Life Sex Death - The Silent Majority (90's Era)

Life Sex Death(L.S.D.)  The Silent Majority - 1992

The Silent Majority is an album which melds both bizarre, and macabre in a right way. It's not perfect by any stretch, but it does have an internal honesty that most contemporaries today would marvel at. Released in 1992, The Silent Majority embodies a type of construction to the human narrative, along with its not so subtle reality it is asking the listener to traipse along.

Rhythmically, its groovy in a off kilter way, guitar tone is heavy, but its execution lay more in it's tempered musing, rather than going full tilt. I think Alex Kane(guitarist) really put in his own expression into this record. I like that Alex really made his guitar skill seem subdued just enough to not over power the technique, but also show a very complex deconstruction to the mantle already out at that time.

Vocally, Chris Stann(Stanley) rubs you under the surface with his interpretation of the Chicago blues style. He spins it in a curt and obtuse construction that channels a metal variation of Tom Waits. The overall appeal for me was both Alex and Stanley's distinction to a flooded period of similar sounding records.

The mood of The Silent Majority envelops around distortion, acerbic moments of survival, and though the groove does settle in well, there is an aura of unsureness that rips into the album midway through. Through the bluesy numbers, and carefully placed humor, underneath it grates just enough to peel back a little more of the internal perception. I thought it's truth lay more in the emotion, rather than vulgarity, and chip bluntness. For me it was an album of focused dichotomies, which works in a very strange way.

What saddens me about Life Sex Death is there wasn't a second album. One song I found while researching had me checking out this: My Name Stanley.  I think its an interesting concept that L.S.D. were going, and I would have liked to have heard what they were progressing into from the demo's they were recording. Unfortunately, the small dedicated fan base were robbed of a followup, and I give my thanks to the dedicated legion of fans for keeping Life Sex Death alive with Youtube, and Myspace. Thanks for reading.

B.

Enslaved - Riitiir - Review

Enslaved - RIITIIR - (September 28th, 2012)


I like that Enslaved have woven their organic construction with a emotive ambiance as a focalized element. I also like that Enslaved rework the diagram differently with each album. But, I think I'm in the minority when it comes to giving accolades to anything after ISA, RUUN, and Vertebrae. With their last record Axioma Ethica Odini, and their Scion EP The Sleeping Gods didn't have that inspiration, as it was tired, whilst trying out new avenues of tones to play with. With RIITIIR they do a great job reigning in the unfocused compositions from Odini, but it falls for me because RIITIIR is straddling two different approaches, unsure of where it wants to go, and why.

Yes, RIITIIR is a more involved listening experience. There is familiarity with notes, and two vocal approach, yet underneath after repeated listens, through the layers a shift is taking place. I truly believe Enslaved could be going the route of what Opeth did with progressive, into something completely different. Because lets face it, Enslaved are taking calculated risks with each release for a decidedly more palatable format.

For all that RIITIIR offers, I think it comes up intangibly short. The best descriptor I can give is its wading in a cold stew deciding on where it wants to go. I believe RIITIIR  is tonally similar as Axioma Ethica Odini, because there is that consistent glossy disposition.

Sure RIITIIR is a welcomed return to familiar (sortof), and rejuvenated, it's fragmented compositions (which are familiar) from their prior catalog. RIITIIR is more mellower, while showcasing a softer perception, but feels constrained by holding itself inwards in that perspective. The record tries to evolve a little, but I ultimately think in its cadence, the inflection straddles on knowing how much of a impact it is making, whilst being extremely snobbish about its place in the grand scheme. Thanks for reading.

B.

To-Mera Exile Review

To-Mera Exile - (September 24th, 2012)

Exile brings To-Mera to album #3. What has changed, whilst what is new? For me I've have always had a love/hate relationship with progressive because it straddles between wankery, and overtly  emboldened sense of a superiority complex.

I've tried to 'get into' what To-Mera does, yet its been difficult because it does not gel with me in anyway. The reason? It borders upon smugness. Don't get me wrong, Exile is crisp, concise, and descriptive.

Structurally, Exile meanders, it wants me to care, but at the same time it fails for my attention. Much of it I think is in how its presented. It could work if the songs weren't so inclined in being literal to the album cover its conveying.

