UK born, New York raised(based) DJ/Producer has been involved in the New York music scene since the early 90’s. Version, Ronson’s sophomore effort, immediately follows his Grammy Award winning work(contributions) on Amy Winehouse’s Back to Black. Both albums – unlike his first, Here Comes the Fuzz ¬– had solid, funk-inspired production. Back to Black had a very present Motown-esque, old soul R&B vibe, while Version’s funk is more based in horn arrangements reminiscent of the JB’s or Ray Baretto.
On this album of funktified cover tunes, Ronson puts an urban spin on classics old and new, making the songs relevant for an audience which likely hasn’t heard the original versions. The majority of the songs are British indie rock tunes transformed in to funk and R&B songs. Ronson has been quoted to say that his intention was not so much to make the songs better, but to make them “bounce,” and in large part he succeeds.
Surprisingly, Ronson’s most successful productions on the album are ones in which he strays from the original and injects his own unique flavor. Unfortunately, there are songs in which he reworked the instrumentation, but chose to stick with the original vocalist. These are the songs that are most lacking. Ronson’s cover of the upbeat, “Apply Some Pressure” originally performed by Maximo Park (2005), sounds almost too similar to the original and uses the same lead vocalist, Paul Smith. His cover of Kasabian’s L.S.F. - Lost Souls Forever – (2004), lists Kasabian as the featured guest and though it’s got more “bounce” than the original, seems like an unnecessary, or “too soon” cover tune.
There are some tracks that heavily stray from their originals and nearly outshine them in the process. Australian R&B artist, Daniel Merriweather sings a fresh rendition of the Smtihs’ “Stop Me If You Think that You’ve Heard This One Before”. The original bubble gum pop sound is replaced with a smoother and funkier R&B style version which is equally as memorable as the 80’s classic. Philadelphia born, Brooklyn based vocalist, Santogold sings Pretty Green, originally performed by the 70’s and 80’s rock band, The Jam. Ronson brings a more cohesive, heavier and more danceable energy to the song while maintaining its psych rock influenced feel. Santogold perfectly complements the song with a delivery that is upbeat, fun, and energetic only adding to the song’s unique texture. The biggest risk and furthest leap from the original is landed successfully with Ronson’s take on Britney Spears’ “Toxic”.
Tigger sings, Ol’ Dirty Bastard raps, and the vibe and instrumentation are smooth, funky and flawless. Ronson turns Britney’s fierce, high-energy, 143 BPM killer, into a smoothed out, almost bluesy, 104 BPM slow burner. It makes so much sense it could pass for an original, even to someone who knows the Britney tune.
The song the best captures what Ronson has done with Version is Radiohead’s “Just”, performed by Phantom Planet. This version has all the great elements of the original and more, adding Ronson’s signature funk-laden drum beats and brilliant horn arrangements, which add true bounce to the production and in one track, communicate the motivation behind the entire project – MORE BOUNCE.
Here's the set list with originals included:
Mark Ronson – Version & The Originals
01 Mark Ronson - God Put a Smile Upon Your Face (feat. The Daptone Horns) 3:12
01.original Coldplay - God Put a Smile Upon Your Face 4:57
02 Mark Ronson - Oh My God (feat. Lily Allen) 3:35
02.original Kaiser Chiefs - Oh My God 3:43
03 Mark Ronson - Stop Me (feat. Daniel Merriweather) 3:50
03.original The Smiths - Stop Me If You Think You've Heard This One Before 3:34
04 Mark Ronson - Toxic (feat. Tiggers and Ol' Dirty Bastard) 4:05
04.original Britney Spears - Toxic 3:25
05 Mark Ronson - Valerie (feat. Amy Winehouse) 3:39
05.original The Zutons - Valerie 3:56
06 Mark Ronson - Apply Some Pressure (feat. Paul Smith) 3:36
06.original Maxïmo Park - Apply Some Pressure 3:19
07 Mark Ronson - Inversion 1:47
08 Mark Ronson - Pretty Green (feat. Santo Gold) 3:14
08.original The Jam - Pretty Green 2:39
09 Mark Ronson - Just (feat. Phantom Planet) 5:22
09.original Radiohead - Just 3:54
10 Mark Ronson - Amy (feat. Kenna) 3:32
10.original Ryan Adams - AMY 3:46
11 Mark Ronson - The Only One I Know (feat. Robbie Williams) 3:59
11.original The Charlatans - The Only One I Know 3:58
12 Mark Ronson - Diversion 1:19
13 Mark Ronson - LSF (feat. Kasabian) 3:28
13.original Kasabian - L.S.F. (Lost Souls Forever) 3:22
14 Mark Ronson - Outversion 1:50
Thursday, February 12, 2009
Monday, February 9, 2009
"Voodoo" by D'Angelo (2000)
This album is many things. An ode to classic Soul, Funk and R&B, a technical recording and mixing masterpiece, and basically a textbook that set new precedents for playing in the pocket with that behind-the-beat, laid-back feel. Paying homage to the classics comes through not only in the song writing and performance, but also the way the album was recorded. The recording engineer, Russ Elevado, uses all vintage analog equipment, sort of as his trademark, in this modern digital world. D'Angelo also paired up with ?uestlove of The Roots and producer Jay Dee (though his contributions remain uncredited) to achieve and capture that Roots/Slum Village, basement/cassette sort of hip hop style. The album is great and you'll end up spinning it 3 or 4 times before moving on.
