(EchO) – Devoid of Illusions review for Alternative Matter

http://alternativematter.net/reviews/echo-devoid-of-illusions

“Devoid of Illusions” has that quality that is rarely found in an album that is attempting to fuse together elements of doom, atmospheric space rock, “progressive” rock and “post rock” and pure metal, in that it is successful and does the Italian band (EchO) proud. After the initial tantalizing introduction, the album faces these disparate genre elements and makes full use of them on “Summoning the Crimson Soul”, in equal part sensitive atmosphere and brutal snarling vocal, which on paper appears to contradict, but in practice makes for some genuinely exciting pieces. “The Coldest Land” again for the most part, ebbs and flows with the ambience of a desolate interplanetary landscape with soaring guitar lines and pulverising riffs breaking through the horizon, but at no point would the listener feel uncomfortable with the experience.

The use of the dual vocal style may be problematic to a few listeners as growling vocal passages are woven in with clean, conventional lines, but this can only add to the texture that these longer pieces are allowed to create. “Once Was a Man” is probably the one track on the album which gives the listener some stability and respite, and is, for the most part, six minutes of delicate whispered, other worldly vocal without the sense of impending hazard. A perfect example of how (EchO) have successfully fused psychedelic ingredients into the mix can be found on “Omnivoid” which utilises repetitive motifs and changes in direction and mood with ease and confidence. A standout track in particular is “Internal Morphosis” which steadily builds over its nine minute duration with true menace and anxiety, to eventually fall over the precipice into a maelstrom of powerful symphonic riffs and majestic vocal lines. Always a sense that, whilst the song is playing, imminent dreadfulness approaches.

The production throughout “Devoid of Illusions”, by guest vocalist Greg Chandler, is fresh and defined, and helps the listener through some of the more densely layered pieces. Mention should also be made of the albums artwork which, again, has that rare quality in perfectly capturing the atmosphere on “Devoid of Illusions”, part darkly malevolent and part enigmatic and unfathomable. There is authentic excitement in these tracks which lifts them above more pedestrian albums in this arena, and may be held up as an example of how it is possible to release truly original material without the confines of genre compartments. 

Oceans of Night - Domain review for Alternative Matter magazine

http://alternativematter.net/reviews/oceans-of-night-domain

“Domain” is the latest offering from two man project Oceans of Night featuring Scott Mosher on instrumentation (guitars, bass and keyboards), Scott Olivia on vocals and featuring Alan Smithee on drums. From the opening title track “Domain”, an ambitious seventeen and a half minute opus of keyboard led mystery, the listener is taken on a journey which, on first listen can appear sterile and clinical in delivery, but on further inspection reveals depths of musical atmosphere that reward the attention. The guitar melodies throughout the track never impose but are never merely there to add erroneous filler; instead they add a luxuriant landscape to the material which is a rare feat in music of this sophistication and intellect. When the guitar solo breaks through and the energy levels are taken up a gear, the track is fifteen minutes underway, but patience has been rewarded.

 Subsequent tracks such as “Don’t Look to Me” and “Seven Days of Rain” although similarly infused with symphonic keyboard passages and uplifting guitar lines, do not have the space to expand and therefore feel somehow crowded with instrumentation. This is not to say that the material is cumbersome because of it, but there is a lot of activity in these shorter tracks. “So Near Yet So Far” takes on a more grandiose approach and is a pleasure for the listener who enjoys being carried along on waves of expansive keyboard and guitar lines. The album continues in a similar vein throughout several more pieces until the listener is bombarded with “Instruments of Fear” which takes the instrumentation up a gear again and bombards the listener who is unprepared with unyielding guitar and bass that leaves the waves of keyboard ambience behind and is a genuine thrilling interlude to the album in general. “The Future Remembered” has a ghostly feel generally and is somewhat reminiscent of the soundtrack to a mid budget science fiction film until the vocals return us back to more recognizable territory. The album closes with another familiarly sounding “Ghosts of the Past”, which, despite the subtle change in vocal style, brings back the symphonic keyboard and guitar quality.

Overall, it has to be said that “Domain” showcases individuals who are well crafted songwriters and arrangers, who, when given the space to exhibit their craft, do so admirably. For listeners who are energized by multiple layers of precision sound, this album will truly be an indulgence.

Interview with LeeSun for This Is Not a Scene magazine

http://www.thisisnotascene.com/2011/leesun-talks-to-thisisnotascene/

1. As I said in my review, the mix of the album allows your vocals to come across as being very intimate, who do you think have been your major influences in your singing style?