Besides the cover Exile has a decent amount of riffing, keyboards, stick to the script drumming, and operatic vocals. The vocals are definitely not my thing. To-Mera use a lot of flowery passages, interwoven with hefty guitars, yet the vocals glib along into very odd melodies.

I would have liked this if I wasn't so pigeonholed with my eclectic tastes. I commend To-Mera for sticking to what works, I just couldn't get into it. This would be perfect for goth rock, or operatic fans in vein of say Nightwish, and Arkona. Thanks for reading.

B.

Oingo Boingo - Boingo Alive

Oingo Boingo Boingo Alive - 1988

This was my introduction to Oingo Boingo, in the fall of 1988 through a quaint radio station playing 'Modern Music' called KJQ. Most of the sounds and styles were new to my awakening ears. This was my introduction to the screwball antics of Johnny Vatos Hernandez's interview with one of the disc jockeys.

It was during this time I was practicing using blank tapes to edit music with a Panasonic cassette tape deck,. This was how I made my own version of Boingo Alive, because at that time I had no means to afford the fancy trappings of real official pressing of music tapes. It would be three years before I could acquire the real thing.

Sadly, I don't have that original tape I made with the artwork. It's a long far away memory that I still cherish today. With that in mind, I play this double set in its entirety once year during the fall, which has become tradition. Though I've grown up, experienced other musical arenas I've come back to this quaint addition to the Oingo Boingo catalog.

Overall there are 31 songs that were re-recorded at a live sound stage in Los Angeles. As usual the guilty parties included Danny Elfman(vocals, rhythm guitars), Johnny Vatos Hernandez(Drums/Percussion), John Avila(Bass), Steve Bartek(Lead Guitarist), Leon Schneiderman(Baritone/Alto), Sam 'Sluggo' Philps (Sax), Dale Turner(Trumpet), Carl Graves (Keyboards/piano), and additional member Bruce Fowler(Trombone).

I feel this is as complete a version of what Oingo Boingo was ever going to be. When I listen now its a serene mixture, reveling in coming full circle as a traditional 'rock' band borne out of the ashes of The Mystic Knights Of Oingo Boingo. From their first extended play release, then '10 inch e.p., then followed their full lengths: Only A Lad, Nothing To Fear, Good For Your Soul, So-Lo, Dead Man's Party, and Boi-ngo.

As I look back, I know which albums I love, and which ones I don't. Boingo Alive brings together many songs that I enjoy and bookends them as a best of set. The album kind of tricks you in that its performed live, but not without the imperfections to the songs being played, which I think gives them an overall charm.

This double album brings closure, but a perplexing sadness because they were more distant from their zaniness, and eclecticism five years prior, and in place I was watching the band delving into the next iteration of their evolution: adult contemporary.

I thoroughly believe that the creative output of years prior was moving towards a snails crawl. As with my last two reviews, Danny Elfman's new endeavor soundtrack composing was starting to take off. This ate up most of the creativity that I think Boingo had left. Through this double record it has a jovial feel, this for me marks an end of Oingo Boingo's novelty, as I watched them sink further, and further into the abyss of complete obscurity.

It has indeed changed how I looked at the concept of what a band is. Oingo Boingo were all over the map musically, and that I think that translated into a cognitive versus cohesive atmosphere argument. Borne from the tensions within the band, that combativeness produced some of the most memorable material, I've kept coming back to.

Though my exposure was much much later, I feel grateful for it because I have a greater appreciation for Oingo Boingo's style, and cadence. It fits my personality, its enigmatic, its distant, and heavily combustible. Finally, Oingo Boingo was that hallmark of my expanding expression of 'then' my teenage years. Its given me something of wonder, and starting point of discussion to bring to people I know about not being so confined to the aspects of style, or even formula. Thanks for reading

B

Oingo Boingo - 1979 - 1987 Releases

In this post I figured trying to do each album as its own post, but as I got into writing this, I started to think that my collecting early Oingo Boingo records were jumbled together in successive order.  When I was finally able to collect these early records in fall of 1991, something was resonating internally with my prickly personality. I was enduring lots, and lots of intense euphoria from the tone, and inflection. I felt that connection should stay true for these reviews.

