Young Wonder, straight out, are a cut above the rest. Their unusual style, Rachel's unique image, the transcendental beats, everything combines to give this strange hypnotic music that just screams to your soul. With samples of bagpipes reaching into your soul, and chopped up vocals creating waves of audible sensations, they truly are something else.
The first time I recall hearing the group was when a friend linked me, as he was in the video. Peace. To You was the video, filmed on Lough Derg if I'm not mistaken, with numerous takes to perfect the walking sequence. Following Rachel, namely, walking through the trees with a shoe box containing a (presumably) deceased cat, it's an odd one. Dressed to impress, their image is not confined to everyday charity-shop styles. More headgear than a wartime soldier, the image is flawless. However, for the video it is a plain black attire, nothing too special, all things considered. The song is a lovely little peaceful banger of a tune, drifting with the choppy bagpipes and heavy basslines. The production is incredible, and sounds even more exceptional on record, which they released and I had to buy. It was a must.
It seems they fit very well into the Irish scene. Transcendental beats, laid back in the shack, the Irish scene is much more inclined at the moment to veer towards synth-style ambient electronic music. Nothing wrong with this, as one can so clearly see. It's always a joy to hear someone on the microphone speaking in a dirty Cork accent; reminds us of the hills back home, the rain and the poverty. Like Lethal Dialect, it's a privilege to be able to relate in such a way. National pride, yo.
The first album from the duo, now a threesome, I do believe, was simply entitled Young Wonder. Featuring (a personal favourite) Flesh, Tumbling Backwards, Orange, and such, was apparently based on samples. Not entirely sure where, but you can find them if you look hard enough. Incredibly melodic, with vocal hooks everywhere, it deserves more recognition. In comparison to the next release, Show Your Teeth, with a colab on Time from Sacred Animals, the album is nowhere near as experimental. Going all out, songs like To You and Electrified are highlighted throughout the album as being much more developed than the first release. Both excellence personified in their own rights, the latter is of a different breed.
Samples used are different throughout the songs, yet they retain their individual sound throughout. Relatively soft kicks, hard snares, and deep basslines, contrasted with high vocals, create a soundscape for the listener. Wide use is made of chopping vocals, which usually I wouldn't be in favour of, but this is different. Much different.
One beef I got; it can't be called electronic pop. Acid smoking, experimental fucking, cannabis injecting, transcendental abusing electronica is a much more descriptive genre. They indulge the listener in a profound landscape, leading them on a journey through the mind. You can't call that pop. However, I repent; it is not for me to decide. Not on this occasion. I digress.
Flesh is one of the more uplifting songs, compared to others. Still, melody and vocals shine through, creating a wonderfully contrasting piece. A theme, one should notice, is the longing of something else. They bring forth this feeling in the pit of your stomach, the centre of your being, in which you long for someone, or miss something. It's strange, but it shows the talent of the two and/or three. Other big names in the Irish side of the game share this strange aspect, but I won't talk about this here.
On a lesser/greater note, I saw them in Christchurch Cathedral. I bet you didn't. Epic.
It's only a matter of time before I have a Young Wonder tattoo. On my forehead. Riding a giant phallus. Into the sunset. Good day, and good night. Script.
Averagity rating: Above average. Need I say it?
Facebook: https://www.facebook.com/youngwondermusic
Bandcamp: http://youngwonder.bandcamp.com/album/young-wonder
Saturday, 2 August 2014
Sunday, 20 July 2014
Lethal Dialect - A Few Words
I don't like the Irish hip-hop scene. I'm not sure why, but it doesn't feel right. After trying to listen to a few artists, the only one that really stands out is Lethal Dialect. His lyrics are unique without being over-Irish; his image isn't overly Irish either. National pride and all that, but when you hear someone who sounds like the little lads running round the town annoying everyone, it's easy to have beef. Overall, he hits all the right criteria without trying too hard, or (God forbid) being generic. With one of the most unique sounds of this era that I've heard coming out of Ireland, 'LD foive owe stoyle' for life, bro.
Being most familiar with his work on the LD50 and LD50 II albums, they're the ones being discussed here. Personally, LD50 is the preferred one, but it's the one I would be most acquainted with. No real reason, just because. The Beginning, the first track of the album, is a nice intro. Nice flow, exceptional lyrics. It is probably fair to say that one wouldn't imagine the Dublin accent having such a flowing ability, but it sure works here. Although the slurs occasionally reduce into phonetic sounds, they still reach home. Sounds like he's talking through his cheeks. That piano in the background is an ambient allure, and carries the song forward in an oscillating way. The beat is simple, but it makes for a catchy one. Very little use, compared to others in the field, is made of double-vocals, but it isn't lacking. Makes the song more powerful.
Smashing through Metamorphose and Cold and Calculated (both bangers in their own rights), the next tune we would be familiar with is The National. For any Dublin Gangsta TV fans, a mix of this featured on Love/Hate, albeit the original is much more intriguing. Including an intro of 'fuck peace, go to war with police', you gotta love it. Probably the song that made me fall in love with LD. A driving piano riff, pumping beat, and Dublin slurs and references make this a real smasher. Envisage cruising through the North Quays in your Mitzi Turbo with this blasting through the speakers, seeing the police, and shying away because you ain't gangster. That's the embodiment right there. But in all seriousness, it's the standout of the album. To me anyway. The lyrics are key, and the phonetics are unreal. A mention of ending 'up in a Wicklow grave' was a bit of a Represent moment. What the song is about is pretty obvious; growing up in Ireland and the shit that happens. I think.
Listening to the album, it's like it has been recorded in a graveyard bunker, or a small corridor. There's this filter atmosphere, like a deep mist, layered on the tracks. Makes it sound like the tracks are descending through space and other quantum shit. But in honesty, there is this strange atmospheric ambiance.
The rest of the album sounds industrial, with odd samples here and there, and even features The International, which brings the album full circle in a sense. If you like Irish people, and you like scumbag accents, give this album a listen. If not, go fuck yourself.
LD50 II is a deep contrast to the first. The first is a dark album; dark beats, dark lyrics. The second is a lot brighter, and a lot more cheerful. Almost. Beginning with The Sermon, and a driven beat, the album has a strong opener. A bit of a stab back at people talking shit about him, 'fuck what fees you're earnin', he really lets loose on the rhyming skills. Every line rhymes throughout the initial half of the song, which is down right incredible. Who knew so many words could rhyme? To keep that going until 1:25, or thereabouts, is mad skill. There's a bit of an interlude, then the beat kicks in again, and the lyrics start flowing. The flow is astonishing, and he keeps it going until the end.
Carrying from here, the album launches straight into Outstr8, featuring GI. In a documentary, LD gave a bit of context on where Outstr8 came from; it is to clarify a statement, like 'that weed is really good, out straight.' Hope that sorts out any disputes that may have arisen. The synth line is accompanied with female vocal samples, but the main aspect carrying the song is that sweet, sweet synth. It's so dreamy, makes me melt. Worth a listen for any ambient-style fans.
Into Dark Horse, the intro is LD talking about how he's always viewed himself as a Dark Horse. Running through the rest of the album, the songs follow the same ideas; unique lyrics, slamming beats, nice synth lines. I think I summed that up in the most unoriginal-sounding way. Fuck it, swag.
Go listen to The Bet (Skit). It's so cold 'I have stalactites hanging off me balls'. Haha. Word.
