherent label, so I'll spare you that. \nThe album's opener "Take a Bow" kicks things off with a majestic synth line that flows into a very frantic, politically-charged song. Also politically-oriented is the short "Soldier's Poem," a very melodic ballad written from the perspective of a soldier at war. This is a very beautiful track that is a breather from all the rocking out that this album encompasses.\n"Supermassive Black Hole" has single-material written all over it. This song is very danceable, dirty and robotic, and singer Matthew Bellamy implements his high-key falsetto vocals freely on this one. "Assassin" is another rocker, very 80's metal sounding, with Bellamy's belting vocal delivery piercing the ears as much as the guitars do.\n"City of Disillusion" is by far the most ambitious and epic track on the album. Variety leaps and abounds here, with Middle Eastern strings, angular guitars, dirty synth and horns accompanying Bellamy's beautiful vocals.\nMuse is pop, rock, classical and electronica with all the calculations done correctly. Organization and song structure take control instead of the clusterfuck approach, yet variety is very present here. Shifting from heavy to poppy to somber to mellow to powerful without taking a breath, Muse incorporates all emotions in their songs, and are relentless in their efforts without being too inaccessible in doing this.\nI'm sorry, but Muse can do no wrong, honestly. Black Holes and Revelations may not be as memorable or may not have as many sing-a-longs as its predecessor Absolution did, but it still rocks out and does not disappoint. Muse continues to impress, and no one can escape the wrath of Bellamy's powerful voice. Don't let any prior expectations you've had control your overall experience with this album.
(07/19/06 7:17pm)
I'm sensing a reoccurring theme here: England tends to put out some damn good music. This summer has seen some great Brit-rock releases. First Keane, and now Muse, who hit it massive in the US in 2004 with their epic, hugely successful album Absolution, accompanied by hundreds of major performances across America. Muse is back in action with Black Holes and Revelations, a more politically-driven, harder rocking and varied album than their previous three efforts have seen. \nIf you're not familiar with Muse, they can roughly be described as Radiohead, Queen, Rufus Wainwright and Black Sabbath rolling down a hill, fighting to the death. Regardless of their influences, Muse has a sound of their own; and this sound is very hard to channel into one coherent label, so I'll spare you that. \nThe album's opener "Take a Bow" kicks things off with a majestic synth line that flows into a very frantic, politically-charged song. Also politically-oriented is the short "Soldier's Poem," a very melodic ballad written from the perspective of a soldier at war. This is a very beautiful track that is a breather from all the rocking out that this album encompasses.\n"Supermassive Black Hole" has single-material written all over it. This song is very danceable, dirty and robotic, and singer Matthew Bellamy implements his high-key falsetto vocals freely on this one. "Assassin" is another rocker, very 80's metal sounding, with Bellamy's belting vocal delivery piercing the ears as much as the guitars do.\n"City of Disillusion" is by far the most ambitious and epic track on the album. Variety leaps and abounds here, with Middle Eastern strings, angular guitars, dirty synth and horns accompanying Bellamy's beautiful vocals.\nMuse is pop, rock, classical and electronica with all the calculations done correctly. Organization and song structure take control instead of the clusterfuck approach, yet variety is very present here. Shifting from heavy to poppy to somber to mellow to powerful without taking a breath, Muse incorporates all emotions in their songs, and are relentless in their efforts without being too inaccessible in doing this.\nI'm sorry, but Muse can do no wrong, honestly. Black Holes and Revelations may not be as memorable or may not have as many sing-a-longs as its predecessor Absolution did, but it still rocks out and does not disappoint. Muse continues to impress, and no one can escape the wrath of Bellamy's powerful voice. Don't let any prior expectations you've had control your overall experience with this album.
(07/13/06 4:00am)
When I think of modern day punk rock, a few names come to mind. Bad Religion, NOFX, Anti-Flag, The Bouncing Souls and Rise Against. Rise Against is back with a new one entitled The Sufferer and the Witness, their second release on major label Geffen after jumping from Fat Wreck Chords (owned by Fat Mike of NOFX). What we have is 13 punk rock anthems that mash high-energy punk rock with melody and emotion to create a stunning record.\nRise Against are not new to the punk scene. Formed from the ashes of punk stalwarts 88 Fingers Louie, Rise Against put out their debut The Unraveling on Fat Wreck Chords in 2001. What would result is a fast, raw and catchy punk gem that would push these Chicago natives forward to become a huge band in the punk world. The Sufferer and the Witness is Rise Against's fourth album, and it is a polished bit of punk rock greatness.\n"Chamber The Cartridge" begins the album with the fast, aggressive style that echoes their second release Revolutions Per Minute. Sufferer shifts its weight between these fast and raw songs reminiscent of old Rise Against, and their newer, more melodic sound that their major label debut Siren Song of the Counter Culture. \n"Ready To Fall," the first single of the record, is a scorching and damn catchy song. Just don't watch the music video; it's cheesy (Rise Against is a big supporter of PETA, so imagine a video based on this). "Drones," very much single material as well, is in the same vein, with soaring, crunching guitars and a sing-along chorus. This song deals with matters of religion, as most of Rise Against's material is related to political issues. \nRise Against have strayed away from the typical three chord punk song structure, and have added quite a bit of depth to their songs. "The Approaching Curve" is very experimental, switching back and forth between spoken word and singer Tim McIlrath's distinctive singing voice. "Roadside" slows the pace down, and adds female vocals in the background, creating a very somber and chilling track.\nRise Against have become a part of popular main-stream culture, but this has not affected their music. They have expanded their sound to create an album that is heavy, swift and angry at points, but at the same time, can be melodic, catchy and heartfelt. Rise Against are the exception in an endless amount of imitating bands in punk rock that will never have the technicality and emotional drive that this band has.
