There are certain expectations that come from an album titled Death to God, and deVries defies them all. The illusion provoked by such a title might be ominous, distrustful, and vicious. Instead, Death to God is touching, imaginative, and esoteric.
Though there is a dark cloud above each track, the moments of light that break through the shady spots are the highlights of the listening experience. “Darkest Summer” jump-starts the album, with a peppy, yet dismal melody that tugs you in two directions, feeling like Continue reading “Record Review: deVries ‘Death To God’” »
Subanez is a band that is not actually a band at all. Though you’ll find acoustic and electric guitar, drums, percussion, bass, and keyboard within the songs, these instruments, as well as the vocals are commanded by one single band member, Kevin Auger. You wouldn’t know it, unless you were told. Subanez present a sound with stark similarities to System of a Down or Tool, combining interesting, heavy guitar riffs through alternating melodies and dissonant chord progressions.
Full of imagery and substance, the lyrics don’t shy away from dark and deep topics related to sin and life. Continue reading “Record Review: Subanez ‘Resemblance (Single)’” »
A symphony of rhythm and rock would be the best way to describe The YageLetters. The instrumental post-rock band composes using multitudinous layers, giving the listener a reason to set each song on repeat. With three guitarists creating loud melody and rhythm, bass, and fierce drumming, The YageLetters create a heavy progressive rock sound interspersed with moments of ambience and dreamy tones. The band could be likened to Continue reading “Record Review: The Yageletters ‘Incoming Yage EP’” »
The unconventional sound of The Doctors Fox can be likened to a schizophrenic with a multiple personality disorder. There are times when the music is layered superbly and flawlessly transitions from one genre into another. At other times, the nasty side presents itself with annoying vocal fluctuations and lyrics that leave much to be desired. But, it is at all times beautifully strange in its delivery.
“Ode to Sun” is a great track featuring a gorgeous blend of middle-eastern folk-influenced melody with clapping rhythms and a captivating bass line. The song switches between Continue reading “Record Review: The Doctors Fox ‘Plural Non-Possessive’” »
Giving the Table a Name is a one-man show, powered by Jeff Allyn Szwast, who takes on the complete instrumentation and vocals on the tracks of his latest release, Pillbug. Musically, Szwast creates palatable compositions that lean toward shoegaze and experimental. While listening, it’s not hard to discern the possible musical influences at work. Some tracks are reminiscent of Portishead, Pete Yorn, or Garbage. Other songs bring REM to mind or dare I say, Radiohead.
The ease with which these comparisons can be made might be a strength of the work, making the music comfortable, familiar, and engaging. But, it could also be perceived as its downfall, Continue reading “Record Review: Giving the Table A Name ‘Pillbug’” »
With grace and precision, Nicholas James makes music with an emotional impact. The tracks on Lights On are filled by James’ voice and his guitar, but the layers developed between the two leave nothing to be missed. Primarily acoustic, Nicholas James can be likened to the stark, yet emotive style of singer/songwriters like Damien Rice or Jeff Buckley. Seamlessly, James manages to captivate through lyrical parallels of love and loss, which are expressed equally through the vocals and guitar.
“The Burning Room” is the opening track, which offers a barren and serene melody that Continue reading “Record Review: Nicholas James ‘Lights On’” »
[slideshow]Never have I been to a local show, in Atlanta or any other city I’ve inhabited, that allowed me to see three bands of this caliber all in one night for a mere $5. To be fair, I would have paid $30 to see these guys and still would have felt that I got a deal!
The Killer and the Martyr
The Killer and The Martyr started the show, illuminated in the yellows and violets of the stage lights above. As the music commenced, I sensed that this show would not disappoint. By the third song, I was convinced that the bands’ appeal to me was delivered through the ethereal vocal reverb of singer, Christian Haberkern, and distinct accompaniment of keyboardist, Sam Epstein, reminiscent of The Doors at their finest. In fact, Continue reading “Live Review: The Killer and The Martyr, Wake of the Titan, Lions and Scissors” »