Posts Tagged ‘PETER GABRIEL’
Friday, June 1st, 2012
Storm Corrosion (Roadrunner)

Many years from now when nerds everywhere look back at the year 2012, they will fondly remember it for many things. Will it be remembered as the year for geek movies like The Avengers, Prometheus, and The Dark Knight Rises came out. IPhone 5 perhaps? Or maybe when Diablo 3 was released? The Facebook IPO? Nah. It will go down at the year MIKAEL ÅKERFELDT and STEVEN WILLSON put out their long teased about Storm Corrosion album. It sounds neither truly like OPETH or PORCUPINE TREE which were the groups that brought these great artists together. Nor does it sound too much like Wilson’s solo high quality work. While there are hints of the talents and styles of each titan, the blend of the two is something new, if not unexpected. It is definitely not the progressive rock masterpiece fans (amd I) have dreamed of and that likely is either a plus or a minus depending on your taste.
The album as a whole is more like a series of emotional peaks and valleys rather than the bombastic riff fests these two are better known for in their earlier, more metal-related careers. “Drag Ropes” begins as a somber affair sonically with some gentile keyboards and guitar. ÅKERFELDT’s chant like delivery of pastoral chords sets the table mysteriously. When Wilson’s voice comes in later it is magical. They contrast and compliment each other well as they have for years. There is also some interesting guitars that resemble neo-folk sounds almost like a movie sound track. In fact it does almost sound like the sound track to one of the past Diablo games. Trippy! Further along the music draws you into a mantra like chant like classic music cannons. Not only are these masterfully done parts of songs, the melody’s will stick with you for days. Some sparse drumming is provided by PORCUPINE TREE ace Gavin Harrison and the track fades back to the beginning after some interesting restrained guitar solo/synth parts. Overall the production is as neat and crisp as you could imagine from this pairing. The title track is next and even though is never gets beyond a hush volume wish, it can be described best as epic and jazzy. The lyrics are thoughtful and also as delicate as the performances. Wilson’s voice leads first with his partner in crime second. Their jazz harmonizing is on a special level. Wilson in particular shows off a surprising amount of soulfulness vocally without falling prey to a rote blues style that another might try. The guitar and keys interplay is again intricate and tasteful. There is a bit of early GENESIS/PINK FLOYD style music-concrete in the end of the track that adds some horror movie tension. “Hag” is almost like listening to two different songs A-B tested against each other. Åkerfeldts’ voice leads here and you have another piece that builds up into something special. From a eerie, creeping tone poem into a bit of a waltz the track definitely takes you out of yourself. You wonder what the faint laughter is about in the background. Fancy dinner party or insane asylum. You never know with these guys. “Happy” is anything but happy sounding. It is very sad and foreboding even with the la-Dee-dah vocalese at the end adding a ray of hopefulness. “Lock Howl” is an all instrumental piece that also sounds like the soundtrack with no movie. Without falling into a gallop beat, it definitely has the feeling of the road traveled, rhythmically and sonically. The final cut, “Ludjet Innan” is a spacial, shoe gazer that will even call to mind good 1980s Brit pop! More great guitar work and peaceful bass and drums. The tones just call to you with remnants of 60s and 70s psychedelic references. Although there is no ceiling on what these fellows can do, it is their stylistic and musical choices that really make this album a winner. It is about as far from metal as they can get collectively. But if you, like them, love great song writing and story telling, this album is for you.