(07/12/06 3:34pm)
When I think of modern day punk rock, a few names come to mind. Bad Religion, NOFX, Anti-Flag, The Bouncing Souls and Rise Against. Rise Against is back with a new one entitled The Sufferer and the Witness, their second release on major label Geffen after jumping from Fat Wreck Chords (owned by Fat Mike of NOFX). What we have is 13 punk rock anthems that mash high-energy punk rock with melody and emotion to create a stunning record.\nRise Against are not new to the punk scene. Formed from the ashes of punk stalwarts 88 Fingers Louie, Rise Against put out their debut The Unraveling on Fat Wreck Chords in 2001. What would result is a fast, raw and catchy punk gem that would push these Chicago natives forward to become a huge band in the punk world. The Sufferer and the Witness is Rise Against's fourth album, and it is a polished bit of punk rock greatness.\n"Chamber The Cartridge" begins the album with the fast, aggressive style that echoes their second release Revolutions Per Minute. Sufferer shifts its weight between these fast and raw songs reminiscent of old Rise Against, and their newer, more melodic sound that their major label debut Siren Song of the Counter Culture. \n"Ready To Fall," the first single of the record, is a scorching and damn catchy song. Just don't watch the music video; it's cheesy (Rise Against is a big supporter of PETA, so imagine a video based on this). "Drones," very much single material as well, is in the same vein, with soaring, crunching guitars and a sing-along chorus. This song deals with matters of religion, as most of Rise Against's material is related to political issues. \nRise Against have strayed away from the typical three chord punk song structure, and have added quite a bit of depth to their songs. "The Approaching Curve" is very experimental, switching back and forth between spoken word and singer Tim McIlrath's distinctive singing voice. "Roadside" slows the pace down, and adds female vocals in the background, creating a very somber and chilling track.\nRise Against have become a part of popular main-stream culture, but this has not affected their music. They have expanded their sound to create an album that is heavy, swift and angry at points, but at the same time, can be melodic, catchy and heartfelt. Rise Against are the exception in an endless amount of imitating bands in punk rock that will never have the technicality and emotional drive that this band has.
(07/06/06 4:00am)
Britpop/rock is hit or miss in my opinion. For example: Radiohead, Interpol, Muse…all hits. Coldplay, U2…misses (don't send hate mail to me for this statement). No matter what your stance on the matter is, you've surely heard of Keane. This group of blokes blew up on the scene in 2004 with Hopes And Fears, and a hit single entitled "Somewhere Only We Know," becoming one of the biggest groups in the UK, and US alike. Keane's second effort, Under The Iron Sea, is an excellent follow-up, and even more emotional and darker than their debut.\nAll U2 and Coldplay references aside, Keane has their own unique and intelligent sound. Singer Tom Chaplin sounds more like Thom Yorke (The Bends era Radiohead), or Matt Bellamy of Muse, rather than Chris Martin of Coldplay. His voice soars through these tracks, moving up and down, around corners and through the crevices of the album. Described by the band as a sinister-fairytale-gone-wrong, Under The Iron Sea is a beautiful and dark album.\nThe first track on the record, "Atlantic," adds to Keane's piano, bass, and vocals formula we've come to know by adding some creepy electronics mixed with haunting lyrics to create a dark atmospheric track (definitely Radiohead-esque). \nKeane gets down and dirty with politics on the rather energetic "Is It Any Wonder," a song about the British involvement in the wars in Afghanistan and Iraq. Also dealing with war is the moving track "A Bad Dream," based on a poem by W.B. Yeats. \n"Crystal Ball" is very poppy and catchy, single material possibly. This song is followed by the final three tracks of the album which span around fifteen minutes. The last track is an epic finale to a magnificent album, while the former two are much more mellow and relaxing, very atmospheric and lush (hints of Radiohead trickle through again).\nMost of the songs on Under The Iron Sea sound very similar, which is the main downfall of this album. But most of the tracks are either very epic or very mellow and piano driven, and the flow of these elements is stunning. The amazing thing is that this album brings so much energy and emotion without the use of any guitars whatsoever (you might think you hear guitars on "Put It Behind You," but that's just crafty use of keyboards and synth). Nothing on this album is rather groundbreaking or technical; it's just simple pop music that is rather engaging at the core.\nUnder The Iron Sea is a nice listen, something to relax with; something to help get deep into your thoughts. They are a very talented band, and maybe a little bit shadowed by the likes of bands like Coldplay and U2. Keane is definitely a band that isn't making music for the media hype though. This is a truly fulfilling album that will grow on you after a few listens or so.