-Joe
-Joe
Saturday, February 7, 2009
G-Eazy: The Tipping Point (Review)
Shady/Aftermath's new prospecT. Next Eminem Maybe???
This raper is the most innovative, swaged out rapper I have ever heard on this new wave hip hop scene; and HE is a WHITE GUY. His album the Tipping Point features 17 original tracks with 5 samples. The sound of this album is definetly innovative and his own. With subject matter such as love, fashion, money, drugs and fame, he articulates these common subjects with his own flow and vocal arrangement. My favorite track from the album is titled “I Be in the Lab” which features a sample from the Cartoon Network TV show Dexter’s Lab. Not only is the beat fire, he is addressing the current state of the hip hop industry by speaking directly to all wanna be artist and letting them know what it really takes to even think about stepping in the game. Fuck Asher Roth, it looks like this guy is going be the next Emeniem!
- Malcolm ConcepT
This raper is the most innovative, swaged out rapper I have ever heard on this new wave hip hop scene; and HE is a WHITE GUY. His album the Tipping Point features 17 original tracks with 5 samples. The sound of this album is definetly innovative and his own. With subject matter such as love, fashion, money, drugs and fame, he articulates these common subjects with his own flow and vocal arrangement. My favorite track from the album is titled “I Be in the Lab” which features a sample from the Cartoon Network TV show Dexter’s Lab. Not only is the beat fire, he is addressing the current state of the hip hop industry by speaking directly to all wanna be artist and letting them know what it really takes to even think about stepping in the game. Fuck Asher Roth, it looks like this guy is going be the next Emeniem!
- Malcolm ConcepT
Thursday, February 5, 2009
Kind of Blue
I wanted everyone to take a minute to remember one of the greatest jazz albums that was released 50 years ago. Kind of Blue featured a group of the best jazz musicians the world has ever known. Led by the great Miles Davis the band also included Cannonball Adderley on alto sax, John Coltrane on tenor, Bill Evans on keys, Paul Chambers on bass, Jimmy Cobb on drums, and Wynton Kelly playing piano on the famous "Freddie Freeloader." Some of the other great tracks off the album include "All Blues," "So What," "Blue in Green," and "Flamenco Sketches." Not that anyone cares but as a tribute to the great album, the AU Big Band will be performing a collection of songs off the album for the Spring 2009 concert. I happen to be taking Jimmy Cobb's position on drums so if anyone is interested look out for our performance at the end of the semester.
Emerson
Emerson
Tettix: Rites
Artist: Tettix
Album: Rites
Who said classical music had to be boring?
A group formerly known as Cicada, who used to specialize mostly in chiptune music, has brought us a new album, called "Rites", with an interesting new twist to classical music.
The entire album remodels Igor Stravinsky's "The Rite of Spring" ("Le Sacre du Printemps"). The original piece itself was revolutionary when it was first premiered in Paris, 1913. It was so mind blowing to the audiences, that it caused shouts and fistfights in the concert hall, eventually degenerating into a full-out riot.
This remodeled version of Rite of Spring is really a blast. Each track is named after movements of the original tune and each track has this electronic drum-and-bass rendition that really grooves. There are lot of effects and loops added that really enhances the dissonances and the poly-rhythms which are widely used in the original piece.