While I am a lot older, I've learned more about Oingo Boingo after their disbanding in 1995. I've become familiarized with The Mystic Knights Of Oingo Boingo, along with their myriad assortment of bootlegs, b-sides and many, many soundtrack songs.

What I appreciate about Oingo Boingo was (at that time) a mystery (my first introduction), and I've come to appreciate that more now.  I genuinely believe and like what the band did. They were an essential attitude, and character in a field of variety we don't see very much of now. But, I have my favorite records, and not so favorite records, either way I am confident in my respect of Oingo Boingo, and their place in my musical journey.
___________________________________________________________________________________


 

E.P. (Demo)1978 and 10' E.P. 1980

Provides a newcomer to the foundation of Oingo Boingo. Songs such as Forbidden Zone (rough cut), I'm So Bad, Ain't This The Life, and Only A Lad. Whereas the 1980 10' EP has better production, omitting Forbidden Zone and its place Violent Love(Willie Dixon), These two early chapters refine what 'the sound' Oingo Boingo were shaping. Though they are over 30 plus years old, the studio production has a tunnel sound, yet the overall 'meat' of the band is very well clear.

___________________________________________________________________________________

Only A Lad Released 1981

Members: Danny Elfman, Steve Bartek, Johnny Vato's Hernandez, Dale Turner, Leon Schneiderman, Sam 'Sluggo' Philips, Richard Gibbs, and Kerry Hatch. 

This record has insane crazy hooks in each of the songs. Its sarcastic, inventive, inquisitive, and unique. The booming horns with Little Girls sets up the listener with all the pep, and bounce. The verbiage is acerbic, and cuts straight through the bullshit. The cadence, and presentation is memorable because how disjointed it is. It stays with you because its removed from the trappings of what is expected.

When I listen to this I'm immediately thrust into a jubilant mood, even with its sardonic tone, its edgy based on the frustrations its conveying. Rhythmically its overdubbed, as it twinges on the every edge of electronic. All of the elements of production push this record in places that I think hadn't been attempted.  Songs have a thrombotic presence, because it feels hypnotic, and alluring. Its cadence is in the ballsy attitude it is portraying.

What I like about this first record is its bizarreness, and off the cusp gravitas. It doesn't really follow anything that one would expect. It grabs with its novelty, and does a remarkable job of keeping the pressure up until finally relenting with Nasty Habits. Only A Lad gives the listener all these crazy sounds to fit its unique identity.
___________________________________________________________________________________

Nothing To Fear Released 1982

Members: Danny Elfman, Steve Bartek, Johnny Vato's Hernandez, Dale Turner, Leon Schneiderman, Sam 'Sluggo' Philips, Richard Gibbs, and Kerry Hatch. 

The second record makes its concerted effort to be a little more mellower, but still have the deft its conveying. Some of the songs tend to drift a little bit, but there is a construction to the motif. Guitar wise its different because it has a lot of punk like riffs, and memorable solos. The brass section is bristly, with a consistent mix of electronic overdubbing, and keyboards. A lot of Nothing To Fear sticks with you.

Like the first record, there is a lot of studio trickery here, especially with the drums because they sound premeditated (programmed). I won't fault that part because its album number two.  Opening with Grey Matter, and closing with Reptiles And Samurai.

Both albums jangle around in my head. When I first heard these records, the notes would rumble about, lay dormant, and then pop out when I'd least expect them. Both these records still have had a profound impact on me as a listener.

___________________________________________________________________________________

Good For Your Soul Released 1983

Members: Danny Elfman, Steve Bartek, Johnny Vato's Hernandez, Dale Turner, Leon Schneiderman, Sam 'Sluggo' Philips, (final record for Richard Gibbs, and Kerry Hatch). 

This record pairs down some of oft crisp zaniness, and moves them into a wiser arena. Its poignant, its sharp, and hangs with a twinge of sweaty sarcasm, while underneath it eliciting an eclectic contradiction.