(07/06/06 4:00am)
Is the summer heat bumming you out? Is the man bringing you down? Tired of yuppies and hippies cramping your style? Well, look no further. Plan-It-X Fest is here! Punk rock, solidarity, equality and knowing your rights. 6 days of music and events sprawled out throughout the town of Bloomington, July 6th to 11th. It's like summer camp, but without the canoes and cheesy campfire songs.\nSticking to home, Plan-It-X Fest will provide happenings all over the town of Bloomington. Shows will be played at Rhino's and Boxcar Books. There will be swap-meets and film fests, potlucks and a soapbox derby and even a carnival. \n"This year's Fest seems even more organized and focused, so I expect it to be huge and fun," Brad Wilhelm, director of events at Rhino's, said. \nPlan-It-X Records hopes to build on past success and expand in its third year. The first year was the ten year anniversary of the label, and 32 bands played a three day show in Bloomington. The obvious choice for a venue was Rhino's All Ages Youth Center, which Wilhelm said was successful. The second year of Plan-It-X Fest saw 9 bands getting on a bus and heading out for a 30 day east coast tour. \n"The shows all went well but the tour proved to be very stressful and tiring," Chris Clavin, a pioneer of Plan it X, said. "We didn't really achieve the level of community building and person to person connections that we hoped to, nor did we raise as much money for good causes. We made less than $3,000 for the benefits. But we did manage to book a 30 day, 9 band touring fest on a DIY level, and we made it to all the shows and had a lot of fun."\nThere will classes available to take in addition to music. Some of the topics being covered include screen printing, songwriting, comic book writing, and racism: slavery, prisons, and the African American community. These classes will vary in length, some one-day sessions, others running all week. You can sign up online for the classes. July 11th wraps up the festival with a carnival. \n"We will meet at a park around 11:00 AM and show off what we have learned," Clavin said. "For example, if you took a puppet making class, maybe your class will perform a puppet show at the Carnival. If you took a silk screening class, you could set up a table to show off/trade what you've made during the week." \nThe bulk of the festival will be the bands playing. Over 50 bands will be playing at Rhino's and Boxcar Books over the 6 day event. Shows at Boxcar Books will be free, and the shows at Rhino's will be $5 each night at the door (you don't buy tickets in advance). Bands will be coming from all over the United States (even Japan!) to rock out. \nMilwaukee, Wisconsin's Modern Machines will be one of the bands featured on this year's bill. Modern Machines formed in 1997, known then as the Shrubbers. They eventually broke up and re-formed as Modern Machines. Power pop meets hardcore punk and metal, Modern Machines have ties with Chris Clavin from Plan-It-X records. Clavin helped book them for a tour in Bloomington, and the band showed up to the house where the show was supposed to be (with Clavin's old band Operation: Cliff Claven), and nobody was there; Operation: Cliff Claven wasn't even in Bloomington at the time. Vocalist/guitarist Nato Paisano commented on the whole ordeal. \n"Maybe we're playing Plan-It-X Fest 'cause Chris still feels guilty about that," Paisano said. "It goes without saying that we've long since cared even a whit about that, Chris rules. So maybe it's just 'cause we're old friends, and we like the Fest." \nModern Machines expect a really great turnout and an even better time at this year's Plan-It-X Fest.\n"I expect to have fun, see good bands; enjoy the spirit of community that results from that kinda large punk rock gathering," Paisano said. "I'll probably drink a lot of wine from a box. It's just gonna be a cool-ass party, like usual. Nobody's got a better idea of what punk rock today is than the people who put on Plan-It-X Fest." \nAlso on the bill this year is Bloomington's very own What The Kids Want. A three-piece pop punk band from Bloomington, but their bass player resides in San Francisco. These guys have played the past two Plan-It-X Fests, and are excited about this year's outing. \n"I'm excited to play, just because we don't get to play too many shows anymore since we live on opposite sides of the country," said Ali, guitarist/vocalist for What The Kids Want. "I'm hoping there will be a lot of people there, and I'm looking forward to seeing a lot of the bands." \nAll the money raised from Plan It X Fest goes to pay the touring bands (100 dollars each), the teachers, the venue, to purchase food for the bands, and for promotion for the fest. The rest of the money will go to local charities Pages For Prisoners and Mother Hubbard's Cupboard. \nFrom the looks of things, it looks like this year's Plan-It-X Fest is going to be more ambitious and fun than ever before. \n"They've all been great," Wilhelm said. "Lots of folks from all over the country peacefully converging to rock out and maybe learn something too. What's not to like?" \nThe fest starts Thursday July 6, with orientation in 3rd St. Park at 11 AM. For more information, go to http://crimespree.org/pixcamp/Main_Page. Punk is in the air my friends.
