Tuesday, March 19, 2013

2wo - Voyeurs (90's Era)

2wo - Voyeurs  1998

Once again we are now talking about Rob Halford's next incarnation or evolution as it were, his 2wo jaunt. I really do like this record for a couple reasons. The connection to Machines Of Loving Grace, Stabbing Westward, Nine Inch Nails, and Skinny Puppy are pretty clear.

2wo is remarkable in a couple of ways, first it marks a turn in Rob Halford's output in the 90's into a industrial arena, as it also spells the end of Fight. 2wo is a stopgap before his Halford monicker, and eventual return into Judas Priest.

The album has a claustrophobic element going, but it also tends to drift into isolated enclaves. Two components of the same token that whip and thrash about in direct conflict of reason or explanation. I like this album for the sake of taking me as the listener into new pastures unfamiliar with Rob's vocal style.

I think the only downside I could fault here is 2wo cashing in on the last wave of the 90s industrial wave. It could work if the audience was accepting, but I learned this was not the case. I believe in musical explorations for Rob, and that I think speaks volumes about being just that dude in Judas Priest nonsense.

The pronounce tracks are thick with overdub touches, with a cascading vibe evoking a vessel fracture experience. Voyeurs feels like a premeditated front upon first listen, but wains into and relaxes into a glaze of comfort. Rob's vocals are more nasally, and whinny, but I think this accents the overall performance.

Its not a bad record despite many of the wicked reviews it got. I feel it has become forgotten in a era that is losing relevance to the passage of time. Either people remember the record or others chose to pan it off as another one shot. But, no matter, 2wo spoke to me in its ardent cadence, and often distorted acceptance as something off the path that I still feel was out at the time, thanks for reading.

Single Video "I am A Pig"

B.

Depeche Mode - Delta Machine - Review

www.depechemode.com
Depeche Mode - Delta Machine
(r) 03/26/2013

I am no stranger to Depeche Mode, I've been acutely aware of each release since 1987's Music For The Masses. I can tell you sometimes each album has had a like it or not experience.

I can tell you that the newest offering Delta Machine straddles do not like. Since their Playing the Angel record which I liked a lot, this one has moments, but like their last Sounds Of the Universe offering I'm kind of missing what Depeche Mode is doing at this stage.

Album number 13, and I am somewhat unsure of the direction they want to head towards, because I feel this is like their Exciter record in many ways trying out new ideas, but often I think they are just going through the motions.

Yes they've modernized their tricks, and though no one sounds like Depeche Mode, the one thing is very clear, either you like what they do, or you don't. With a worldwide fan base who've been pretty receptive to what they are doing, I've been an outsider looking in and observing.

In tow is Dave Gahn, Martin L Gore, and Andrew Fletcher. With some of the modern studio trickery, the mixes seem more digital, yet this is fooling you because of the crisp analog production. I haven't really been as impressed with the new crop of bands using the digital form because of how hollow the production feels. Delta Machine gives me as a listener a very polished and contemporary feel, but it also is appealing to a younger audience tempted by a lot of the trashy club scene material.

Delta Machine upon first listen feels cold, unsure, and straddles modes of club/euro scene that somewhat has seen a resurgence with the likes of La Roux, Lady GagaTegan and Sara, and a few others with the collaborative hip hop artist scene. I've become tired of this idiom because how blatant this standard is currently.

To tell you the truth, I would be more interested if I wasn't so burnt out on this trend. Part of my feeling stems from my dislike of the cold lifeless sound (digital). I've often been considerate of other styles and opinions, but I am of a peculiar flair. A lot of today's of pop music annoys me, partly because of  how quickly it saturates, and then rinse repeat.

I feel as though Delta Machine is trying to give the fans a modernistic vibe without trying to give a lot of brevity to the currency of short attention spans. Averaging an album every four years, I think Depeche Mode have earned the right to do what they want without care. Yet I think there is going to come a time when age and impermanence will start to dictate with how the youth sees this band. I don't care either way, but it will be interesting to see what happens in a few years. But, I will say I will return to this with a less of a hardened exposure to the current crop of imitators. Thanks for reading.

B.


Wednesday, March 6, 2013

Gravity Kills - My Introduction (90's Era)


My initial reaction to Gravity Kills reminded me of a mixture of Depeche Mode, Orchestral Manoeuvres In The Dark(OMD), Nitzer Ebb, Camoulflage, Erasure, and Kraftwerk. I feel that right here is a wide swath of textures channeled aptly, and confidently by Gravity Kills.