Suzanne Vega was the first singer I heard who made me think, "I love what she's doing. I would love to do that." When I started listening to pop music, I was mainly drawn to music that was "pretty" sounding and calming. It was probably an escape of sorts. I felt a lot of angst back then. Simon & Garfunkel, Leonard Cohen, and Anita O'Day were also big influences.

2. Many of the songs appear to be infused with a deep spirituality, is this significant to you as a singer/songwriter?

Yes, definitely! As far back as I can remember, faith and spirituality have been profoundly important to me as a person. I have memories of being 3 or 4 years old and conversing with God. That probably sounds a bit crazy, and makes me seem much weirder than I am! I'm not actually very weird at all ... I think.

3. There is genuinely no gimmick to entice the potential listener to the album, and the songs themselves display a great deal of honesty and integrity. Do you feel that is important to your craft?

Thanks John, that is such a huge compliment, and it means so much to me! I write for a lot of reasons, like self-expression, self-discovery, and connecting with other people. I sometimes worry about the first two reasons. I wonder if what I do is just another form of self indulgence, and wonder if I should be more concerned with the third reason. But I've always thought that if I just do what I do as best as I can, and not concern myself with enticing people to my music, then sooner or later, something I write will connect with some people, somewhere. And that makes it all worthwhile!

I emailed Ahava's Song to Jane Siberry and she told me that I needed to work on being more honest with my singing, and move past a certain "little girlishness" that she thought I was using to hide behind. I was surprised by that, and I still wonder what it is that she heard, and if it's something I can or should work on. Maybe some day I'll understand what she meant, but for now I have no idea!

4. “The Humming Song” is an absolute favourite of mine from the album; can you tell us a little bit more of what that song is about?

One summer when I was a music student, I was living in a shared house. It was evening. All my housemates were out. So I sat down at the piano and tried to work out a chord progression that had been running through my head. I did eventually work it out, and realised it was a Beatles song. So that was a bit disappointing, especially since it was a really nice progression. But a bit like peeling away layers, once that progression was out of my head, another tune started running through my head. So I sat there trying to make out the words and the tune, and I wrote down what I heard, one bit at a time. And when the tune ended that was the Humming Tune. The words didn't make complete sense to me, and there was a lot of mixed up imagery in it which bothered me a bit. I usually like my lyrics to be tidy.

Anyway, to answer your question, the song is about examining your life to see if you're doing what really matters to you, and if the things that matter to you are really things that will fulfil you, long-term. I probably wrote that song out of a need to challenge people. I love doing that! But sneakily. I like to give people scary challenges without scaring them too much. You know, in an empowering sort of way.

5. There are so many styles of music integrated into your songs, and that is partly what gives them their appeal. Who, if anyone, do you feel is your target audience?

Most of the songs on Prime were written when I was in my early twenties. When I wrote the tunes I just assumed my target audience would be similar to me. But I'm still singing those songs and I'm in my thirties now. I still think that my target audience is probably made up of people who are quite similar to me, but perhaps that has more to do with the way people think and experiences they're going through, than their age?

6. Of all the new musical talent that is around at the moment, do you have any personal recommendations?

Yes, so many! Too many to list here, so I'll just say a few. I adore Laura J Martin, who kindly added a flute part to "There's a Strangeness in Me" on my album. She is absolutely riveting, live. I also love Hannah-Rei who's working on an album now. I think it's going to be a beautiful album. And Steph Stephenson has such a sweet singing voice and writes almost painfully honestly. I always look forward to hearing her releases on Youtube. And in a completely different vein, there's "Jack Is ..." creating some really exciting music. They're three sixteen year old Leeds students. The Forlorn Hope with Anna Elias (formerly of Bodixa) is very beautiful. Captain Wilberforce is lovely music to kick back to. Kodo and Seamless are producers I've worked with, and I love what they do as well. And that's just to name a few! And must also give a shout out to Emma Shaheen, Icon Tunes, Strawberry Vale, Hoshal Patrick, Love of the Brave, Natasha Williams, and Richard Lamb. And if Benny Smith who did all the photos for my album puts out an album, I'd definitely buy it and recommend it! And last but not least, would definitely recommend that anyone who hasn't seen Jon Gomm live, go see him. He's not really a "new" artist, but he doesn't have as wide an audience as he deserves, though it's ever growing.

There's so much truly exciting and talented new musical talent around at the moment, and I think it's so important for people to find artists who really excite and inspire them, and to support them by telling others about them or buying their music or even just dropping them a line from time to time or commenting on their youtube channels. I've been trying to get my music out for a long time, and it can be a very hard slog indeed.