Another cut above the rest on the album is Snakes and Reptiles. After some chatting shit, it launches right into the beat. Some weird kick is used, and entwined in the beat is a flute/breathy sample. I recognize this from somewhere, but I can't for the Jesus-on-ice-skates of me remember where from. The kick dances around the processed snare, creating a smooth flow, smoother than the flow of the Liffey. With LD spitting out his lyrics, the song really ferries forward. That flute/thing sample howls away in the background, creating a deep soundscape for the listener. Existential in feeling, and slave-hating in lyrical content, it questions the life we live, and if we are truly free. Maybe, maybe not. You decide.
Finishing on Get To My Dreams, the album truly is a lot different to LD50. The lyrics are different, the beats are different, everything. The accent even seems a little less harsh too. Again, if you like Irish rap, give it a listen. If not, again, go fuck yourself. Overall, the first LD50 has that filter effect going on, for lack of a better expression. That's some transcendental shit. The music has massive soundscapes behind it, making it an audible orgasm. Kind of. Both albums are free to download through the bandcamp pages (link below), so why not? If you hate the police but are afraid to express it, here's the music for you. If you like Irish hip hop, here's the music for you. If two and two makes four and/or five, here's the music or you.
Another enjoyable marshmallow-river-flowing track is 13 'Til Infinity. I'll slap a link down below for all you baes. Presenting himself as a much more relaxed and laid-back geezer than other songs, the video shows such a snuggly fellow, no homo. Instead of the guns-blazing gangsta G, the song travels through some carnival, I love the teacups. Can't leave home without someone wearing a snapback though. Beaches and bitches, and a drop of champagne, it appears to be one big fest. Sausage fest? Why, no. Your average fest. With everyone all smiles it is pretty tough to imagine him as the artist behind the National or others. Still, the trackies give him away, to be fair. A few stares into the moderate distance here, a bit of melancholic shots here, the video borders stereotypical, but we'll forgive this. Cruising round that joint in his bumper car like it's a Mitzi Turbo, lad. And of course, who could resist a few drinks with the lady? I like her hair. Some blinking effects shows the lovely Irish countryside, probably Dublin but I don't know, and it ends staring out at the sea. Or ocean. Whatever, swag.
In the interest of being hip and cool, and keeping up with the times, I took a goggle at LD's newer track with JackKnife J; Headstrong, which features an appearance from the lovely Jess Kav. Until now I can't recall hearing the song, unless by chance unbeknownst to me. A few slow shots into the iconic 'Victory 13 Crew' jumper/top, the song starts slow, with lazy rapping. A simple beat, with soundscapes bigger than Skyrim's lands, it stands out as atmospheric. Jess Kav has a powerful voice for the chorus, and the reverb really swirls around behind the music. Always an enjoyable little effect in the video is LD actually recording the lines, dropping out of the song to hear him speaking properly. A few scenes walking through the city, presumably Dublin, the focus seems to be placed around that jumper. Halfway through, after second chorus, sudden jumper change, into 'Since 88'. Not sure what that one means, mate. And of course, into the live shots. Some really clean shots show LD and the gang looking happy out. Nice to see. All in all, with more reverb than Mrtn Gurx's kick drum, the song is a deep ambient release, and displays more atmosphere than Saw. A few more shots of the wonderful city, and you can't exclude the Ha'penny Bridge, the video ends when LD turns round to the camera, and a shot of Liam Pritchard is shown. A nice dedication, the video ends on a melancholic note, fitting the song well.
If you like the Irish scene, there's endless links in the sidebar on Youtube, go figure. Personally, LD comes out on top. With his image, his accent, and everything else, he really shows as professional. Not many have the ability to appear professional, and it lets them down. How and ever, see what you think. Script.
Averagity rating: Above average. Surpasses average.
Facebook: https://www.facebook.com/pages/Lethal-Dialect/186626141358217?fref=ts
Twitter: https://twitter.com/Lethal_Dialect (@Lethal_Dialect)
Bandcamp: http://lethaldialect.bandcamp.com/
Being most familiar with his work on the LD50 and LD50 II albums, they're the ones being discussed here. Personally, LD50 is the preferred one, but it's the one I would be most acquainted with. No real reason, just because. The Beginning, the first track of the album, is a nice intro. Nice flow, exceptional lyrics. It is probably fair to say that one wouldn't imagine the Dublin accent having such a flowing ability, but it sure works here. Although the slurs occasionally reduce into phonetic sounds, they still reach home. Sounds like he's talking through his cheeks. That piano in the background is an ambient allure, and carries the song forward in an oscillating way. The beat is simple, but it makes for a catchy one. Very little use, compared to others in the field, is made of double-vocals, but it isn't lacking. Makes the song more powerful.
Smashing through Metamorphose and Cold and Calculated (both bangers in their own rights), the next tune we would be familiar with is The National. For any Dublin Gangsta TV fans, a mix of this featured on Love/Hate, albeit the original is much more intriguing. Including an intro of 'fuck peace, go to war with police', you gotta love it. Probably the song that made me fall in love with LD. A driving piano riff, pumping beat, and Dublin slurs and references make this a real smasher. Envisage cruising through the North Quays in your Mitzi Turbo with this blasting through the speakers, seeing the police, and shying away because you ain't gangster. That's the embodiment right there. But in all seriousness, it's the standout of the album. To me anyway. The lyrics are key, and the phonetics are unreal. A mention of ending 'up in a Wicklow grave' was a bit of a Represent moment. What the song is about is pretty obvious; growing up in Ireland and the shit that happens. I think.
Listening to the album, it's like it has been recorded in a graveyard bunker, or a small corridor. There's this filter atmosphere, like a deep mist, layered on the tracks. Makes it sound like the tracks are descending through space and other quantum shit. But in honesty, there is this strange atmospheric ambiance.
The rest of the album sounds industrial, with odd samples here and there, and even features The International, which brings the album full circle in a sense. If you like Irish people, and you like scumbag accents, give this album a listen. If not, go fuck yourself.
LD50 II is a deep contrast to the first. The first is a dark album; dark beats, dark lyrics. The second is a lot brighter, and a lot more cheerful. Almost. Beginning with The Sermon, and a driven beat, the album has a strong opener. A bit of a stab back at people talking shit about him, 'fuck what fees you're earnin', he really lets loose on the rhyming skills. Every line rhymes throughout the initial half of the song, which is down right incredible. Who knew so many words could rhyme? To keep that going until 1:25, or thereabouts, is mad skill. There's a bit of an interlude, then the beat kicks in again, and the lyrics start flowing. The flow is astonishing, and he keeps it going until the end.
Carrying from here, the album launches straight into Outstr8, featuring GI. In a documentary, LD gave a bit of context on where Outstr8 came from; it is to clarify a statement, like 'that weed is really good, out straight.' Hope that sorts out any disputes that may have arisen. The synth line is accompanied with female vocal samples, but the main aspect carrying the song is that sweet, sweet synth. It's so dreamy, makes me melt. Worth a listen for any ambient-style fans.
Into Dark Horse, the intro is LD talking about how he's always viewed himself as a Dark Horse. Running through the rest of the album, the songs follow the same ideas; unique lyrics, slamming beats, nice synth lines. I think I summed that up in the most unoriginal-sounding way. Fuck it, swag.
Go listen to The Bet (Skit). It's so cold 'I have stalactites hanging off me balls'. Haha. Word.