Gravity Kills I felt made a mark by employing a figurative quirkiness in a field unsure of itself during the 90's. Part of the problem with radio for me (then) was it wasn't as a reliable staple for new music artists. Many stations chose to go the route of a more domineering facet, rather than encourage up and coming artists. Most of the exposure in Utah was by way of employees of the now defunct Sam Goody record store a the no longer there Ogden City Mall.

Since I was already following Machines Of Loving Grace, and was acutely aware of their struggles, the one component here is that these bands of the 90's either a hit it big with that hit song, while trying to build up on a second hit and so on, or struggled often, and mightily.

My exposure to Gravity Kills was off the path. Someone had given me a CD of theirs to check out, and one evening, I took the plunge. At that time I wasn't sure of what to make of them. I was on the fence with my terse acceptance, but later came to appreciate their work as one of many 90's bands whom tried to keep the mantle going, i.e. Stabbing Westward, Garbage, Sponge,  Machines Of Loving Grace, MC 900ft Jesus, etc.
Their first album Gravity Kills (r. 03/05/1996) definitely pulsates, as each song grabs a hold of the listener.

I felt there is similarity to my early listening experiences, I feel that Gravity Kills tried to infuse a distinctly 90's attitude with a surprise or two along the way.

I thought it worked for the presentation. From the first track onward Gravity Kills employs calculated modulation with an ever evolving ambiance throughout.

I feel this record has a dance mix vibe going for it. Again, like with my other posts I try to cover as many different sounds, gauging what is/was current to the period.


Their next record Perversion (r. 06/09/1998) was bridge between familiarity whilst tackling other soundscapes which made its intended audience either accept it or miss the point entirely.

I for one had no idea this was even available. I had heard rumblings that there was a second record, but in 1998, most artist whom were trying to establish a brand in 95/96 were pushed out of the periphery for a quicker more (throw away) formats.

Part this thinking arose from a lack of promotion, and while I could chose and elect to blame certain paradigm shifts, I'm choosing to write here that I was glad to have found this in my travels.

I felt that Perversion gave a different texture to Gravity Kills. Though most would prefer the palatable over experimenting, I think Perversion works very well in the scope presented.

My favorite of the Gravity Kills is Superstarved (r. 03/19/2002). The most pronounce are the vocals (Jeff Scheel) are pissed off,  and intelligently focused.

This record has the guitar tone being front and center compared to the electronic construction of the prior two records.

I have not heard anything like this since, and this record especially really does pitch and poke at the status quo in a very curt, and deliberate means.

I like that the Depeche Mode is covered in the Gravity Kills way, and for what it is worth this album kicks ass.

Though I was not a diehard ardent fan of the remix albums, as I still feel what is released first stands out more. I've come to appreciate Gravity Kills for one specific thing: evolution. I think they evolved with each release, and my soon to be write up of Machines Of Loving Grace, are crucial to pushing ahead when the music industry didn't know what to do. Give these records a spin, thanks for reading.
B

Saturday, March 2, 2013

My Music Journey Part 4

My Music Journey Part IV: The 2000's onward & evolving

Part of what makes music so personal to me is how much of a constant companion it's been in my journey. Through my ebb and flow, music has been a constant evolution with my growth but also as a guide along my many tribulations. But, and I say this tepidly as there was a period where I was not so keen with popularity, and this thrusted me into going underground. To a large degree I'm locked into this thinking today, and haven't really budged on it since the 1990s.

By the mid to late 90's I really didn't connect with any of the pop construct, nor was I interested in whatever was coined 'next' scene. For me the 90's decade was my slide into extreme music. It was during this decade that was met with small successes, and a great many disappointments.

Since 2000 onward has seen major shifts in my collecting. I adopted very early the digital format, and once in a while I'll purchase an occasional LP. I delved further into extreme European music, and I would go back and find bands I missed out on.

My penchant for spending money for music collecting is often deluded down to freebees because of cost, and the near impossibility to afford everything out there. I do have a few staples that I am committed towards, plus funds definitely can be a bit 800lb gorilla to track down especially when an economy is not very supportive of that endeavor.