7. Your Blog “What Would LeeSun Do” makes me smile, what gave you the idea to come up with that?

It's an allusion to the Christian motto "What Would Jesus Do". I partly wanted to provoke people one of my favourite pastimes and I needed an apt description for the blog which is supposed to be a free space for people to ask me anything they like. I confess I've let the blog lapse as there were so few visitors. But I'll look into posting on it again in the new year, since you've enjoyed it! That's encouraging to hear.

8. As an artist trying to get people to listen to your music, how important do you think social networking sites such as Twitter and Facebook are?

That's a good question. To be honest, I don't really know! I've got both a Twitter which I don't use much yet and a Facebook for my music, mainly because I know a lot of people use those sites, and I'd like to be findable if anyone wants to find me. But people have to hear about me from somewhere else, in order to look for me on those sites! So I need to work on that, for example, by gigging more or trying to get more radio play or posting more things on Youtube.

I think all of the sites can potentially play an important role in getting one's music out, so it's good to try to at least have a presence on all of them. And ultimately, to grow a reliable fanbase, one has to work towards building a mailing list, and sending out exciting updates from time to time. I think that's the most important role of the social networking sites: providing an point of entry for people who will eventually sign up to your mailing list.

9. Do you have any new projects in the pipeline?

Yes! I'm working on a stripped down acoustic album with all new songs. Each song will be arranged for just piano and vocals, or guitar and vocals. I have a background in classical piano, and I'd really like to put it to use by writing more beautiful and distinctive piano arrangements for my songs.

10. Finally, would you still be interested in pursuing a career in psychotherapy?

Definitely! It would take 6 years to get qualified, studying part-time, and I'm seriously thinking about applying for 2012.

Thanks John for this interview. It's truly been a pleasure!

Skin Like Iron/Nails Split 7" EP review for Alternative Matter

http://alternativematter.net/reviews/skin-like-ironnails-split-ep

An absolute treat for the devotee of melodic yet satisfyingly aggressive hardcore, this 7” split EP between California’s Nails and San Francisco’s Skin Like Iron delivers both over its’ four tracks. Of the two bands, Nails appear to be evidently the more devastating in their approach, and their two tracks “Annihilation” and “Cry Wolf” leave the listener overwhelmed following the landslide of violence. Nails already have one full length release under their belt on Southern Lord and are apparently working on a follow up in the first part of 2012. None the less effective, but adopting a more sedate verse/chorus approach, the two offerings from Skin Like Iron, are built up from multiple temp changes and layers of song structure that do not assault the listener in the same way as their colleagues. Skin Like Iron have a number of releases to investigate on React and Six Feet Under records. The EP itself, it seems, is limited to 1000 vinyl pressings only, and should be sought out by anyone interested in where hardcore music could be careering into in 2012. The two bands come at the EP from different angles but together achieve an ear blistering whole.

Septic Mind – The True Call review for Alternative Matter

http://alternativematter.net/reviews/septic-mind-the-true-call

This is the second album from Russian based Septic Mind, and from the opening swathes of isolation and despair the listener appreciates what is in store for the duration. Consisting of three long tracks “The True Call”, “Doomed to Sin” and “Planet is Sick” each, in their own way, develop throughout the duration at a dinosaur pace. “The True Call” begins in a desolate landscape, encased in fog and awaiting the arrival of the vocal. When the vocal arrives it is in the low, bleak growl that is familiar to most devotees of this style of playing. Around 10 minutes into the track the mood is lifted slightly as further instrumentation add new levels to the landscape, guitars weave in and out of the smoke and voices from above add to the tone.  Eventually the elements that have been hinted at so far coalesce and round the piece off with an unwieldy riff and an austere spirit. “Doomed to Sin” begins altogether more optimistically, but has the familiar tone lurking in the background, and gradually over the next 10 minutes decelerates into tectonic plates of sound grating against each other as guitars cry mournfully in the expanse. The shortest track “Planet is Sick” at 14 minutes is by some way the more complex of the three pieces and draws the listener in with its’ contemplative guitar motif and the sinister progression throughout. This track, more than the others, has the advantage of being the most easily accessible and has a more uplifting feel, if that word could be applied to music of this nature. By the culmination the listener has been trampled down, and is left feeling both exhilarated and overwhelmed with passion.

Overall “The True Call” leaves the willing observer feeling melancholic and hungry for more which takes skill and courage to attempt and pull off effectively. The length of the tracks that make up the album permit them time to expand organically, and there is an essence throughout that each piece is emerging as we listen. Amongst the many albums that are attempting to inspire doom and despondency, Septic Mind have managed to do so with “The True Call”, and to also  inspire the listener to take notice of what is on offer and not to dismiss as mere soundtrack.