Lyrically, its mustering a bit of observation. Message or not, the overdubs are even more pronounce, along with more oddity of their instrument compositions. Many of the songs themselves mystified me. The guitar tone lay in on the periphery but bordering on contemporary. Opening with Who Do You Want To Be?, and closing with Little Guns.

But, Good For Your Soul borders on a eclectic feel, yet it tries to break out, but is controlled. Sure its mystical, and transcendent. Though I felt it was genuine, I kept having this underlying feeling it was unsure of its presence. The best analogy I can give Good For Your Soul it is bipolar. 

Don't get me wrong, Good For Your Soul is memorable, but what it is projecting is questionable. I still frequent this record for its use of wit, and disruptive attitude. The cleverness though would see a sizable shift in the membership of the band, as both Richard Gibbs and Kerry Hatch left, along with their leaving I.R.S. records.
___________________________________________________________________________________

So-Lo Released 1984

Members: Danny Elfman, Steve Bartek, Johnny 'Vatos' Hernandez, Dale Turner, Sam 'Sluggo' Philips, Leon Schneiderman,

I've included this record because in my opinion this is a genuine Oingo Boingo record. Their first with MCA, many of the members are present, and though it has a different look,  song wise So-Lo is crafted with monstrous overdubbing. Behind all the wizardry there are new instruments, weaving rhythmic passages, and staccato compositions.

So-Lo sounds sad, introspective, a tad reclusive. Picking out the main idea, there is a lot soul searching, and questioning going on. Underneath the surface though there is heft and emotional sting. It is a personal record on a profound level. I've uncovered truths along with each listen. What sells it though is how memorable, and clever wordplay are. I think So-Lo is powerful because of its brute assessment of being alienated, and never gaining acceptance which is a result of how vicious the music industry is. I don't think it took that much work to get that interpretation. Overall it is an inquisitive, and off the cusp honest record.
___________________________________________________________________________________

Dead Man's Party Released 1985

Members: Danny Elfman, Steve Bartek, Johnny 'Vatos' Hernandez, John Avila, Dale Turner, Leon Schneiderman, Sam 'Sluggo' Philips, Mike Bacich

Dead Man's Party is turbulent, glossy, and embraces everything cliche. It dives in, doing a remarkable great job of being accessible at every level. Opening with Dead Man's Party and finishing with Weird Science. The problem I had with this record was it's blatant hooky happenstance. I will not deny this was their quintessential peak.

That shouldn't really be a deciding factor on whether the average fan cares, but for me, this record is not one my favorites. It bores me because of its obnoxious presentation, and borders upon complete dullsville.

Much of the construction to these songs bottoms out after a few listens. Its catchy sure, but underneath there isn't longevity for repeated listens. This is one record that has the fewest spins in my collection. Both Dead Man's Party, and Weird Science are the go-to songs that many remember,  but I was completely annoyed, and grew very, very, very tired of this record.
___________________________________________________________________________________

Boi-ngo Released 1987

Members: Danny Elfman, Steve Bartek, John Avila, Johnny 'Vatos' Hernandez, Dale Turner, Leon Schneiderman, Sam 'Sluggo' Philips, and Mike Bacich

By this release it was this disjointed, and a contradiction within Oingo Boingo itself.  Opening with Home Again, and closing with Pain. The flow of this record especially, has had a very unsettled tone, it is militant, forceful, and schizophrenic. It kind of undoes what Dead Man's Party did, and knocked it on its ass.

It straddles between mocking the status quo, and then needing to find inner solace. Two completely different viewpoints sharing the same record. Music wise its tight, and doesn't fray too much. My only quibble though is the song order on Boi-ngo. It feels chopped, as the tracks themselves were rearranged which don't fit cohesively.

Though jagged, and sharp witted, the thing I came to understand with this record was undoing what was already done. Boi-ngo tried to recapture time in a bottle, unleash what was left of the zaniness and give true fans something genuine. Though it works because of the honesty, I felt that something else was changing, Oingo Boingo's next iteration Dark At The End Of The Tunnel. Thanks for reading.
B.