This decade has seen rise of online streaming services. Streaming is the next wave of music evolution that I do not believe I'll bite on. A lot of my reasoning is that I like the ability to own, and seek out music on my own. I don't believe in streaming because I feel it is legalized extortion, which was borne out of the ashes of the RIAA nonsense and pay per use format. (There is ample info out there, I won't get into the details here)

I am a product of the late 20th century whom still believes in collecting (to some respect) and listening to long play formats. I'm not a singular song type of person (even though there are a few here and there), my overall collection is comprised of albums from bands I follow. I think and adamantly believe in hearing the overall scope of the material.

I also feel as the connection i.e. tactile connection has become broken because music isn't listened as a solitary experience anymore.  A greater portion of enjoying music is geared towards social aspects. I suppose the sharing construction is in the public domain but I've not ever really connected in that format. I've contemplated where things shifted so quickly, because I've seen many aspects pushed out at long distances.

Where I grew into music, it was controlled, there were people whom 'found' the next band, or seeking out indie types who would play stuff that was off the path. A lot of what I've seen is tons of music and wading through the material is rife with patience. One has to dig, dig, and dig some more to find that gem in a flooded field of similar kinds of sounds.

In my youth radio often would be the go to for finding out new talent, now its reality shows, Youtube, and social media as means to get music out there. I truly feel out of the loop when it comes to new material, as I don't connect with it in any shape. But because I'm an outsider its interesting to watch the divisions and debates taking place with styles no matter the genre or era.

Though I've adapted to each successive format cassette tape, compact disc, mp3, and LP, I still feel as though I'm taking my experiences along in my journey to share with others whom are interested. Finally, I feel everything is connected, and I've learned more about who I am as a listener. Whether or not I am a fan or not, because music is something that gleams happiness in a lot of peoples lives. That in itself creates good vibes with large and small groups of people. Music will always thrive because humans are drawn to sound. Thanks for reading.

B.

Sepultura - Beneath The Remains/Arise (Classic Thrash)

Artwork by Michael Whelan
Sepultura - Beneath The Remains 1989 & Arise 1991

Out of the early era Sepultura there are two records that bring the right mix of Thrash and punk. Beneath The Remains, and Arise have something that I keep coming back to with repeated listens.

Beneath The Remains is a record that Sepultura in my estimation changed into a more palatable distinction of the pack, whereas Arise was more of a polished refinement of Sepultura's evolving sound.

While other bands focused more on formula, Sepultura I believe employed a strategy with differentiation from what was already starting to become redundant. From my research I've come to this conclusion, some of the Thrash style was very much weighted in its own thrush of complacency. I'm not bagging on the whole genre in a general sense, but most of us who were around during this period definitely could tell who had the chops versus those who did not.

These two records embody fierceness but also employ deeper song construction with Andreas Kisser, Paulo Jr, Cavelera brothers Max, and Igor giving polished performances, Max's vocals evolve from thrash to death metal between both records, and Igor's drumming definitely mutates giving these two records a more tribal vibe.

Nightmare In Red by artist Michael Whelan
One of the things that annoyed me were the repetitive nature of the thrash drum patterns, obvious inflection of chug-a-chug guitar riffs. Yet I felt that both Andreas and Igor were prodded into subtle little touches which would stand out.

Igor's drum fills are switched up, whereas the cymbal work has intermittent crashes,  calculated rolling toms, and stutter stop uptempo double bass repetition.

With regards to Andrea's his guitar tone has a is higher register (treble) which is standard fair for this period. I feel he captured a glow in an off ambient form, the soloing feels traveled and experienced.

Paulo's bass is pronounce and I think he captures the rhythmic beat fundamentally well. I can feel each of the musicians pieces were constructed with deft precision.

Why I like these records is in how exotic they are. Plus these were my first taste into an international arena. They are powerful, and have major punch. Lyrically the songs are comprised of third world strife, struggle, social ails, and accountability. What I found more curious was the evolution between each record.

Though I didn't warm as much to Chaos A.D. or Roots, as Schizophrenia was still in a nascent development to where Sepultura eventually grew into, I feel that Beneath The Remains, and Arise were peaks to the Cavelera brothers output before it got all weird into the 90's decade.

Finally it was the artwork which drew me into these records. The dark and mysteriousness evoked all kinds of wonder, and intermittent curiosity. The incredible detail is finite and though having CDs couldn't capture the finer scope of Michael Whelan's artwork, I'm still happy to see the final result. Check these out in your travels, thanks for reading.

B.