 STORM CORROSION- Men at work. Photo by Naki Kouyioumtzis © 2012
GRADE: A
by Keith (Keefy) Chachkes
Tags: Brit Pop, early GENESIS, metal army america, metal reviews by Keefy, MIKAEL ÅKERFELDT and STEVEN WILLSON, Opeth, PETER GABRIEL, Pink Floyd, pop, porcupine tree, prog, psychedelia, roadrunner, rock, shoegaze, STORM CORROSION, synthesizers Posted in Album Reviews, Reviews | No Comments »
Wednesday, October 19th, 2011
Sweet Demotion (Authorhouse)

Lonn Friend has forgotten more about rock and metal than you or I can ever know. His gift is knowing that he’d rather be a conduit for sharing that knowledge and experiences rather than reveling in it himself for personal gain. This is but one of the many themes of his second book Sweet Demotion: How an Almost Famous Rock Journalist Lost Everything and Found Himself (Almost). The book weaves tales of Lonn’s life as the self proclaimed “Fly On the Wall” with a view inside the life of musicians matched with a passion and a sense of history few others can boast. As the Editor and Chief of the highly influential RIP Magazine in the 1980s and 1990s he gave fans an intimate view into the lives of rock royalty as well as unveiled cutting edge bands to the masses. Peeling back the curtain he opened panels and saw how the machinery of the business worked and knows who is real and who is fake, but always had the class to respect the difference. He navigated the rough waters of music journalism in a sea of sharks with a mellow cool that made artists trust him and open up their arms and hearts. Few people can take credit (partial) for resurrecting AEROSMITH from the dead, making GUNS N’ ROSES a household name and (for better or worse) helping break METALLICA out of the underground to name just a few instances of his fingerprints all over the sacred DNA of modern rock music. He has dined with kings of the world like JIMMY PAGE, recalled fallen heroes and hung out in the back alleys and furthest recesses of the minds of these artists. Many remember the venerable reporter from his “Friend At Large” segments on the original Headbangers Ball MTV show among his many rock doc appearances. In addition to his books and radio work (KNAC in LA), Lonn has also been the go-to scribe of band biographies, tomes by rock gods and box set liner notes many times over.
His first book, Life On Planet Rock, was more of the chronological history through his life’s work. Lonn experienced an emotional and professional nadir in the course of jumping into to the trench warfare of the music business. It almost killed his spirit and certainly hurt his soul. In Sweet Demotion Lonn has come through the valley on the other side and not only catches us up with the more recent times in his life, but flashes forward, backwards and sideways through time and space to tell his story and the story of rock. These stories are the signposts in the saga of his life, both musical and non-musical that dot the road map of his journey. His quest to for personal enlightenment is colored by all of his many experiences and through it all his ability to derive the context at every turn (or in hindsight) will surprise you. It is not always strictly about the music, but like another character it always comes back as some reference or a form of synchrony. He has been to the top of the mountaintop, but he is human enough to know he now that he couldn’t see forever. He has had lows as well, such as hocking most of his prized memorabilia collection just to survive at times. Lonn weaves all of these memories into the narrative like meeting ELTON JOHN in Las Vegas or sharing some private thoughts with PETER GABRIEL and other encounters. Lonn shows us that nothing is truly by chance and everything has a reason and a purpose for the most part. You can work in this business and have some incredible times, but you also need to maintain your humanity. Meditations on the JFK assassination, THE BEATLES, the counter-culture he grew up in, the Sunset Strip hair-metal times in LA in the 80s, the changing of the metal guard and 90s grunge, the struggles of modern times all blend with other topics near and dear to him like metaphysics, numerology and the chemtrails conspiracy. Although the book is not strictly based on metal, Lonn’s access to bands like METALLICA, MEGADETH, PANTERA, ANTHRAX, SLAYER, MÖTLEY CRÜE, OZZY as well as a host of other names in our sphere make this a compelling must read for those anecdotes alone. He waxes on the life and death of both DIMEBAG DARRELL and RONNIE JAMES DIO with the appropriate amount of contextual resonance. Yes, it is terrible that Ronnie and Dime were taken from us, but so crucial that they lived in the first place. Lonn actually gets “it” where many others just miss the point. Rock and metal is our living history and Lonn is the curator of the exhibition in the grand hall. Many luminaries sing his praises, but he is still not as famous as he should be or as well known as he’d like to be. Still, few carry the weight of music history and pay respect like he does. To be a fan and a lover of music is to be filled with eternal questions, sometimes questions that have no answer. I believe it is Mr. Friend’s hope that the reader seeking the answers will learn something about their own journey toward meaning by reading about his. You can buy the book directly from him at his website here.
GRADE: A
by Keith (Keefy) Chachkes
Tags: "Friend At Large", aerosmith, Anthrax, book reviews, chemtrails, Dimebag Darrell, ELTON JOHN, Guns N Roses, history of rock and metal, JFK, Jimmy Page, Keefy, Life on Planet Rock, Lonn Friend, Megadeth, Metallica, Motley Crue, MTV's Headbangers Ball, Ozzy, Pantera, PETER GABRIEL, RIP Magazine, ronnie james dio, slayer, Sweet Demotion, THE BEATLES Posted in Reviews, The Bunker | No Comments »
Monday, June 27th, 2011
White Silence (Hydra Head)

CAVE IN is a band that everybody should have at least one record by, if not all of them. Since forming in 1995 they have helped shape the undercurrent of several styles of music and cast a long shadow of influence on many bands, especially in metal and hardcore. After going on hiatus in 2006 they stormed back a few years ago with the stunning EP Planets of Old. Promising a new full length for some time now, expectations are exceedingly high. That being said, this is a band that has never let your intrepid professional music appreciator down before. From the Aaron Turner (ISIS) artwork down to every note on the album, White Silence is a winner.