Another cut above the rest on the album is Snakes and Reptiles. After some chatting shit, it launches right into the beat. Some weird kick is used, and entwined in the beat is a flute/breathy sample. I recognize this from somewhere, but I can't for the Jesus-on-ice-skates of me remember where from. The kick dances around the processed snare, creating a smooth flow, smoother than the flow of the Liffey. With LD spitting out his lyrics, the song really ferries forward. That flute/thing sample howls away in the background, creating a deep soundscape for the listener. Existential in feeling, and slave-hating in lyrical content, it questions the life we live, and if we are truly free. Maybe, maybe not. You decide.
Finishing on Get To My Dreams, the album truly is a lot different to LD50. The lyrics are different, the beats are different, everything. The accent even seems a little less harsh too. Again, if you like Irish rap, give it a listen. If not, again, go fuck yourself. Overall, the first LD50 has that filter effect going on, for lack of a better expression. That's some transcendental shit. The music has massive soundscapes behind it, making it an audible orgasm. Kind of. Both albums are free to download through the bandcamp pages (link below), so why not? If you hate the police but are afraid to express it, here's the music for you. If you like Irish hip hop, here's the music for you. If two and two makes four and/or five, here's the music or you.
Another enjoyable marshmallow-river-flowing track is 13 'Til Infinity. I'll slap a link down below for all you baes. Presenting himself as a much more relaxed and laid-back geezer than other songs, the video shows such a snuggly fellow, no homo. Instead of the guns-blazing gangsta G, the song travels through some carnival, I love the teacups. Can't leave home without someone wearing a snapback though. Beaches and bitches, and a drop of champagne, it appears to be one big fest. Sausage fest? Why, no. Your average fest. With everyone all smiles it is pretty tough to imagine him as the artist behind the National or others. Still, the trackies give him away, to be fair. A few stares into the moderate distance here, a bit of melancholic shots here, the video borders stereotypical, but we'll forgive this. Cruising round that joint in his bumper car like it's a Mitzi Turbo, lad. And of course, who could resist a few drinks with the lady? I like her hair. Some blinking effects shows the lovely Irish countryside, probably Dublin but I don't know, and it ends staring out at the sea. Or ocean. Whatever, swag.
In the interest of being hip and cool, and keeping up with the times, I took a goggle at LD's newer track with JackKnife J; Headstrong, which features an appearance from the lovely Jess Kav. Until now I can't recall hearing the song, unless by chance unbeknownst to me. A few slow shots into the iconic 'Victory 13 Crew' jumper/top, the song starts slow, with lazy rapping. A simple beat, with soundscapes bigger than Skyrim's lands, it stands out as atmospheric. Jess Kav has a powerful voice for the chorus, and the reverb really swirls around behind the music. Always an enjoyable little effect in the video is LD actually recording the lines, dropping out of the song to hear him speaking properly. A few scenes walking through the city, presumably Dublin, the focus seems to be placed around that jumper. Halfway through, after second chorus, sudden jumper change, into 'Since 88'. Not sure what that one means, mate. And of course, into the live shots. Some really clean shots show LD and the gang looking happy out. Nice to see. All in all, with more reverb than Mrtn Gurx's kick drum, the song is a deep ambient release, and displays more atmosphere than Saw. A few more shots of the wonderful city, and you can't exclude the Ha'penny Bridge, the video ends when LD turns round to the camera, and a shot of Liam Pritchard is shown. A nice dedication, the video ends on a melancholic note, fitting the song well.
If you like the Irish scene, there's endless links in the sidebar on Youtube, go figure. Personally, LD comes out on top. With his image, his accent, and everything else, he really shows as professional. Not many have the ability to appear professional, and it lets them down. How and ever, see what you think. Script.
Averagity rating: Above average. Surpasses average.
Facebook: https://www.facebook.com/pages/Lethal-Dialect/186626141358217?fref=ts
Twitter: https://twitter.com/Lethal_Dialect (@Lethal_Dialect)
Bandcamp: http://lethaldialect.bandcamp.com/
Sunday, 6 July 2014
Metallica at Glastonbury, I had to talk about it
First let me say, they fucking killed it. They didn't just molest our eardrums; no, they had fun. I wouldn't want to be fingered by Kirk Hammet, geezer was on fire. His solos were falling off his guitar liked he was in his 80s angst years again. Together, they sounded better welded than iron, or any... metal... and really showed that they were capable of the gig. In all fairness, for metal-heads around the globe one could say that this was an important gig. Showcasing the biggest metal band of the current era didn't matter to acid-fried hippies who wanted Glasto to remain the 'paradise' it once was. Enticingly, Metallica looked, sounded, and even felt on form. Hetfield smiling like it was his Communion and his aunt just appeared with more money again, they were tight.
In all fairness for the support of this article, I only arrived to the party after work during Fade to Black. This must have been 20 minutes or so into the set, but I hear tales from the West that they opened with For Whom the Bell Tolls. A solid intro, it's hard hitting, but not neo-crushing-speed metal style, so as to alienate the less-hardcore peoples present. A decent choice of opener. Kickin' it back old school too.
As stated, I entered during the earlier parts of Fade To Black. One of my personal favorites, the song is a smasher of a (whisper) ballad. Hetfield's voice was spectacular, and the two dueling guitars had serious force between them. They blended so well that it was hard to imagine they were separate. But yah, I have a weakness for it.
Notable to an old-school fan like me, the only relatively new song they played was Cyanide. Although not too big a fan of Death Magnetic, Cyanide would have been one of the standouts of the album. A wise choice, the crowd seemed to enjoy it. Immensely? Probably not. But still, enjoy it they did. Me included.
Kicking into The Memory Remains, this is Metallica at the top of their interaction with the crowd. Everyone loves Marianne Faithfull's part in the song, with it being sung out long after the song itself has ceased playing. Nice to see at Glasto, in all fairness. Again, Hetfield's voice doesn't wane, and the crowd is responsive. They really come alive during this one, and the band look genuinely happy. Bangin' out the tunes, havin' the crack. Sure it's all good.
What are the people and flags on stage all about? I'm not sure, but I sure as fuck would love to be one of 'em.
Of course, when the stage went black, any softcore fan understood that One was about to have its pre-song piece. With the screens showing droves of marching silhouettes, the sounds of guns and grenades pumping through the speakers, and rave-style lasers, they launched into the eerie intro. Notice the lack of fireworks? Sad face. I do have a bit of beef when the song is a bit sped up. The slamming pedaling of the sixth string in the second part of the song is like a wall of pain on the eardrums, but when played fast, I always feel it loses some of that power. Again, this happened, but it wasn't as bad as first conceived, which was reassuring. However, Hetfield's voice does sound a little off during the song, but hey, if I was that age still ramming out those songs, who'd give a fuck? Lars was incredible, with lots of double-bass for everyone in the audience, which I'm sure went down well in the pensioners pacemakers. Hammet, as always, delighted everyone. More flurries than a McDonalds with a sweet tooth, he was on fire for this one. Actually, he was on fire all night, and the infamous second solo in One just supported this.
No show would be complete without Master Of Puppets, with the crosses on the screens behind. Hammet wasn't even trying in this solo. He just stared at his guitar and watched himself smash the solo to pieces. The people standing on the stage behind look overjoyed, obviously, and kudos if you spot the blonde guy behind who knows the lyrics and every other tiny itty bitty piece of every song you thought you knew backwards. You can catch him singing along, or air-drumming.
Again, any decent fan would recognize Hammet's intro to Nothing Else Matters. No need to mention how well he plays. Hetfield's voice starts off a little out of key, but he picks up. There happens an interlude-style part which is a bit toned down, and it looks like they're just fuckin' around, which is cool to see. Instead of the 1-2-3 cardboard-box rigid set, they adventure with their songs. The song, which probably got me into them as a band, lets you really reminisce about seeing them and all those times you connected with them over and over. Then, BAM, massive wall of sound during the solo. Hetfield this time lets loose; the solo is immaculate. Always a joy to see a band you've loved for years play your favourites in perfect harmony with each other. Brings a non-existent tear to my eye.