Tettix hasn't really distorted or remodeled too much of the original, like some remixes have done. It really stays true to the original piece in many aspects, making it just that much cooler. It is really worthwhile to listen and compare with the original to compare. Original is easily available online (like through Youtube).
The best thing about this album is that... IT IS FREE FOR DOWNLOAD!!! Most of Tettix's music are available for download on their website.
So check it out... you don't have to spend a penny.
-John Park
Album: Rites
Who said classical music had to be boring?
A group formerly known as Cicada, who used to specialize mostly in chiptune music, has brought us a new album, called "Rites", with an interesting new twist to classical music.
The entire album remodels Igor Stravinsky's "The Rite of Spring" ("Le Sacre du Printemps"). The original piece itself was revolutionary when it was first premiered in Paris, 1913. It was so mind blowing to the audiences, that it caused shouts and fistfights in the concert hall, eventually degenerating into a full-out riot.
This remodeled version of Rite of Spring is really a blast. Each track is named after movements of the original tune and each track has this electronic drum-and-bass rendition that really grooves. There are lot of effects and loops added that really enhances the dissonances and the poly-rhythms which are widely used in the original piece.
Tettix hasn't really distorted or remodeled too much of the original, like some remixes have done. It really stays true to the original piece in many aspects, making it just that much cooler. It is really worthwhile to listen and compare with the original to compare. Original is easily available online (like through Youtube).
The best thing about this album is that... IT IS FREE FOR DOWNLOAD!!! Most of Tettix's music are available for download on their website.
So check it out... you don't have to spend a penny.
-John Park
Review of Blitzen Trapper's "Furr"
Artist: Blitzen Trapper
Album: Furr
Year: 2008
Label: Sub Pop
Grade: B+
Neil Young said in 1979 "Rock and Roll is here to stay". I don't think he knew how right he was. Oregon band, Blitzen Trapper, has been living by the words of the Canadian rock legend since their formation in 2000; relentlessly playing their folksy, bluesy, country-esque rock throughout the underground circuit. Unlike most classic rock revival acts of the past decade (Wolfmother, The Darkness, etc.) Blitzen Trapper decides not to ignore the past 25 years of music, but rather to incorporate influences from bands like Pavement, Silver Jews and Crooked Fingers into their love of vinyl era rock and roll.
There must be something in the water in the state of Oregon, which they share with indie rock god Stephen Malkmus (of Pavement fame) and his Jicks. It is clear that they are drinking from the same well these days. Malkmus' post-Pavement albums and especially his latest, Dragonfly, tends towards a classic rock feel as well. It seems that Oregon has become indie rock's answer to Omaha.
Furr is B.T.'s Sub Pop debut, but it is not a radical departure from their prior album. The band is in what could be the greatest stage of their career, having released a minor hit with their last album, Wild Mountain Nation, and its title track. They have finally found the right formula and now they can focus on tweeking and honing their sound and work towards their masterpiece. Furr is a snapshot of a band on the cusp of their swan song.
Songs like the title track, a song about a boy being raised by wolves, employ Warren Zevon worthy storytelling, admittedly with a little less wit than the late genius, but the influence is there. The clear highlight of the album is "Black River Killer", the peak of their storytelling to date. With it's rambling feel, like a lost track by The Band, it drags the listener along on a journey with a great hook to boot.
Blitzen Trapper is my pick for the next big thing, and we should be hearing a lot more from them very soon. Hopefully they can give that extra bit on their next album and finally paint their masterpiece.
by Ronnie Tracey
Album: Furr
Year: 2008
Label: Sub Pop
Grade: B+
Neil Young said in 1979 "Rock and Roll is here to stay". I don't think he knew how right he was. Oregon band, Blitzen Trapper, has been living by the words of the Canadian rock legend since their formation in 2000; relentlessly playing their folksy, bluesy, country-esque rock throughout the underground circuit. Unlike most classic rock revival acts of the past decade (Wolfmother, The Darkness, etc.) Blitzen Trapper decides not to ignore the past 25 years of music, but rather to incorporate influences from bands like Pavement, Silver Jews and Crooked Fingers into their love of vinyl era rock and roll.
There must be something in the water in the state of Oregon, which they share with indie rock god Stephen Malkmus (of Pavement fame) and his Jicks. It is clear that they are drinking from the same well these days. Malkmus' post-Pavement albums and especially his latest, Dragonfly, tends towards a classic rock feel as well. It seems that Oregon has become indie rock's answer to Omaha.