Devin Townsend Project - Epicloud - Review

Devin Townsend Project Epicloud - 9/18/2012


Since I've already included Mr. Townsend in my favorites in my top 20 list, it goes without saying, something different is always good, and going against the status quo is evident of growth. My comfort with each of the Devin Townsend Projects is that they lay in expression of concepts, perplexing idioms of the human condition, whist bringing a clear and concise being in the now of acceptance. Records like Deconstruction, Ki, Addicted, and Ghost all have their elements explicitly designed in mind for repeated listens. Epicloud is another layer to the uncovering of Devin's inner journey for us to listen in on.

Epicloud, is a different because it melds two diverging points of view into a singular musical endeavor. I'm not always keen with pop or mellower material, but it goes without saying, sometimes there is 'metal' in non metal areas. Take for instance Time in a Bottle by Jim Croce, a dated song, but it has the most gut wrenching melody, or taking a Neil Diamond song, or maybe even Deerhoof,  it's a wide swath of spectrum's, yet each musician plays across varied areas, because it comes from a pond of the ether (life energy).

Even my music background is eclectic so this just reaffirms what I already like about Devin, doing the same thing isn't a healthy avenue, broach it kindly, but be respectful of the audience your catering towards.

Epicloud after repeated listens strikes a very different chord, and it also manages to inflect a different atmosphere not really known from Devin. I like how Epicloud has this uncouth flauntingly pop overtone, yet this elicits a smile I haven't had after hearing a record in long long time. Part of the magic in what is presented is to forget about what is going on in our personal lives. I felt this was as succinct with his Ziltoid release. A story that is so ridiculous, and impossible, but its fun and I laugh. This is why I enjoy Devin's work. Make it fun, and have fun doing it.

I feel this either unites or divides, and I like to believe it unites the core audience Devin has. Go pick up the damn thing would ya! Thanks for reading

B.

Katatonia - Dead End Kings - Review

Katatonia - Dead End Kings -  (August 27th, 2012)

Its been almost three years since Night Is The New Day was released (09), have Katatonia moved into fresher pastures, and newer places that doesn't meddle in the sameness that Night was?

In this review I feel as if that Katatonia try, but the merit of which they ignite that right element of balance seems to labor in an abject course of extreme indifference.

I want to like what Katatonia does, but underneath I'm having this argument of what direction they want to go. For example another Swedish stalwart Opeth took the reigns of the progressive front and melded that with their death metal schtick, whereas Katatonia started in death metal, morphed into a Cure'ish band, but lately are sitting laboriously in one place trying to figure out new things.

This isn't a bad thing, every band has to evolve their sound. I say this because Dead End Kings feels like retreading on old themes/concepts. Rhythmically there isn't a lot variation, and there is a steadily concerted effort to make it that way. The flow of this record is more subtle, and the cadence is more in the layering of slowness that drifts along throughout the record.

Katatonia adds some symphonic elements, along with a sprinkling of female vocal touches, while I'll lament does give Dead End Kings an interesting perspective, yet for me it falls incredibly flat in its execution.

The distraction for me is in the drumming. The performace gets in the way of the presentation. There is a obvious bluesy feel from prior work, but overall I get no real enjoyment from it.

Two members from the recording session of Night Is The New Day (Fredrik and Mattias Norman) are gone, and thus new blood was needed to bring in new life and direction.

While Dead End Kings tries to give a glint of blues, while infusing some kind pop inflection, the idea still is very formulaic. I think in its nadir the motif should have been more about the new players, and what they could interject into Katatonia's brand, a lost opportunity. I feel this record used almost blatantly most of 2000's output.

It could also be about the facet of our business/musical style of the times. Most of what is already established is tired, and wearing itself in brittle tatters. Each band I think has that 'iconic' message it's portraying, but here with Sweden's more accessible group, it has become more about pop formula rather than eclectic charm I think they have.

Having seen them live, pretty much sealed the eventual deal that I wasn't going to be on board. I keenly believe it is all about presentation. How you sell this to the masses. This would be why the accessible element is needed, as pushing things forward just isn't in their ability at this stage.

I've been keenly aware of their output since 2006. I really do like The Great Cold Distance, and a couple songs off of Last Fair Deal Gone Down. But the depressive element just turns me away, as for the live show it was rather pedestrian. Thanks for reading.

B.