Top 15 albums of 2011

In no particular order:

Battles – Gloss Drop

Hollie Cook – Hollie Cook

Matt Stevens – Relic

Steve Wilson - Grace for Drowning

Keith Jarrett – Rio

Decapitated – Carnival is Forever

Johann Johannsson – The Miners’ Hymns

Ju Ju – In Trance

Splashgirl – Pressure

The Unthanks – Last

Primus – Green Naugahyde

Matt Berry – Witchazel

Penguin Cafe – A Matter of Life

Opeth – Heritage

Mike Patton – The Solitude of Prime Numbers

Occupy Leeds and #occupycarols

On 20^th December 2011 Occupy Leeds held an event in Leeds City Square that helped win the support of many passing by and those with their eye on the global “Occupy” campaign. Along with members of the Red Ladder Theatre Company, members of the band Chumbawamba and comedian, DJ and author Phill Jupitus, supporters of the campaign met and performed a Christmas carol service with a difference outside the camp itself on City Square. As George McKay explains, “one way in which cultures of resistance define themselves against the culture of the majority is through the construction of their own zones, their own spaces.” [i] To the observer on this particular occasion, the space on City Square was, indeed, theirs.

The “Occupy” campaign, which is not only represented in Leeds but has affiliates around the world, exists to facilitate local discussion around issues of freedom of information, an end to global conflict in the quest for oil and a return to the appreciation of the earth in all its natural beauty. Occupy Leeds as a group themselves feel that the current political system is undemocratic and unjust and that an economy based on the exploitation of natural resources is unsustainable. In fairness the group are not professing to have a simple answer, but are passionate about facilitating discussion with a view to change. They themselves admit that they are not affiliated to any political party and are made up of “every day people from different backgrounds with similar concerns, values”.

The Red Ladder Theatre Company began life in London in 1968, and in its own words are rooted in the radical socialist theatre movement “agitprop”, which, also informed by feminist theatre, has helped to shape its identity today. The company moved to Leeds in the 1970’s and has gradually changed its structure from that of a cooperative to one that is hierarchical and now targets work for youth audiences.

The carol concert itself comprised many well known, traditional carols that were given a twist pertinent to the movement it was supporting and promoting.

 Sung to the tune of Jingle Bells

Jingle bills. Jingle coins.

Jingle all the way.

Oh, what fun it is to shop,

while freedom slips away.

Oh,

Jingle bills. Jingle coins.

Jingle all the way.

Oh, what fun it is to shop,

While justice is delayed.

Dashing through the mall

With credit cards in play

Into debt we go

Laughing all the way

Bells on cashbox rings

Making spirits bright

What fun it is to shop for bling

While we lose all our rights.

Oh...

Jingle Bells, Stock Exchange smells

They took our jobs away!

Profits first while people thirst

For justice every day!

Oh

Jingle Bells, fill the cells

Of prisons with the rich!

Who practice greed while those in need

Get told that life's a bitch!

Sung to the tune of “Away in a Manger”

By Fern Capella

Away In Our Hearts

Away in our hearts

lives a place we all know

where children are cherished

and healthy things grow

where everyone’s equal

and all have a home

a place full of love, grace, compassion and hope.

A new day is coming for the Earth that we love

that old way is dying and shrivelling up

the world that we make now is up to all of us

let’s let every day be the day of the dove.

Peace is our vision and love is in our hearts

we don’t know what will happen but we know this is the start

our children deserve laughter, imagination and art

Take my hand in this new world

and let’s all do our part.

... and for a rousing finale...

Sung to the tune of 12 Days of Christmas

12 Days of Tax Avoidance by Anti-cuts Leeds

On the first day of Christmas,

Corporate tax could buy

One million hospital beds

On the second day of Christmas,

Corporate tax could buy

Two thousand fire engines,

On the third day of Christmas,

Corporate tax could buy

Thirty thousand degrees

On the fourth day of Christmas,

Corporate tax could buy

Four thousand playgrounds

On the fifth day of Christmas,

Corporate tax could buy

Five thousand homes

On the sixth day of Christmas,

Corporate tax could buy

Six thousand head teachers

On the seventh day of Christmas,

Corporate tax could buy

Seven pints of beer each

On the eighth day of Christmas,

Corporate tax could buy

Eight ‘Children in Needs’

On the ninth day of Christmas,

Corporate tax could buy

Nine sports centres

On the tenth day of Christmas,

Corporate tax could buy

Ten thousand libraries

On the eleventh day of Christmas,

Corporate tax could buy

Eleven thousand jobs

On the twelfth day of Christmas,

Corporate tax could buy

Twelve thousand nurses

---

[i] McKay, G (1996)  Senseless Acts of Beauty , London, Verso.