Hetfield sort of crouches, sort of leans over, and lets the feedback ring into Enter Sandman. Yis. Call it overplayed, call it whatever, but you know when you hear it you'll proceed to casually bounce off the nearest walls with the volume at 100%. We all do, have no shame. They really let the crowd go mad during the chorus, with James bribing them on. Blonde guy behind is still going nuts. Kudos. Trujilio at this moment takes his cue to do that weird power-squatting thing, bouncing around like a concrete-legged pogo-stick. The crowd gets a lot louder here, and Hetfield's cries of 'Oh yeah!' are met with savage roars of 'Yeah!' Just like old times. One thing that I realized here was that they cut the crap. Instead of talking shit between songs, they just rampaged through their set. Right way to do it at a festival, considering that they had to prove their worth in being the first metal band. Not trying to say that they could have failed in proving themselves; I don't think they could have failed in that. But I'm not a hippy trying to boycott them who doesn't understand guitars beyond the work of the Grateful Dead. I digress. The outro solo, again... was unreal. Why is Hammet still able to do this? He's like the Ozzy Osbourne of guitar, or something like that. Haha, there was a guy in the bottom of the screen, on the left I think, smoking a doobie, not giving a fuck. Tokin' on that thing, completely oblivious to what was going on around him. I laughed.
It looked like the last song, and with the crowd screaming 'We want more', it was heart-lifting to see them on stage for another. They launched into Whiskey In The Jar, although it isn't certain what percentage of the population present knew where the Cork and Kerry mountains were. Hippies. Still, they killed it. Hetfield shredded on this one, top notch, with his voice fitting perfectly.
Of course, they couldn't end on that. According to Hetfield, the last song had three words. I leaped out of my seat, thinking it was Hit The Lights. Alas, fuck it, it wasn't. Seek and Destroy was an awesome ending though. House lights came on and bejaysus, there was a sea of people. Lots of black balloons were released, and obviously the spas at the front had to hold on to them when they got the chance. The breakdown of the song had intense drumming, who said you were ever too old? Where the fuck did those massive beach balls come out of though. It's like All Time Low, except no where near as awful, and a great deal more hardcore. That reference wasn't needed, but fuck it. You might have been able to see Hammet's wrinkles in the light, but come on bro, what do you expect. These flabs didn't heed his ability, no sir. Also, Trujilio does that spinning thing where it looks as if he's about to ascend to another galaxy and take off. He didn't but fret I did not. With Hetfield smiling away, it was a great closing of a set. After a few words (cursing included, why not) and pissing about on stage, they were truly finished. Epic does not describe it. A lot of expectations were surpassed, and I for one was pleasantly pleased. Top notch. Those reporters afterwards were fucking annoying. Keep to talking about Ri-Ri and 1D. Cheers.
Over 30 years later and still killing it, Metallica were truly on form. Although a short enough setlist for the band, it was the perfect choice of songs. More a greatest hits than fan favourites, it achieved what it was supposed to. Nothing more need have been done. They definitely had fun, which was wonderful to see, and the lighthearted smiling onstage made it even more appealing to watch. Technically speaking, Metallica could have done anything on stage that night, and still be hailed as kings. Literally, they could have got up and wanked into socks, and everyone would still have gone mental. They knew what to deliver, and how, and I'm still reeling it in. They proved a lot. For anyone that didn't see it, go watch it.
As for the fact that they didn't headline Sunday night, Kasabian proved why they were more fit for the bill. Kasabian were world class, although that's a different story. Peace, and Script.
In all fairness for the support of this article, I only arrived to the party after work during Fade to Black. This must have been 20 minutes or so into the set, but I hear tales from the West that they opened with For Whom the Bell Tolls. A solid intro, it's hard hitting, but not neo-crushing-speed metal style, so as to alienate the less-hardcore peoples present. A decent choice of opener. Kickin' it back old school too.
As stated, I entered during the earlier parts of Fade To Black. One of my personal favorites, the song is a smasher of a (whisper) ballad. Hetfield's voice was spectacular, and the two dueling guitars had serious force between them. They blended so well that it was hard to imagine they were separate. But yah, I have a weakness for it.
Notable to an old-school fan like me, the only relatively new song they played was Cyanide. Although not too big a fan of Death Magnetic, Cyanide would have been one of the standouts of the album. A wise choice, the crowd seemed to enjoy it. Immensely? Probably not. But still, enjoy it they did. Me included.
Kicking into The Memory Remains, this is Metallica at the top of their interaction with the crowd. Everyone loves Marianne Faithfull's part in the song, with it being sung out long after the song itself has ceased playing. Nice to see at Glasto, in all fairness. Again, Hetfield's voice doesn't wane, and the crowd is responsive. They really come alive during this one, and the band look genuinely happy. Bangin' out the tunes, havin' the crack. Sure it's all good.
What are the people and flags on stage all about? I'm not sure, but I sure as fuck would love to be one of 'em.
Of course, when the stage went black, any softcore fan understood that One was about to have its pre-song piece. With the screens showing droves of marching silhouettes, the sounds of guns and grenades pumping through the speakers, and rave-style lasers, they launched into the eerie intro. Notice the lack of fireworks? Sad face. I do have a bit of beef when the song is a bit sped up. The slamming pedaling of the sixth string in the second part of the song is like a wall of pain on the eardrums, but when played fast, I always feel it loses some of that power. Again, this happened, but it wasn't as bad as first conceived, which was reassuring. However, Hetfield's voice does sound a little off during the song, but hey, if I was that age still ramming out those songs, who'd give a fuck? Lars was incredible, with lots of double-bass for everyone in the audience, which I'm sure went down well in the pensioners pacemakers. Hammet, as always, delighted everyone. More flurries than a McDonalds with a sweet tooth, he was on fire for this one. Actually, he was on fire all night, and the infamous second solo in One just supported this.
No show would be complete without Master Of Puppets, with the crosses on the screens behind. Hammet wasn't even trying in this solo. He just stared at his guitar and watched himself smash the solo to pieces. The people standing on the stage behind look overjoyed, obviously, and kudos if you spot the blonde guy behind who knows the lyrics and every other tiny itty bitty piece of every song you thought you knew backwards. You can catch him singing along, or air-drumming.
Again, any decent fan would recognize Hammet's intro to Nothing Else Matters. No need to mention how well he plays. Hetfield's voice starts off a little out of key, but he picks up. There happens an interlude-style part which is a bit toned down, and it looks like they're just fuckin' around, which is cool to see. Instead of the 1-2-3 cardboard-box rigid set, they adventure with their songs. The song, which probably got me into them as a band, lets you really reminisce about seeing them and all those times you connected with them over and over. Then, BAM, massive wall of sound during the solo. Hetfield this time lets loose; the solo is immaculate. Always a joy to see a band you've loved for years play your favourites in perfect harmony with each other. Brings a non-existent tear to my eye.