Furr is B.T.'s Sub Pop debut, but it is not a radical departure from their prior album. The band is in what could be the greatest stage of their career, having released a minor hit with their last album, Wild Mountain Nation, and its title track. They have finally found the right formula and now they can focus on tweeking and honing their sound and work towards their masterpiece. Furr is a snapshot of a band on the cusp of their swan song.
Songs like the title track, a song about a boy being raised by wolves, employ Warren Zevon worthy storytelling, admittedly with a little less wit than the late genius, but the influence is there. The clear highlight of the album is "Black River Killer", the peak of their storytelling to date. With it's rambling feel, like a lost track by The Band, it drags the listener along on a journey with a great hook to boot.
Blitzen Trapper is my pick for the next big thing, and we should be hearing a lot more from them very soon. Hopefully they can give that extra bit on their next album and finally paint their masterpiece.
by Ronnie Tracey
Evolver
Album: Evolver
Artist: John Legend
John Legend’s Evolver is a testament of Legend’s stamina and proves that he is here to stay. Although the subject matter stays true to its genre of Rhythm and Blues, the different compositions that make up the album show Legend’s versatility as an artist and offer something different from his first two albums. The first two songs after the interlude, “Green Light” feat. Andre 3000 and “It’s Over” feat. Kanye West give listeners something to dance to, and gives Legend an opportunity to actually perform rather than play the piano. In fact, a good number of tracks are not piano driven, which may be a good thing. Legend is still a crooner, which is proven by songs like “Good Morning” and “Take Me Away”. They give off a classy vibe, while still being romantic. I like the simplicity of this album and how Legend’s vocals are more at the forefront. This is especially true with the song “I Love, You Love” which is only accompanied by a guitar and drums.
Evolver has a variety of arrangements and songs, while still being cohesive. Legend has produced a strong third album and I have reason to be excited about his future work. Rather than becoming mediocre and peaking after the first album, as some artists have done, John Legend has made sure to work with the right people in order to put out an amazing album.
Jamye Young
Artist: John Legend
John Legend’s Evolver is a testament of Legend’s stamina and proves that he is here to stay. Although the subject matter stays true to its genre of Rhythm and Blues, the different compositions that make up the album show Legend’s versatility as an artist and offer something different from his first two albums. The first two songs after the interlude, “Green Light” feat. Andre 3000 and “It’s Over” feat. Kanye West give listeners something to dance to, and gives Legend an opportunity to actually perform rather than play the piano. In fact, a good number of tracks are not piano driven, which may be a good thing. Legend is still a crooner, which is proven by songs like “Good Morning” and “Take Me Away”. They give off a classy vibe, while still being romantic. I like the simplicity of this album and how Legend’s vocals are more at the forefront. This is especially true with the song “I Love, You Love” which is only accompanied by a guitar and drums.
Evolver has a variety of arrangements and songs, while still being cohesive. Legend has produced a strong third album and I have reason to be excited about his future work. Rather than becoming mediocre and peaking after the first album, as some artists have done, John Legend has made sure to work with the right people in order to put out an amazing album.
Jamye Young
Springsteen's Halftime Performance
Bruce Springsteen is, in the truest sense, a performer and he and the E Street Band did not disappoint those who were looking for just that on Sunday's Superbowl Halftime show. He started the show in a typical Springsteen fashion by telling the whole crowd to get up and get ready for the show, and even calling out those people at home telling them to "put down their chicken fingers and turn their TV's all the way up." He then ripped in to a fan favorite of "Tenth Avenue Freeze Out" and then going straight into his signature "Born to Run." Springsteen and crew next brought out a huge gospel choir for his new title song "Working on a Dream" off of his newly released album "Working on a Dream." and they closed the show with one of his signature hits "Glory Days."
I thought all together this was a great show, being a big Springsteen fan myself, but I thought the second half of the performance could have used some livening up. He came out with two up beat and fun songs, which got everyone really excited and pumped up, but then he slowed things way down with "Working on a Dream" which, don't get me wrong, is a great song, but it was a huge change of pace. If he was going to slow the tempo down and play something a bit more mellow, I thought he should have played the Golden Globe winning "The Wrestler." Then when he went into "Glory Days" he seemed to revive everyone and get their spirits back, but the audience didn't have the flare they had in the beginning of the show. Springsteen also added a little comedy into "Glory Days" by joking he was running into "penalty time". At the end of the song, he poked fun at the age old tradition of going to Disney Land after winning the Superbowl.