(07/05/06 7:38pm)
Is the summer heat bumming you out? Is the man bringing you down? Tired of yuppies and hippies cramping your style? Well, look no further. Plan-It-X Fest is here! Punk rock, solidarity, equality and knowing your rights. 6 days of music and events sprawled out throughout the town of Bloomington, July 6th to 11th. It's like summer camp, but without the canoes and cheesy campfire songs.\nSticking to home, Plan-It-X Fest will provide happenings all over the town of Bloomington. Shows will be played at Rhino's and Boxcar Books. There will be swap-meets and film fests, potlucks and a soapbox derby and even a carnival. \n"This year's Fest seems even more organized and focused, so I expect it to be huge and fun," Brad Wilhelm, director of events at Rhino's, said. \nPlan-It-X Records hopes to build on past success and expand in its third year. The first year was the ten year anniversary of the label, and 32 bands played a three day show in Bloomington. The obvious choice for a venue was Rhino's All Ages Youth Center, which Wilhelm said was successful. The second year of Plan-It-X Fest saw 9 bands getting on a bus and heading out for a 30 day east coast tour. \n"The shows all went well but the tour proved to be very stressful and tiring," Chris Clavin, a pioneer of Plan it X, said. "We didn't really achieve the level of community building and person to person connections that we hoped to, nor did we raise as much money for good causes. We made less than $3,000 for the benefits. But we did manage to book a 30 day, 9 band touring fest on a DIY level, and we made it to all the shows and had a lot of fun."\nThere will classes available to take in addition to music. Some of the topics being covered include screen printing, songwriting, comic book writing, and racism: slavery, prisons, and the African American community. These classes will vary in length, some one-day sessions, others running all week. You can sign up online for the classes. July 11th wraps up the festival with a carnival. \n"We will meet at a park around 11:00 AM and show off what we have learned," Clavin said. "For example, if you took a puppet making class, maybe your class will perform a puppet show at the Carnival. If you took a silk screening class, you could set up a table to show off/trade what you've made during the week." \nThe bulk of the festival will be the bands playing. Over 50 bands will be playing at Rhino's and Boxcar Books over the 6 day event. Shows at Boxcar Books will be free, and the shows at Rhino's will be $5 each night at the door (you don't buy tickets in advance). Bands will be coming from all over the United States (even Japan!) to rock out. \nMilwaukee, Wisconsin's Modern Machines will be one of the bands featured on this year's bill. Modern Machines formed in 1997, known then as the Shrubbers. They eventually broke up and re-formed as Modern Machines. Power pop meets hardcore punk and metal, Modern Machines have ties with Chris Clavin from Plan-It-X records. Clavin helped book them for a tour in Bloomington, and the band showed up to the house where the show was supposed to be (with Clavin's old band Operation: Cliff Claven), and nobody was there; Operation: Cliff Claven wasn't even in Bloomington at the time. Vocalist/guitarist Nato Paisano commented on the whole ordeal. \n"Maybe we're playing Plan-It-X Fest 'cause Chris still feels guilty about that," Paisano said. "It goes without saying that we've long since cared even a whit about that, Chris rules. So maybe it's just 'cause we're old friends, and we like the Fest." \nModern Machines expect a really great turnout and an even better time at this year's Plan-It-X Fest.\n"I expect to have fun, see good bands; enjoy the spirit of community that results from that kinda large punk rock gathering," Paisano said. "I'll probably drink a lot of wine from a box. It's just gonna be a cool-ass party, like usual. Nobody's got a better idea of what punk rock today is than the people who put on Plan-It-X Fest." \nAlso on the bill this year is Bloomington's very own What The Kids Want. A three-piece pop punk band from Bloomington, but their bass player resides in San Francisco. These guys have played the past two Plan-It-X Fests, and are excited about this year's outing. \n"I'm excited to play, just because we don't get to play too many shows anymore since we live on opposite sides of the country," said Ali, guitarist/vocalist for What The Kids Want. "I'm hoping there will be a lot of people there, and I'm looking forward to seeing a lot of the bands." \nAll the money raised from Plan It X Fest goes to pay the touring bands (100 dollars each), the teachers, the venue, to purchase food for the bands, and for promotion for the fest. The rest of the money will go to local charities Pages For Prisoners and Mother Hubbard's Cupboard. \nFrom the looks of things, it looks like this year's Plan-It-X Fest is going to be more ambitious and fun than ever before. \n"They've all been great," Wilhelm said. "Lots of folks from all over the country peacefully converging to rock out and maybe learn something too. What's not to like?" \nThe fest starts Thursday July 6, with orientation in 3rd St. Park at 11 AM. For more information, go to http://crimespree.org/pixcamp/Main_Page. Punk is in the air my friends.