Hetfield sort of crouches, sort of leans over, and lets the feedback ring into Enter Sandman. Yis. Call it overplayed, call it whatever, but you know when you hear it you'll proceed to casually bounce off the nearest walls with the volume at 100%. We all do, have no shame. They really let the crowd go mad during the chorus, with James bribing them on. Blonde guy behind is still going nuts. Kudos. Trujilio at this moment takes his cue to do that weird power-squatting thing, bouncing around like a concrete-legged pogo-stick. The crowd gets a lot louder here, and Hetfield's cries of 'Oh yeah!' are met with savage roars of 'Yeah!' Just like old times. One thing that I realized here was that they cut the crap. Instead of talking shit between songs, they just rampaged through their set. Right way to do it at a festival, considering that they had to prove their worth in being the first metal band. Not trying to say that they could have failed in proving themselves; I don't think they could have failed in that. But I'm not a hippy trying to boycott them who doesn't understand guitars beyond the work of the Grateful Dead. I digress. The outro solo, again... was unreal. Why is Hammet still able to do this? He's like the Ozzy Osbourne of guitar, or something like that. Haha, there was a guy in the bottom of the screen, on the left I think, smoking a doobie, not giving a fuck. Tokin' on that thing, completely oblivious to what was going on around him. I laughed.
It looked like the last song, and with the crowd screaming 'We want more', it was heart-lifting to see them on stage for another. They launched into Whiskey In The Jar, although it isn't certain what percentage of the population present knew where the Cork and Kerry mountains were. Hippies. Still, they killed it. Hetfield shredded on this one, top notch, with his voice fitting perfectly.
Of course, they couldn't end on that. According to Hetfield, the last song had three words. I leaped out of my seat, thinking it was Hit The Lights. Alas, fuck it, it wasn't. Seek and Destroy was an awesome ending though. House lights came on and bejaysus, there was a sea of people. Lots of black balloons were released, and obviously the spas at the front had to hold on to them when they got the chance. The breakdown of the song had intense drumming, who said you were ever too old? Where the fuck did those massive beach balls come out of though. It's like All Time Low, except no where near as awful, and a great deal more hardcore. That reference wasn't needed, but fuck it. You might have been able to see Hammet's wrinkles in the light, but come on bro, what do you expect. These flabs didn't heed his ability, no sir. Also, Trujilio does that spinning thing where it looks as if he's about to ascend to another galaxy and take off. He didn't but fret I did not. With Hetfield smiling away, it was a great closing of a set. After a few words (cursing included, why not) and pissing about on stage, they were truly finished. Epic does not describe it. A lot of expectations were surpassed, and I for one was pleasantly pleased. Top notch. Those reporters afterwards were fucking annoying. Keep to talking about Ri-Ri and 1D. Cheers.
Over 30 years later and still killing it, Metallica were truly on form. Although a short enough setlist for the band, it was the perfect choice of songs. More a greatest hits than fan favourites, it achieved what it was supposed to. Nothing more need have been done. They definitely had fun, which was wonderful to see, and the lighthearted smiling onstage made it even more appealing to watch. Technically speaking, Metallica could have done anything on stage that night, and still be hailed as kings. Literally, they could have got up and wanked into socks, and everyone would still have gone mental. They knew what to deliver, and how, and I'm still reeling it in. They proved a lot. For anyone that didn't see it, go watch it.
As for the fact that they didn't headline Sunday night, Kasabian proved why they were more fit for the bill. Kasabian were world class, although that's a different story. Peace, and Script.
Saturday, 5 July 2014
Hawk House - A Handshake To The Brain, a few words
It's like the Fugees and Odd Future fucked then that lovechild met a Roland synth. Through Split Prophets I heard Hawk House's Chill Pill. Then I saw them on MTV Base, I think it was. Proud I knew who they were. The first time I heard them I could tell there was something about them, so I kept the tab saved. Out about a month ago, it is a fairly recent release, and the Soundcloud page tells that they uploaded the album a mere 16 days ago (as of now). So for an album that has been out for (around) three weeks, by a band relatively unheard of (in my case anyway), seeing them on TV was a nice spot. I digress.
I listened to this album once, so all of these points are first impressions. Of course, the more familiar the album becomes, the more we recognize when we listen. How and ever. An ambient release, the drums and bass in communion with the synths keep the album flowing. It's a real bob-your-head-and-chill album. Just sitting here, you can't help but swing back and forth.
Grey Matter, the intro, starts off Pink Floyd-esque. With random talking and more ambiance than John Cage, it is an existentially fabulous introduction to the album. The narrator, who features throughout the release, talks about hangovers and the brain and such. As it continues, he gets angry at people poking the brain, and his leads into the second (or first, depending on how you look at it) song, after a bit of a jazzy part.
Topic One, My Mind Is The Weapon, has a very ambient intro, ambiance being the key. With mellow synths and bells flowing around the listener, it is quite hard to refrain from bouncing along. There's a fuzziness on the reverb of the drums, making them interesting, and the excellent flow of the lyrics is illustrated here. The filtered bells sound almost randomly hit; sort of off-beat here, sort of mechanical there. Instead of annoyingly drawing you away from the beat, which can happen with off-beat examples, they just oscillate around song, which is a recurring feature later on. The drums themselves are pretty basic, but the side-panned hats are of a different breed. Following suit with the bells, they are almost random too. The flow of the words just fall from the speakers, and all these components together just meld to create a song that goes absolutely nowhere, but is in no hurry at all to get there.
Topic Two, Grow, is laid back again. A common feature among the songs, the fade in of the synth into a chorus of chords is doubled with the breathy vocals. The bare minimal of the drums creates a very wide sonic space, then the full drum kit appears, with lots of hats here and there. With the relaxed beat and even more relaxed lyricists, the influence of the Fugees comes to mind. I won't debate for or against, but hey, can you not see it? With the almost lackadaisical synth flowing out of the speakers, it's hard to notice how much is going on behind the main components. In the speakers there are numerous aspects panned to the sides, or in behind the synth and drums, that you really have to listen to in order to hear them. The production is incredible. Fact.
Topic Three: Vulcan Grip, notable that this song has a lot more listens on Souncloud than the others. Excluding maybe Chill Pill, it looks like one of the more popular ones. Considerable is that it is certainly more individual from the others in the sense that it's a lot more upbeat. With fast lyrics and lots of odd panning ideas going round, the drums are very bare. No riding out of the snare or hats make the song sound very sharp, very abrupt. I have no idea what they're on about, on any track for that matter, but I feel it, bro. For the listener, it is very spatial. Production, again.
Interlude One, Her Anatomy, is more than a simple interlude. The synth intro sounds almost like rain until it fades in fully, and is an awful lot more experimental than the others. The vocals are unique in that they run through a vocoder which only pops its head up every so often. Makes its a strange mix. Showcases the diversity in their music.
The whole 'body' thang continues after that brief interruption of sorts, with Topic Four, The Nervous System. There's a grinding intro, and the space in the speakers just keeps getting vaster. It's like sitting in a spinny chair in Glendalough valley. Kind of. With a little bit of vocals off key, and the odd laser here and there, the flow makes you feel like your neck is being controlled by someone else who keeps pushing it back and forth. Take notice of the internet modem sample. Never have I heard better use made of that weird ass sound, and it fits so well. Not sure how they achieved this, but achievement was made.
Leading slowly but surely into Experiment One, the title track A Handshake For Your Brain is a lovely old tune. Swirly drums in the background of the speakers; vinyl distortion; rolling synth lines; everything combines to add not just to the track, but the album as a whole. It's almost progressive, as there's new features frequently.
Running into Interlude Two, Slow Down, it's fair to say that slowing down is not really too much of an option. Any slower and it would be sludge-hop, the worst of the hops. A few synth lines, leading into chords, a few faded cymbals, it leads perfectly into the best song (personally) of the album.