All and all, the performance was a success and it lived up to the Superbowl Halftime Standard and has been set by performers such as Tom Petty and the Heartbreakers, The Rolling Stones, and Paul McCartney.
Post by John Geraghty
I thought all together this was a great show, being a big Springsteen fan myself, but I thought the second half of the performance could have used some livening up. He came out with two up beat and fun songs, which got everyone really excited and pumped up, but then he slowed things way down with "Working on a Dream" which, don't get me wrong, is a great song, but it was a huge change of pace. If he was going to slow the tempo down and play something a bit more mellow, I thought he should have played the Golden Globe winning "The Wrestler." Then when he went into "Glory Days" he seemed to revive everyone and get their spirits back, but the audience didn't have the flare they had in the beginning of the show. Springsteen also added a little comedy into "Glory Days" by joking he was running into "penalty time". At the end of the song, he poked fun at the age old tradition of going to Disney Land after winning the Superbowl.
All and all, the performance was a success and it lived up to the Superbowl Halftime Standard and has been set by performers such as Tom Petty and the Heartbreakers, The Rolling Stones, and Paul McCartney.
Post by John Geraghty
Album Review: Wien Modern
Album Review: Wien Modern
“Wien Modern,” (1990) named for the Viennese festival of the same name, is the first of several CDs released by Deutsche Grammophon featuring performances from said festival. This edition features Pierre Boulez’s Notations, György Ligeti’s Atmosphères and Lontano, Luigi Nono’s Liebeslied, and Wolfgang Rihm’s Départ. All of the pieces on “Wien Modern” are performed by the illustrious Vienna Philharmonic (VPO) under the direction of Claudio Abbado (the founder of Wien Modern), with the additional vocal forces of the Vienna Jeunesse-Chor for the Nono and Rihm pieces. The VPO, generally associated with 18th and 19th century Austro-Germanic repertoire, rarely performs such thoroughly modern works as it does here, yet the musicians do not sound at all out of their element. Though recorded away from their normal home in the Musikverein, the orchestra sounds no less spectacular in the Wiener Konzerthaus, where there is enough “air” in the recordings to give a real sense of depth (especially important in the Ligeti pieces) while sacrificing none of the finer details of the scoring.
Notations by arch modernist Pierre Boulez is an orchestrated version of an earlier set of piano pieces, of which four are included here. In his later works Boulez developed a smoother, restrained style characterized by an almost palpable textural sheen, but what we have here is a product of a brasher young Boulez: rhythmically propulsive, aggressive and relentless, with shrieking winds and brass stabs reminiscent of the most abrasive passages in Schoenberg’s Five Orchestral Pieces. While no one would call Notations “beautiful” in the traditional sense, its frantic energy communicates an excitement that might make it more accessible to casual listeners than its otherwise dense language would suggest.
Both Ligeti pieces are completely different in character from the Boulez pieces. Ligeti specializes in lengthy passages of gradual sonic morphing that sound remarkably like the work of a sound designer in a studio – except of course played by almost a hundred musicians, and this is the Ligeti we hear on both of these pieces. Atmosphères has become something of a modern classic, featuring one of the most viscerally gripping contrabass passages I can think of (essentially using just repeated bass sustain notes of various dynamics and length to create a seething, engine-room-like texture). Today the nebulous tone clusters and ethereal orchestration may inadvertently make us think of horror movie soundtracks, for good reasons: Lontano was used in Stanley Kubrick’s The Shining, and Atmosphères in 2001: A Space Odyssey.
The Rihm and Nono pieces I unfortunately have a much harder time warming up to. Perhaps it has to do with the sparser pointillist textures employed, or the Pierrot Lunaire-esque (a Schoenberg piece I doubt I will ever like) vocal parts that sound part song, part poetry reading. The Boulez and Ligeti pieces sound like difficult but ultimately rewarding pieces of 20th century music because there is at least a semblance of organization and a hierarchy of musical ideas. The Rihm and Nono pieces sound just a little too deliberately random for my tastes. I know that new works often require several listenings to be properly digested, but my experience with hearing the Ligeti and Boulez pieces for the first time was that I didn’t necessarily understand what I was hearing, but I liked what I heard and wanted to hear it again. I can’t say I feel compelled to listen to the other two works again and again in the hope I will eventually have an “ah-ha!” moment of understanding. I don’t think either the Vienna Philharmonic or Abbado is at fault here – it is just a particular brand of 20th century music which I have always had a hard time stomaching.