 Four riders from the past bring a new musical apocalypse.
Opening up with a quirky and fun album intro/title track, this album has all of the sonic touch points you want from the band. When it finally kicks off fully, explosive guitars and neat double-kick drums have a feeling not unlike the opening of a horror movie soundtrack. “Serpents” is the first full and proper song and is an apocalyptic rendering of post-metal fury. As always the band is as versed in musical history as they are innovative and groundbreaking. The aggressive, climbing riffs and sick beats have an almost d-beat/post-hardcore sound to them. Guitarist/ vocalist extraordinaire Stephen Brodsky (PET GENIUS/ NEW IDEA SOCIETY) leads the charge as usual. This album is even more evidence of his well established greatness. One of the real masterpieces of the album is “Sing My Loves”. Waves upon waves of tortured six-string noise and crushing riffs climax with more shifting heavy/soft singing. The harmonized central lick repeats over and over like a mantra infesting your earpiece like roaches. Mark my words, this song will be a future classic. The manic “Vicious Circles” sounds like it could be a lost NEUROSIS or CONVERGE out-take. The beats from drummer John-Robert Connors are his chock full of his typical poly-rhythmic goodness and insane fills from hell. There is a march-type quality to the main riff that will have aficionados head banging yes in agreement with every note. There is also a preposterous amount of guitar wankery (in a good way) going on that will have nerds freaking out badly. “Centered” is full of raucous energy and righteous screaming fury. “Summit Fever” returns to the weight and riffage we crave from the band’s best work and is a cathartic listening experience as well. Monster licks and great melody lines will fill your ears to overflowing. Adam McGrath’s (CLOUDS) guitar work and occasional keyboard flirtations are also very high on the quality scale to match Brodsky’s. “Heartbreaks, Earthquakes” is another mini-epic and inside just about three minutes, is both brief and touching. Mellifluous pop melodies that have more akin to THE BEACH BOYS and ELO will certainly lighten the heart of the most darkened metal soul or cynical hardcore kid. “Iron Decibels” has the band is up to its old tricks of couching the brilliant, yet subtle gems of lyrical context into a standard presentation. The song has a certain aspect of THE CULT (in the vocals) meets FRANK ZAPPA meets THE PIXIES meets DAVID BOWIE vibe that just blew me away within the first thirty seconds. As usual the split of the lead vocals between Brodsky and bassist Caleb Scofield (OLD MAN GLOOM /ZOZOBRA) is impeccable and one of the highlights throughout. The closer “Reanimation” is their approximation of THE BEATLES via PETER GABRIEL’s early solo era material combined with some MY BLOODY VALENTINE weirdness tossed in for good measure. Meditative, delicate and disturbingly beautiful; the song juxtaposes mellow sounds with more off-center lyrical turns. The tricky thing about this band is they can reference so many musical paths, yet never feel like they are copying. They only add these cues as reference points for the listener while building truly original pieces. CAVE IN is the band that modern metal bands, active rock bands and even college radio kiddies aspire to be, but usually fall short of along the way.
GRADE: A
by Keith (Keefy) Chachkes
Tags: Aaron Turner, alternative rock, bassist Caleb Scofield, cave in, CLOUDS, Converge, David Bowie, drummer John-Robert Connors, ELO, experimental, FRANK ZAPPA meets THE PIXIES, guitarist/keyboardist Adam McGrath, hardcore, Hydra Head Records, Ian Astbury, Isis, Keefy, metal, mini-epics, my bloody valentine, neurosis, OLD MAN GLOOM, PET GENIUS, PETER GABRIEL, Planets of Old, post metal, Stephen Bordsky, THE BEACH BOYS, THE BEATLES, the cult, White Silence, ZOZOBRA Posted in Album Reviews, Reviews | 1 Comment »
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