Experiment Two, Chill Pill, is the track I was most acquainted with in my travels through the musical universe. By chance, and pure chance, I saw it on MTV. Proud I was in the fact that I recognized them, but I digress, again. The video itself is fascinating, with a camera moving in and out repeatedly. As for the song, the bass runs through an off-timing LFO, creating this flowing aspect individual in itself from the rest of the beat. The synth is a lot louder compared to other songs, meaning the vocals are somewhat compromised volume-wise. This isn't necessarily a negative component though. With a synth line in the background barely audible, the interplay of each fundamental is unbelievable. The flow is at a climax here, and you can just feel yourself pulsing along with the beat. Incredible isn't the word. It is a fine (almost) ending to the album, and well worth watching the video (link below) to see how it all plays out.
And with that, the 33 minutes come to an end with the Outro; Lights Off. With a really long fade in, and very melodic vocals with pitching up and down, it is a super relaxed ending. The drums sound off beat this time, almost weary. The song lets you down easy after an experiential journey, and the vocals combine to reach a loud climax point, then stop, leaving you breathing heavy. Epic.
All in all, it is a wonderful album, and I strongly recommend giving a listen. The lyrical content is very phonetic, and I've very little knowledge of what the lyrics were about. But in true hip-hop nature, they complemented the songs as a whole. Phoneticism is key, but the diversity of the lyrics throughout the album is incredible. This album never lets up, and this album is downright fuckin' incredible.
Averagity rating: Above average. Far above average. Strides and strides ahead.
Links:
Facebook: https://www.facebook.com/hawkhouseofficial
Chill Pill vid:
I listened to this album once, so all of these points are first impressions. Of course, the more familiar the album becomes, the more we recognize when we listen. How and ever. An ambient release, the drums and bass in communion with the synths keep the album flowing. It's a real bob-your-head-and-chill album. Just sitting here, you can't help but swing back and forth.
Grey Matter, the intro, starts off Pink Floyd-esque. With random talking and more ambiance than John Cage, it is an existentially fabulous introduction to the album. The narrator, who features throughout the release, talks about hangovers and the brain and such. As it continues, he gets angry at people poking the brain, and his leads into the second (or first, depending on how you look at it) song, after a bit of a jazzy part.
Topic One, My Mind Is The Weapon, has a very ambient intro, ambiance being the key. With mellow synths and bells flowing around the listener, it is quite hard to refrain from bouncing along. There's a fuzziness on the reverb of the drums, making them interesting, and the excellent flow of the lyrics is illustrated here. The filtered bells sound almost randomly hit; sort of off-beat here, sort of mechanical there. Instead of annoyingly drawing you away from the beat, which can happen with off-beat examples, they just oscillate around song, which is a recurring feature later on. The drums themselves are pretty basic, but the side-panned hats are of a different breed. Following suit with the bells, they are almost random too. The flow of the words just fall from the speakers, and all these components together just meld to create a song that goes absolutely nowhere, but is in no hurry at all to get there.
Topic Two, Grow, is laid back again. A common feature among the songs, the fade in of the synth into a chorus of chords is doubled with the breathy vocals. The bare minimal of the drums creates a very wide sonic space, then the full drum kit appears, with lots of hats here and there. With the relaxed beat and even more relaxed lyricists, the influence of the Fugees comes to mind. I won't debate for or against, but hey, can you not see it? With the almost lackadaisical synth flowing out of the speakers, it's hard to notice how much is going on behind the main components. In the speakers there are numerous aspects panned to the sides, or in behind the synth and drums, that you really have to listen to in order to hear them. The production is incredible. Fact.
Topic Three: Vulcan Grip, notable that this song has a lot more listens on Souncloud than the others. Excluding maybe Chill Pill, it looks like one of the more popular ones. Considerable is that it is certainly more individual from the others in the sense that it's a lot more upbeat. With fast lyrics and lots of odd panning ideas going round, the drums are very bare. No riding out of the snare or hats make the song sound very sharp, very abrupt. I have no idea what they're on about, on any track for that matter, but I feel it, bro. For the listener, it is very spatial. Production, again.
Interlude One, Her Anatomy, is more than a simple interlude. The synth intro sounds almost like rain until it fades in fully, and is an awful lot more experimental than the others. The vocals are unique in that they run through a vocoder which only pops its head up every so often. Makes its a strange mix. Showcases the diversity in their music.
The whole 'body' thang continues after that brief interruption of sorts, with Topic Four, The Nervous System. There's a grinding intro, and the space in the speakers just keeps getting vaster. It's like sitting in a spinny chair in Glendalough valley. Kind of. With a little bit of vocals off key, and the odd laser here and there, the flow makes you feel like your neck is being controlled by someone else who keeps pushing it back and forth. Take notice of the internet modem sample. Never have I heard better use made of that weird ass sound, and it fits so well. Not sure how they achieved this, but achievement was made.
Leading slowly but surely into Experiment One, the title track A Handshake For Your Brain is a lovely old tune. Swirly drums in the background of the speakers; vinyl distortion; rolling synth lines; everything combines to add not just to the track, but the album as a whole. It's almost progressive, as there's new features frequently.
Running into Interlude Two, Slow Down, it's fair to say that slowing down is not really too much of an option. Any slower and it would be sludge-hop, the worst of the hops. A few synth lines, leading into chords, a few faded cymbals, it leads perfectly into the best song (personally) of the album.
Experiment Two, Chill Pill, is the track I was most acquainted with in my travels through the musical universe. By chance, and pure chance, I saw it on MTV. Proud I was in the fact that I recognized them, but I digress, again. The video itself is fascinating, with a camera moving in and out repeatedly. As for the song, the bass runs through an off-timing LFO, creating this flowing aspect individual in itself from the rest of the beat. The synth is a lot louder compared to other songs, meaning the vocals are somewhat compromised volume-wise. This isn't necessarily a negative component though. With a synth line in the background barely audible, the interplay of each fundamental is unbelievable. The flow is at a climax here, and you can just feel yourself pulsing along with the beat. Incredible isn't the word. It is a fine (almost) ending to the album, and well worth watching the video (link below) to see how it all plays out.
And with that, the 33 minutes come to an end with the Outro; Lights Off. With a really long fade in, and very melodic vocals with pitching up and down, it is a super relaxed ending. The drums sound off beat this time, almost weary. The song lets you down easy after an experiential journey, and the vocals combine to reach a loud climax point, then stop, leaving you breathing heavy. Epic.
All in all, it is a wonderful album, and I strongly recommend giving a listen. The lyrical content is very phonetic, and I've very little knowledge of what the lyrics were about. But in true hip-hop nature, they complemented the songs as a whole. Phoneticism is key, but the diversity of the lyrics throughout the album is incredible. This album never lets up, and this album is downright fuckin' incredible.
Averagity rating: Above average. Far above average. Strides and strides ahead.
Links:
Facebook: https://www.facebook.com/hawkhouseofficial
Chill Pill vid:
Monday, 23 June 2014
Diemonds - A Few Words
Well fuck me in the ass and call me Alice. Imagine standing back-to-the-wall, head spinning, moon glaring down at you, blood rushing. You had one too many whiskeys. There's a staple gun pointed at your testicles. You can't figure out how you got here, but damn, you like it. This is what Diemonds are; old school, balls-to-the-wall rock'n'roll.