For those curious about 20th century classical music I would still recommend the CD for the Ligeti and Boulez pieces, and perhaps you will find more to the Rihm and Nono pieces than I did.
- Alex Temple
“Wien Modern,” (1990) named for the Viennese festival of the same name, is the first of several CDs released by Deutsche Grammophon featuring performances from said festival. This edition features Pierre Boulez’s Notations, György Ligeti’s Atmosphères and Lontano, Luigi Nono’s Liebeslied, and Wolfgang Rihm’s Départ. All of the pieces on “Wien Modern” are performed by the illustrious Vienna Philharmonic (VPO) under the direction of Claudio Abbado (the founder of Wien Modern), with the additional vocal forces of the Vienna Jeunesse-Chor for the Nono and Rihm pieces. The VPO, generally associated with 18th and 19th century Austro-Germanic repertoire, rarely performs such thoroughly modern works as it does here, yet the musicians do not sound at all out of their element. Though recorded away from their normal home in the Musikverein, the orchestra sounds no less spectacular in the Wiener Konzerthaus, where there is enough “air” in the recordings to give a real sense of depth (especially important in the Ligeti pieces) while sacrificing none of the finer details of the scoring.
Notations by arch modernist Pierre Boulez is an orchestrated version of an earlier set of piano pieces, of which four are included here. In his later works Boulez developed a smoother, restrained style characterized by an almost palpable textural sheen, but what we have here is a product of a brasher young Boulez: rhythmically propulsive, aggressive and relentless, with shrieking winds and brass stabs reminiscent of the most abrasive passages in Schoenberg’s Five Orchestral Pieces. While no one would call Notations “beautiful” in the traditional sense, its frantic energy communicates an excitement that might make it more accessible to casual listeners than its otherwise dense language would suggest.
Both Ligeti pieces are completely different in character from the Boulez pieces. Ligeti specializes in lengthy passages of gradual sonic morphing that sound remarkably like the work of a sound designer in a studio – except of course played by almost a hundred musicians, and this is the Ligeti we hear on both of these pieces. Atmosphères has become something of a modern classic, featuring one of the most viscerally gripping contrabass passages I can think of (essentially using just repeated bass sustain notes of various dynamics and length to create a seething, engine-room-like texture). Today the nebulous tone clusters and ethereal orchestration may inadvertently make us think of horror movie soundtracks, for good reasons: Lontano was used in Stanley Kubrick’s The Shining, and Atmosphères in 2001: A Space Odyssey.
The Rihm and Nono pieces I unfortunately have a much harder time warming up to. Perhaps it has to do with the sparser pointillist textures employed, or the Pierrot Lunaire-esque (a Schoenberg piece I doubt I will ever like) vocal parts that sound part song, part poetry reading. The Boulez and Ligeti pieces sound like difficult but ultimately rewarding pieces of 20th century music because there is at least a semblance of organization and a hierarchy of musical ideas. The Rihm and Nono pieces sound just a little too deliberately random for my tastes. I know that new works often require several listenings to be properly digested, but my experience with hearing the Ligeti and Boulez pieces for the first time was that I didn’t necessarily understand what I was hearing, but I liked what I heard and wanted to hear it again. I can’t say I feel compelled to listen to the other two works again and again in the hope I will eventually have an “ah-ha!” moment of understanding. I don’t think either the Vienna Philharmonic or Abbado is at fault here – it is just a particular brand of 20th century music which I have always had a hard time stomaching.
For those curious about 20th century classical music I would still recommend the CD for the Ligeti and Boulez pieces, and perhaps you will find more to the Rihm and Nono pieces than I did.
- Alex Temple
The Roots Of Chicha: Psychedelic Cumbias From Peru
The Roots Of Chicha: Psychedelic Cumbias From Peru
Various Artists
Barbes Records 2007
YES. It is not a typo, psychedelic cumbias from Peru. Okay, so you're scratching your head thinking what have I gotten myself into? So this is the part where I give you a little bit of a background before your head explodes.