(07/05/06 6:57pm)
Britpop/rock is hit or miss in my opinion. For example: Radiohead, Interpol, Muse…all hits. Coldplay, U2…misses (don't send hate mail to me for this statement). No matter what your stance on the matter is, you've surely heard of Keane. This group of blokes blew up on the scene in 2004 with Hopes And Fears, and a hit single entitled "Somewhere Only We Know," becoming one of the biggest groups in the UK, and US alike. Keane's second effort, Under The Iron Sea, is an excellent follow-up, and even more emotional and darker than their debut.\nAll U2 and Coldplay references aside, Keane has their own unique and intelligent sound. Singer Tom Chaplin sounds more like Thom Yorke (The Bends era Radiohead), or Matt Bellamy of Muse, rather than Chris Martin of Coldplay. His voice soars through these tracks, moving up and down, around corners and through the crevices of the album. Described by the band as a sinister-fairytale-gone-wrong, Under The Iron Sea is a beautiful and dark album.\nThe first track on the record, "Atlantic," adds to Keane's piano, bass, and vocals formula we've come to know by adding some creepy electronics mixed with haunting lyrics to create a dark atmospheric track (definitely Radiohead-esque). \nKeane gets down and dirty with politics on the rather energetic "Is It Any Wonder," a song about the British involvement in the wars in Afghanistan and Iraq. Also dealing with war is the moving track "A Bad Dream," based on a poem by W.B. Yeats. \n"Crystal Ball" is very poppy and catchy, single material possibly. This song is followed by the final three tracks of the album which span around fifteen minutes. The last track is an epic finale to a magnificent album, while the former two are much more mellow and relaxing, very atmospheric and lush (hints of Radiohead trickle through again).\nMost of the songs on Under The Iron Sea sound very similar, which is the main downfall of this album. But most of the tracks are either very epic or very mellow and piano driven, and the flow of these elements is stunning. The amazing thing is that this album brings so much energy and emotion without the use of any guitars whatsoever (you might think you hear guitars on "Put It Behind You," but that's just crafty use of keyboards and synth). Nothing on this album is rather groundbreaking or technical; it's just simple pop music that is rather engaging at the core.\nUnder The Iron Sea is a nice listen, something to relax with; something to help get deep into your thoughts. They are a very talented band, and maybe a little bit shadowed by the likes of bands like Coldplay and U2. Keane is definitely a band that isn't making music for the media hype though. This is a truly fulfilling album that will grow on you after a few listens or so.
(06/29/06 4:00am)
I don't like to label bands or tack a genre to them, it all feels too cliché. So I tend to cringe when I say that I listen to a band that popular culture labels as "screamo." Screamo…see, I like screaming, but the other half, the "emo" part of it, I can definitely do without. But a band like Underoath seems to execute rather well what comes out of a genre where every band is a blatant cookie-cutter of the last one, and fashion and popularity replace originality and talent. Underoath is not one of those bands…\nUnderoath have been around for a good seven years, but have just recently found critical success since the departure of their first singer Dallas Taylor (now with Maylene And The Sons Of Disaster) . Define The Great Line is their fifth album, their third on Christian hardcore label Solid State Records. This record is a culmination of everything Underoath has put out in their solid career, and let me tell you, it sounds rather amazing.\nWhen you hear the first track on the album, "In Regards To Self," you know that this record is definitely going to rock. There's blistering guitars and bold and brutal screaming; the elements that made old Underoath great. As the album progresses, their new sound is present as well. "You're So Inviting" is heavy and melodic. "Salmarnir" is a haunting instrumental accompanied by cryptic Icelandic musings and chanting, followed by three beautifully stirring, yet epically heavy tracks ("Returning Empty Handed," "Casting Such A Thin Shadow" and "Moving For The Sake Of Motion"). The remainder of the album speeds up the pace a bit, with some more catchy and thrashing tracks.\nDefine is so much more than I have come to expect out of this band. With 2004's They're Only Chasing Safety (which was still pretty damn good), I thought Underoath had become one of those generic MTV screamo bands that had sold out. Well, I was wrong…they are much more talented than that and they have taken that risk by adding to their successful formula and making things heavier and less accessible at the same time. The variety of the tracks isn't terribly widespread and chaotic, but there is enough emotion on both ends of the spectrum to keep things interesting and distinguish this album from others of the same genre.\nUnderoath have grown a lot as a band since their last outing, and they have put out their best material in their career with Define The Great Line. If you like metal whatsoever, you will enjoy this. They get a bad rap for being a Christian hardcore band, but if you can see past this, you will be blown away by a heartfelt, brutal, honest album. They could have screwed it up and disappointed, but they have pulled through and put out something a hundred times better than I could have imagined. Brace yourself…