With this in mind, I'd say check out Diemonds straight away. If sadism is your thing, then party on. I can't remember how Diemonds came upon me, although I assume it was through links when listening to Dirty Penny and Vains of Jenna. 420 missionaries, they have a real sound, only getting better with each successive release. Their videos want to make you go out and snort coke off a hooker's backside, while simultaneously kicking over every rubbish bin in a 10 mile radius in the name of living young. Hailing from Toronto, and with Priya Panda at the head (quite easy on the eye, so to speak), the bands image is like they walked fresh out of the Whiskey; the year is '86. This reminiscing of the old days has it's own modernity about it though, making them still a fresh act, and I'm still waiting on them to come to Ireland so I can harass them in person, rather than creepily over the internet.
The guys play a lot of shows and festivals around Canada, America and such, and I can't recall ever seeing that they have played outside outside the Americas or Canadas. It would be nice seeing them play a few European dates, even if it was a few festivals. If they have played events in Europe, do feel free to say so. I won't argue. Peace and love, bro.
The Facebook page (link at the bottom) is full of ridiculously photogenic images, notable with Priya at the front, and it really looks like Motley Crue have siblings that are finding their ways in the world. More leather than a slaughterhouse and more jewelry than a prostitute living off their last tenner, the band's image is one to be reckoned with. Maybe they live in the wrong era for their music, but you can view them how you will. Personally, they're the missionaries that Jesus always strove to be; relevant but still cool. Cool like a Summer's eve, or some stupid shit like that.
With nearly seven years in the bag, possibly eight, according to the Facebook page, you'd think Diemonds would have given up at this stage. No way. Still going strong, looking as crisp and hot as ever. The band have hardly changed in appearance from 'Highway', through 'Take On The Night', right up to the recently added 'Get The Fuck Outta Here'. Links shall be posted at the bottom. Personally, I have a soft spot for Take On The Night. Seeing a Native-American-style lady walking through trams is always... enthralling, while cut scenes of the band playing are equally as appeasing. 'Get The Fuck Outta Here' has the classic Grease-style intro, although not half as camp. Thank fuck. A serial killer goes on a spree, with bongs being ripped through skulls and scalps being combed off, quite literally. Again, cut scenes of the band are featured, looking spectacular. If memory serves, then I remember seeing a young lady's nips, before Youtube jammed their fascist foot in the door and had it censored. Check-check-check-che-check-che-check it out.
Another reason for unfaltering affection is the fact that they care about their fans. Almost every post is about where the band is, and to come party with them. Weed masons though they be, I'm sure they wouldn't mind sharing. In my inebriated state, I have a few times messaged them, and they always reply. That's caring right there. There will come a day when I too shall share a can of the finest brew (Prazsky) with this peoples, and I await this day with pride and valor. But, I digress. For now, I shall sip away at my icy beverage, nutrition to the soul, and dream; I wait, archers at my side, helm upon my steed, wind gushing behind my bent spine... wait, where was I going with this?
If there's any questions left as to who and what they are, maybe their page info will sort you out:
Members: Priya Panda - Sweet Squealin' & High Heelin'; C.C. Diemond - Guitar Rippin' & Whiskey Sippin'; Daniel Dekay - Flyin' Vees & Smokin' Trees; Tommy Cee - Rockin' Bass & Givin' Chase; Aiden Tranquada - Drummin' Thunder & Evil Plunder. There you have it, folks.
Diemonds averageity rating: Above average. Well above average.
Facebook: https://www.facebook.com/Diemonds
With this in mind, I'd say check out Diemonds straight away. If sadism is your thing, then party on. I can't remember how Diemonds came upon me, although I assume it was through links when listening to Dirty Penny and Vains of Jenna. 420 missionaries, they have a real sound, only getting better with each successive release. Their videos want to make you go out and snort coke off a hooker's backside, while simultaneously kicking over every rubbish bin in a 10 mile radius in the name of living young. Hailing from Toronto, and with Priya Panda at the head (quite easy on the eye, so to speak), the bands image is like they walked fresh out of the Whiskey; the year is '86. This reminiscing of the old days has it's own modernity about it though, making them still a fresh act, and I'm still waiting on them to come to Ireland so I can harass them in person, rather than creepily over the internet.
The guys play a lot of shows and festivals around Canada, America and such, and I can't recall ever seeing that they have played outside outside the Americas or Canadas. It would be nice seeing them play a few European dates, even if it was a few festivals. If they have played events in Europe, do feel free to say so. I won't argue. Peace and love, bro.
The Facebook page (link at the bottom) is full of ridiculously photogenic images, notable with Priya at the front, and it really looks like Motley Crue have siblings that are finding their ways in the world. More leather than a slaughterhouse and more jewelry than a prostitute living off their last tenner, the band's image is one to be reckoned with. Maybe they live in the wrong era for their music, but you can view them how you will. Personally, they're the missionaries that Jesus always strove to be; relevant but still cool. Cool like a Summer's eve, or some stupid shit like that.
With nearly seven years in the bag, possibly eight, according to the Facebook page, you'd think Diemonds would have given up at this stage. No way. Still going strong, looking as crisp and hot as ever. The band have hardly changed in appearance from 'Highway', through 'Take On The Night', right up to the recently added 'Get The Fuck Outta Here'. Links shall be posted at the bottom. Personally, I have a soft spot for Take On The Night. Seeing a Native-American-style lady walking through trams is always... enthralling, while cut scenes of the band playing are equally as appeasing. 'Get The Fuck Outta Here' has the classic Grease-style intro, although not half as camp. Thank fuck. A serial killer goes on a spree, with bongs being ripped through skulls and scalps being combed off, quite literally. Again, cut scenes of the band are featured, looking spectacular. If memory serves, then I remember seeing a young lady's nips, before Youtube jammed their fascist foot in the door and had it censored. Check-check-check-che-check-che-check it out.
Another reason for unfaltering affection is the fact that they care about their fans. Almost every post is about where the band is, and to come party with them. Weed masons though they be, I'm sure they wouldn't mind sharing. In my inebriated state, I have a few times messaged them, and they always reply. That's caring right there. There will come a day when I too shall share a can of the finest brew (Prazsky) with this peoples, and I await this day with pride and valor. But, I digress. For now, I shall sip away at my icy beverage, nutrition to the soul, and dream; I wait, archers at my side, helm upon my steed, wind gushing behind my bent spine... wait, where was I going with this?
If there's any questions left as to who and what they are, maybe their page info will sort you out:
Members: Priya Panda - Sweet Squealin' & High Heelin'; C.C. Diemond - Guitar Rippin' & Whiskey Sippin'; Daniel Dekay - Flyin' Vees & Smokin' Trees; Tommy Cee - Rockin' Bass & Givin' Chase; Aiden Tranquada - Drummin' Thunder & Evil Plunder. There you have it, folks.
Diemonds averageity rating: Above average. Well above average.
Facebook: https://www.facebook.com/Diemonds
Saturday, 21 June 2014
Split Prophets - A Few Words
With as many, if not more, members as Wu Tang, Split Prophets, the bois from Bristol, are a serious collective to be reckoned with. Incredible flow is a common feature across each member, the beats are sick. If you have a head for any type of hip-hop, give them a shot. There's a lot on Youtube and Bandcamp, and I'll post links to the three songs I'm looking at later. And so, with my can of Prazsky at my side like a fair maiden, I set to watching these videos in detail. The songs are epic, and the videos only really compliment rather than give any great significant insights. How and ever, epic they still be.
The first song, Ain't Amused featuring Upfront MC and Res, is a pretty chilled one. A stab at haters, for lack of a better word, the insults fit the beat. They're relaxed too, but hit home. The two look happy out to be chillin' to the beat, singing away, wearing their snapbacks. Noticeable is Res smoking the whole way through in nearly every scene (bad for you mate), and Upfront doesn't, until the very end. Not entirely sure why this struck me, but hey, the nature of the lyrics probably had an influence.