Chicha refers to a fermented drink usually made from corn that has been known to the Andean region of South America for nearly a thousand years, but it is also known as a "brand" of Peruvian pop music that originated there in the 60's. As different countries around the world were beginning to emulate the British invasion and American psychedelia; a similar occurrence in Peru happened when the Shipibo Indians of the Amazon began taking up western instruments such as Moog synthesizers and wah wha pedals and began fusing the styles of surf guitar, the syncopated rhythms of the Colombian cumbia along with traditional Andean folk melodies. As Chicha spread throughout Peru and other parts of South America it began to reach urban areas where much like the Colombian cumbia was frowned upon by the upper and oftentimes middle classes. Unlike other types of music of the time Chicha never became part of an intellectual movement, it was never accepted by the Peruvian middle class, the critics never wrote about it, and never had any kind of international spotlight, until now. So when Oliver Conan, owner of Barbes Records went to Peru on a recent trip and discovered the music; he found that the record labels responsible for producing this music decades ago had gone bankrupt, and decided to put together this compilation comprising of six Chicha combos it can almost be considered a mere accident. Albeit, a very good one.
Mark Fritts
Various Artists
Barbes Records 2007
YES. It is not a typo, psychedelic cumbias from Peru. Okay, so you're scratching your head thinking what have I gotten myself into? So this is the part where I give you a little bit of a background before your head explodes.
Chicha refers to a fermented drink usually made from corn that has been known to the Andean region of South America for nearly a thousand years, but it is also known as a "brand" of Peruvian pop music that originated there in the 60's. As different countries around the world were beginning to emulate the British invasion and American psychedelia; a similar occurrence in Peru happened when the Shipibo Indians of the Amazon began taking up western instruments such as Moog synthesizers and wah wha pedals and began fusing the styles of surf guitar, the syncopated rhythms of the Colombian cumbia along with traditional Andean folk melodies. As Chicha spread throughout Peru and other parts of South America it began to reach urban areas where much like the Colombian cumbia was frowned upon by the upper and oftentimes middle classes. Unlike other types of music of the time Chicha never became part of an intellectual movement, it was never accepted by the Peruvian middle class, the critics never wrote about it, and never had any kind of international spotlight, until now. So when Oliver Conan, owner of Barbes Records went to Peru on a recent trip and discovered the music; he found that the record labels responsible for producing this music decades ago had gone bankrupt, and decided to put together this compilation comprising of six Chicha combos it can almost be considered a mere accident. Albeit, a very good one.
Mark Fritts
But you don't really care for music do you...
Album: Hallelujah - Live
Artists: Askil Holm, Kurt Nilsen, Alejandro Fuentes, Espen Lind
Four Norwegian vocalists and songwriters team up as "The New Guitar Buddies" in this 2006 album release. Playing in front of live audiences, the buddies typically bear it all onstage, using only acoustic guitars and their raw voices. The four Norwegians are the "Idols" of their country, with Kurt Nilsen being named the "World Idol" back in 2004, beating out "American Idol"'s 2002 winner Kelly Clarkson, who took second. Each of the four singers has their own distinct voice that separates them from each other and the world. For example, the voice of Alejandro Fuentes, only 21 years old, can be describes as somewhat scratchy but clear, somewhat comparable to the characteristics which color an old 12-inch gramophone record.
The stand-out song of the album is definitely the Norwegian singers' rendition of Leonard Cohen's "Hallelujah". The song features the four singers alternating verses and collaborating for a beautiful and haunting four-way harmonization of the chorus, which resounds hallelujah in repetition.
This album is for you if you appreciate outstanding vocalists who want to share their voices with the world.
-Jon Casalaina
Artists: Askil Holm, Kurt Nilsen, Alejandro Fuentes, Espen Lind
Four Norwegian vocalists and songwriters team up as "The New Guitar Buddies" in this 2006 album release. Playing in front of live audiences, the buddies typically bear it all onstage, using only acoustic guitars and their raw voices. The four Norwegians are the "Idols" of their country, with Kurt Nilsen being named the "World Idol" back in 2004, beating out "American Idol"'s 2002 winner Kelly Clarkson, who took second. Each of the four singers has their own distinct voice that separates them from each other and the world. For example, the voice of Alejandro Fuentes, only 21 years old, can be describes as somewhat scratchy but clear, somewhat comparable to the characteristics which color an old 12-inch gramophone record.