(06/27/06 7:08pm)
I don't like to label bands or tack a genre to them, it all feels too cliché. So I tend to cringe when I say that I listen to a band that popular culture labels as "screamo." Screamo…see, I like screaming, but the other half, the "emo" part of it, I can definitely do without. But a band like Underoath seems to execute rather well what comes out of a genre where every band is a blatant cookie-cutter of the last one, and fashion and popularity replace originality and talent. Underoath is not one of those bands…\nUnderoath have been around for a good seven years, but have just recently found critical success since the departure of their first singer Dallas Taylor (now with Maylene And The Sons Of Disaster) . Define The Great Line is their fifth album, their third on Christian hardcore label Solid State Records. This record is a culmination of everything Underoath has put out in their solid career, and let me tell you, it sounds rather amazing.\nWhen you hear the first track on the album, "In Regards To Self," you know that this record is definitely going to rock. There's blistering guitars and bold and brutal screaming; the elements that made old Underoath great. As the album progresses, their new sound is present as well. "You're So Inviting" is heavy and melodic. "Salmarnir" is a haunting instrumental accompanied by cryptic Icelandic musings and chanting, followed by three beautifully stirring, yet epically heavy tracks ("Returning Empty Handed," "Casting Such A Thin Shadow" and "Moving For The Sake Of Motion"). The remainder of the album speeds up the pace a bit, with some more catchy and thrashing tracks.\nDefine is so much more than I have come to expect out of this band. With 2004's They're Only Chasing Safety (which was still pretty damn good), I thought Underoath had become one of those generic MTV screamo bands that had sold out. Well, I was wrong…they are much more talented than that and they have taken that risk by adding to their successful formula and making things heavier and less accessible at the same time. The variety of the tracks isn't terribly widespread and chaotic, but there is enough emotion on both ends of the spectrum to keep things interesting and distinguish this album from others of the same genre.\nUnderoath have grown a lot as a band since their last outing, and they have put out their best material in their career with Define The Great Line. If you like metal whatsoever, you will enjoy this. They get a bad rap for being a Christian hardcore band, but if you can see past this, you will be blown away by a heartfelt, brutal, honest album. They could have screwed it up and disappointed, but they have pulled through and put out something a hundred times better than I could have imagined. Brace yourself…
(06/22/06 4:00am)
Let's get some things straight first: I am not all that familiar with Sonic Youth's works. I have dabbled briefly in Sonic-Youthry, having heard bits and pieces from their many records in the last couple of years. And I can tell you that they are very talented group of musicians, and that I enjoy their music immensely (what I've heard thus far). That being said, there isn't a lot of background info that I can provide you. \nSonic Youth are one of those bands that mature a little more with every album (I've lost track of how many albums they've put out now). They are a mature band to begin with, and they are getting older and older, but that's not the point. The point is that there is some great songwriting and musicianship present here. \nRather Ripped starts off very mellow, with the female third of Sonic Youth's vocal team Kim Gordon (she plays bass as well) singing with a syrupy quality that is soothing but rough and off key at the same time. The other Gordon tracks vary in mood from somber to chill, to a little more energetic. Gordon's tracks stand out and shine in regards to the other two male vocalists (not being sexist here); and "Turquoise Boy" (the longest track on the album at 6:14) is simply outstanding: very haunting and epic with some beautiful lyrics.\nSurprisingly, there is quite a bit of variety in these 12 tracks, although they happen to be very similar in mood at times. Singer number two, Thurston Moore, muses on the rockin', yet slightly overproduced "Sleepin' Around," and mumbles and rambles about something or other on the album's interesting closer "Or." His tracks are the weakest of the three vocalists, but they are by no means bad.\nFor the most part, this album is very mellow and chill with beautiful poetic lyrics. But at the same time, there are some rockin' tracks, that are confined, and don't get too out of control with noise as Sonic Youth is known for. The odd guitar tuning is still here as well. Sonic Youth's final vocalist, Lee Ranaldo, has one lonely track on this album. "Rats" is very feedback and solo friendly, being probably the noisiest track on this album aside from the noise at the end of "Turquoise Boy."\nSonic Youth is a paradigm of a band. Noisy guitars coalesce with sweet melodies in a way that no other band in modern rock has been able to do. Twenty-five years and running, the Youth aren't exactly youthful anymore, but the heartfelt energy that they bring to their music is stronger than ever. This album is darker and relatively shorter when compared to their other releases (if 51 minutes is short…well, for Sonic Youth it is) and they let melody overpower songwriting. A great album for fans and newcomers alike, Rather Ripped could contend for best alternative album of 2006, hands down.