The stand-out song of the album is definitely the Norwegian singers' rendition of Leonard Cohen's "Hallelujah". The song features the four singers alternating verses and collaborating for a beautiful and haunting four-way harmonization of the chorus, which resounds hallelujah in repetition.
This album is for you if you appreciate outstanding vocalists who want to share their voices with the world.
-Jon Casalaina
CD Review from Alex
Artist: This Ending Album: Inside the Machine
Label: Metal Blade Records Jan 23, 2007
Inside the Machine is an instant classic in the Gottenburg technical death metal scene from the emerging band This Ending. It’s a perfect album for a horror film with a serial killer who you are rooting for to succeed in causing chaos and destruction in an unjust yet placated society. With careful precision, the dual guitars, drums, bass, and vocals bring about an apt description of the Armageddon and the entities involved. With a minimum of effects and studio tricks, this album pays tribute to the traditional instruments of heavy metal with the tenacity and brutal training of an experienced assassin.
The title track Inside the Machine is something you should listen to when running for your life across a wasteland from a host of bloodthirsty raiders riding massive motorcycles studded with guns and the decapitated heads of previous victims. Or it could be the theme song for the race of Terminators in the Terminator films, but only if robots could gather some emotion from their savage execution of humanity. The album concludes with the Artist’s self-titled track in absolute silence, and I cant count the number of times I’ve expected the next track to start only to find the epic silence of space staring at me from the speakers.
Musically, it is a death metal album: harmony and melody from the guitar, drums providing machine like rhythm reminiscent of a clock counting down to the apocalypse. Vocals are relatively simple, but fucking brutal, and bass fills in the space between the two contrasting guitars and provide rhythm to complement the drums. Of course, there is a lot more involved, but to summarize, the choruses are very catchy and have some excellent riffage and epic drum parts, the speed of the album gets your blood pumping, and it ends on a dark and gloriously depressing note that makes you realize how futile trying to oppose mankind’s doom is. At least those are my initial thoughts. It’s a great album and I expect a lot more great material from this band. Now, if only the singer would pick up a guitar, so I don’t feel like I could take his place and provide better vocals…
Track Listing:
1. Seed of Destruction
2. Inside The Machine
3. Pitch Black
4. Plague Angel
5. Lidless Eye
6. Armageddon
7. Nailed Down
8. Let the World Burn
9. Into Pain
10. This Ending
Label: Metal Blade Records Jan 23, 2007
Inside the Machine is an instant classic in the Gottenburg technical death metal scene from the emerging band This Ending. It’s a perfect album for a horror film with a serial killer who you are rooting for to succeed in causing chaos and destruction in an unjust yet placated society. With careful precision, the dual guitars, drums, bass, and vocals bring about an apt description of the Armageddon and the entities involved. With a minimum of effects and studio tricks, this album pays tribute to the traditional instruments of heavy metal with the tenacity and brutal training of an experienced assassin.
The title track Inside the Machine is something you should listen to when running for your life across a wasteland from a host of bloodthirsty raiders riding massive motorcycles studded with guns and the decapitated heads of previous victims. Or it could be the theme song for the race of Terminators in the Terminator films, but only if robots could gather some emotion from their savage execution of humanity. The album concludes with the Artist’s self-titled track in absolute silence, and I cant count the number of times I’ve expected the next track to start only to find the epic silence of space staring at me from the speakers.
Musically, it is a death metal album: harmony and melody from the guitar, drums providing machine like rhythm reminiscent of a clock counting down to the apocalypse. Vocals are relatively simple, but fucking brutal, and bass fills in the space between the two contrasting guitars and provide rhythm to complement the drums. Of course, there is a lot more involved, but to summarize, the choruses are very catchy and have some excellent riffage and epic drum parts, the speed of the album gets your blood pumping, and it ends on a dark and gloriously depressing note that makes you realize how futile trying to oppose mankind’s doom is. At least those are my initial thoughts. It’s a great album and I expect a lot more great material from this band. Now, if only the singer would pick up a guitar, so I don’t feel like I could take his place and provide better vocals…
Track Listing:
1. Seed of Destruction
2. Inside The Machine
3. Pitch Black
4. Plague Angel
5. Lidless Eye
6. Armageddon
7. Nailed Down
8. Let the World Burn
9. Into Pain
10. This Ending
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