(06/21/06 8:17pm)
Let's get some things straight first: I am not all that familiar with Sonic Youth's works. I have dabbled briefly in Sonic-Youthry, having heard bits and pieces from their many records in the last couple of years. And I can tell you that they are very talented group of musicians, and that I enjoy their music immensely (what I've heard thus far). That being said, there isn't a lot of background info that I can provide you. \nSonic Youth are one of those bands that mature a little more with every album (I've lost track of how many albums they've put out now). They are a mature band to begin with, and they are getting older and older, but that's not the point. The point is that there is some great songwriting and musicianship present here. \nRather Ripped starts off very mellow, with the female third of Sonic Youth's vocal team Kim Gordon (she plays bass as well) singing with a syrupy quality that is soothing but rough and off key at the same time. The other Gordon tracks vary in mood from somber to chill, to a little more energetic. Gordon's tracks stand out and shine in regards to the other two male vocalists (not being sexist here); and "Turquoise Boy" (the longest track on the album at 6:14) is simply outstanding: very haunting and epic with some beautiful lyrics.\nSurprisingly, there is quite a bit of variety in these 12 tracks, although they happen to be very similar in mood at times. Singer number two, Thurston Moore, muses on the rockin', yet slightly overproduced "Sleepin' Around," and mumbles and rambles about something or other on the album's interesting closer "Or." His tracks are the weakest of the three vocalists, but they are by no means bad.\nFor the most part, this album is very mellow and chill with beautiful poetic lyrics. But at the same time, there are some rockin' tracks, that are confined, and don't get too out of control with noise as Sonic Youth is known for. The odd guitar tuning is still here as well. Sonic Youth's final vocalist, Lee Ranaldo, has one lonely track on this album. "Rats" is very feedback and solo friendly, being probably the noisiest track on this album aside from the noise at the end of "Turquoise Boy."\nSonic Youth is a paradigm of a band. Noisy guitars coalesce with sweet melodies in a way that no other band in modern rock has been able to do. Twenty-five years and running, the Youth aren't exactly youthful anymore, but the heartfelt energy that they bring to their music is stronger than ever. This album is darker and relatively shorter when compared to their other releases (if 51 minutes is short…well, for Sonic Youth it is) and they let melody overpower songwriting. A great album for fans and newcomers alike, Rather Ripped could contend for best alternative album of 2006, hands down.
(06/15/06 4:00am)
Well, to tell you the truth, I'm not exactly sure what happened. Yet again, one of my favorite bands has been kidnapped to the dark side: major-label success. Not that being on a major label is bad; Nine Inch Nails (another one of my favs) is on this very same label (Interscope). But AFI's newest outing, Decemberunderground, just has me shaking my head the same way I did when Green Day came out with American Idiot two years ago. This is AFI's 10th release (7 full-lengths, 2 EPs, and a compilation). Three years have passed since Sing the Sorrow, and as I anticipated another great album, I was let down, and embarrassed by Decemberunderground.\nNow, don't get me wrong. I loved Sing The Sorrow, and it was all over MTV, Hot Topic and anywhere where 13-year-olds could get their hands on it. But this album is just plain hideous. It starts out like some cheesy '80s Depeche Mode song. In fact, the whole disc has a very 80's feel to it. I liked AFI when they were more punk and sounded like the Misfits rather than the Cure. "December" is way overproduced, and the gothy synth and the cheesy morbid lyrics are just laughable. "Miss Murder", the first single, makes me want to punch babies. That's right, punch babies. On "Summer Shudder", the phrase "Under the summer rain I burnt away. Under the summer rain (burn!) we burnt away", is repeated over and over and over and over again. As if this were supposed to be important. \nThe only songs on the CD that I found to be any good whatsoever were the ones where Davey Havok screamed. So that would be "Kill Caustic", "Affliction" and "Endlessly, She Said". But most of the songs are a lot slower than what AFI is known for (those that listened to them back when they were on Nitro Records). What made Sing the Sorrow great was the combination of the fast punk, hardcore screaming and melodic soberness. Davey Havok has a great voice, both screaming and singing. But on Decemberunderground, screaming takes a back seat and the balance is toppled by singing, and it would be OK if it weren't for the horrendous lyrics. This album is the soundtrack to the lives of kids that get dropped off by their parents at the mall and loiter in Hot Topic, then proceed to play Dance Dance Revolution in the arcade.\nYes, this is a change for AFI. No, I'm not opposed to change, but it's obvious that they are trying to write songs for the 13 year old crowd. When I was 13 I was listening to Rage Against The Machine and Nine Inch Nails. It's only a matter of time before AFI puts out another album of garbage. I think I'm going to retire from AFI, and go listen to Black Sails in the Sunset and remember the good old days when punk was punk.
(06/14/06 8:53pm)
Well, to tell you the truth, I'm not exactly sure what happened. Yet again, one of my favorite bands has been kidnapped to the dark side: major-label success. Not that being on a major label is bad; Nine Inch Nails (another one of my favs) is on this very same label (Interscope). But AFI's newest outing, Decemberunderground, just has me shaking my head the same way I did when Green Day came out with American Idiot two years ago. This is AFI's 10th release (7 full-lengths, 2 EPs, and a compilation). Three years have passed since Sing the Sorrow, and as I anticipated another great album, I was let down, and embarrassed by Decemberunderground.\nNow, don't get me wrong. I loved Sing The Sorrow, and it was all over MTV, Hot Topic and anywhere where 13-year-olds could get their hands on it. But this album is just plain hideous. It starts out like some cheesy '80s Depeche Mode song. In fact, the whole disc has a very 80's feel to it. I liked AFI when they were more punk and sounded like the Misfits rather than the Cure. "December" is way overproduced, and the gothy synth and the cheesy morbid lyrics are just laughable. "Miss Murder", the first single, makes me want to punch babies. That's right, punch babies. On "Summer Shudder", the phrase "Under the summer rain I burnt away. Under the summer rain (burn!) we burnt away", is repeated over and over and over and over again. As if this were supposed to be important. \nThe only songs on the CD that I found to be any good whatsoever were the ones where Davey Havok screamed. So that would be "Kill Caustic", "Affliction" and "Endlessly, She Said". But most of the songs are a lot slower than what AFI is known for (those that listened to them back when they were on Nitro Records). What made Sing the Sorrow great was the combination of the fast punk, hardcore screaming and melodic soberness. Davey Havok has a great voice, both screaming and singing. But on Decemberunderground, screaming takes a back seat and the balance is toppled by singing, and it would be OK if it weren't for the horrendous lyrics. This album is the soundtrack to the lives of kids that get dropped off by their parents at the mall and loiter in Hot Topic, then proceed to play Dance Dance Revolution in the arcade.\nYes, this is a change for AFI. No, I'm not opposed to change, but it's obvious that they are trying to write songs for the 13 year old crowd. When I was 13 I was listening to Rage Against The Machine and Nine Inch Nails. It's only a matter of time before AFI puts out another album of garbage. I think I'm going to retire from AFI, and go listen to Black Sails in the Sunset and remember the good old days when punk was punk.
(06/08/06 4:00am)
It's always nice to listen to something that isn't like everything else that is out there, which usually happens to be popular. British hip-hop, at least in the states, is one of those things that sounds silly at first, but it's damn addictive, let me tell you. The Streets broke out on the scene in 2002 with Original Pirate Material, and are back with a new album entitled The Hardest Way To Make An Easy Living.\nThis album is a direct autobiography of the bloke in charge, musical mastermind behind the Streets, Mike Skinner. It is a tale of sex, drugs, and violence, and Skinner's fame; he writes about his current life, unlike some rappers who write about being hard when they are from the suburbs (cough, cough Kanye West). The UK's a rough place, ever seen "Lock Stock" or "Snatch?" The album opener, "Prangin' Out," is all about paranoia and panic from doing drugs, and reminds you (or introduces you to) why the Streets are great. The tempo is a little slower, but things pick up with tracks like "War Of The Sexes," which you can infer what the subject matter is. And this song also includes the cheesiest line on the entire disc: "And remember not to get hammered either. 'Cause people who get hammered don't get to nail…" Stunning… \nSkinner tries his hand at slow, R & B-esque jams, and falls on his face. "All Out The Window" is a love song, and it's just annoying, I'm sorry. "Never Went To Church" is Skinner lamenting over his dead father and about him finding God. While very personal and heartwarming, it didn't do anything for me. \nWhere Skinner shines though is when he's being clever, damn clever indeed. "Can't Con An Honest Jon" is reminiscent of his track "The Irony Of It All" on Original Pirate Material (where he played two men: a drunkard and a weed enthusiast, who battle it out, defending their respective addiction). It describes in detail how to pull off a con, in a story-telling sort of way: quite possibly the best song on this album. And it's catchy.\nCompared to the latter two albums, this outing is the weakest one, but it's not necessarily a load of Von Trappe (that's crap in cockney if you didn't catch it). The beats are kind of weak, and Skinner is a little more conceited then in his previous efforts, where he talks about the common man and everyday life.\nBottom line: The Hardest Way To Make An Easy Living is an enjoyable outing, and even if it's a little weak in places, it's better than anything you'll hear on MTV (even if you hear this on MTV). My advice would be to check out Original Pirate Material first (or even Skinner's second album, A Grand Don't Come For Free, which is a concept album about Skinner's travels through everyday life in search of love). But if you're into hip-hop, or just like obscure music, pick this up, oi.