Throughout the whole song, and much more, Upfront's flow is sick. Proper sick. In fact, I haven't heard a group with more flow to their rhyming. The words just tumble out of each of them, the heavy accent helping.
The chorus features Upfront singing the first half, then Res sort of fading in with the second half. Smiling the whole way through (who knows why), his lyrics hint on oppression of the people, and the problems growing trees. Res, still smoking, seems to like the Ganji, with lyrics such as '... peace to everybody growing trees...' I assume this isn't your average Oak or Birch. No, this is the devil's cabbage. Not even during the Famine would that stuff be touched. But I digress, as he goes on to tell that we are 'supposedly free'. Maybe we are, maybe not. Although looking at how America is approaching the topic of the herb, freedom is getting broader, in a sense. Although I'm not here to discuss that.
Upfront kicks in again, with some serious lyrical bombs. He'll 'blow your flow to bits...' and his crew quite enjoys being 'cool like the ocean is'. Reminds me of Snoop on Doggystyle, being 'fly as a falcon'. Upfront and Snoop for a colab, yeah? Yeah.
Being major pacifists by the looks of it (?), the lyrics of the both of them keep getting better. A line that stood out for me was '[I'll] hit you with my pen and all I wrote with it'. Can't say I've heard something like that before. It's like a rejection of the old school ideas of sex and money, bitches and hoes. Much preferred with this author. Another thing that stood out, quite significantly, was the dissing of Oprah. Made me laugh. If you got problems, you'll need to go see 'that Oprah bitch', because no one in England cares, 'even if the plane crashes.' A witty little line, even if a bit close to the bone, although it made me giggle. Overall the song is quite basic. The straightforward beat is accompanied by an easy strings and piano duo, which is effective in its own right.
Next on the hippity hoppoty menu is Paro's 12oz Steak. Self entitled 'one for the munchies', this one is an odd little banger. Super relaxed, the video is comedy in itself, featuring Paro horsing into as much shit as he can gobble in circa 4 minutes. He delivers, as does Sainsburys. His dealer also delivered in mass quantities for the video, and the doobies and smoke are rife throughout. Adds the that impact of the lyrics of being munched out of your being. The rapping in the supermarket is brilliant, although a tad out of place, one would think. The 'fridge raider' really loves his JD, although I'm more of a Bushmills/Jameson kinda guy. Didn't let it come between us. It's a simple video, with Paro on the couch, and that squealing guitar riff really grows on you. Paro's lyrics made me chuckle to myself, describing the ideal meal would be that much more complete with a certain something; 'always tastes better with a blowjob...' Tee hee. Yeah, for anyone who enjoys random-ass lyrics, this song is key. '...chewing whole lemons, drinking shots of adrenaline, ill swoop on your chicken like a peregrine'. Can't beat this stuff, man. Needless to say, the song is just about his love life; his date with Mary Jane. Works though. Gotta give him that.
Next on the menu is... Well, The Menu, featuring Mystro. Whopper tune, a real one for humming away to yourself. The vocal chops mixed with the piano really create a psycho acoustic phenomenon... I think. The video's a funny one, and Mystro never looks serious, ever. In regards to the sound, the drums are simple enough, the bass is simple, and there's little guitar riffs combined with the vocal chops. Nice delivery, one for the sunny days and Miller on the porch. Mystro's flow is sweet, the self proclaimed 'sexually deprived cannibal in an orgy' is a sweet feature on this, and anyone interested check out Diggi Down Unda.
Second verse, Upfront (flow unreal again), rapes the beat, in his words. He takes over the cooking abilities and throws what appears to be the lyrics on the pan, turning to look at the camera with the middle finger up. I laughed. I'm not entirely sure where 'Miley Cyrus on death row' came out of, but it's a line to remember.
Res is on ze third verse, and looks mashed as a potato (mister nice when the chronic's sparked). Makes sense. I don't think there's any point mentioning his flow here, is there? I mean, each has outstanding ability. I'll leave it there.
Datkid finishes the song, and being an orange man, not an apple man, you won't find them on iTunes. First time I heard it, not much remark was passed on the fact that he mentions him 'tryna feed his bulimic pockets'. Best lyrics ever? I think so. When it set in what this meant, yeah.
One big session, the video is a funny one. Where that dog came out of I have no idea. Probably high as shit too. It ends with cds being overcooked, not how I like mine, but I digress. Good vibes all round. Worth a listen.
One major problem with the videos looked at here: major, major sausage fest. Where the hunneys at?
Each song showcases the Prophets in a very solid state. Their image is a relaxed one, no rushing around here. The hats are funny looking ones. Lyricism and projection go hand in hand for them, great stuff. If you're into modern hip hop, yeah, give them a listen. After this review, if you guys are reading it, I wouldn't, em, mind a vinyl pressing or some shit. Yeah, peace.
My new system: the averageity rating; below average, average, or above average.
Split Prophets averageity rating: above average. For deffs.
The first song, Ain't Amused featuring Upfront MC and Res, is a pretty chilled one. A stab at haters, for lack of a better word, the insults fit the beat. They're relaxed too, but hit home. The two look happy out to be chillin' to the beat, singing away, wearing their snapbacks. Noticeable is Res smoking the whole way through in nearly every scene (bad for you mate), and Upfront doesn't, until the very end. Not entirely sure why this struck me, but hey, the nature of the lyrics probably had an influence.
Throughout the whole song, and much more, Upfront's flow is sick. Proper sick. In fact, I haven't heard a group with more flow to their rhyming. The words just tumble out of each of them, the heavy accent helping.
The chorus features Upfront singing the first half, then Res sort of fading in with the second half. Smiling the whole way through (who knows why), his lyrics hint on oppression of the people, and the problems growing trees. Res, still smoking, seems to like the Ganji, with lyrics such as '... peace to everybody growing trees...' I assume this isn't your average Oak or Birch. No, this is the devil's cabbage. Not even during the Famine would that stuff be touched. But I digress, as he goes on to tell that we are 'supposedly free'. Maybe we are, maybe not. Although looking at how America is approaching the topic of the herb, freedom is getting broader, in a sense. Although I'm not here to discuss that.
Upfront kicks in again, with some serious lyrical bombs. He'll 'blow your flow to bits...' and his crew quite enjoys being 'cool like the ocean is'. Reminds me of Snoop on Doggystyle, being 'fly as a falcon'. Upfront and Snoop for a colab, yeah? Yeah.
Being major pacifists by the looks of it (?), the lyrics of the both of them keep getting better. A line that stood out for me was '[I'll] hit you with my pen and all I wrote with it'. Can't say I've heard something like that before. It's like a rejection of the old school ideas of sex and money, bitches and hoes. Much preferred with this author. Another thing that stood out, quite significantly, was the dissing of Oprah. Made me laugh. If you got problems, you'll need to go see 'that Oprah bitch', because no one in England cares, 'even if the plane crashes.' A witty little line, even if a bit close to the bone, although it made me giggle. Overall the song is quite basic. The straightforward beat is accompanied by an easy strings and piano duo, which is effective in its own right.
Next on the hippity hoppoty menu is Paro's 12oz Steak. Self entitled 'one for the munchies', this one is an odd little banger. Super relaxed, the video is comedy in itself, featuring Paro horsing into as much shit as he can gobble in circa 4 minutes. He delivers, as does Sainsburys. His dealer also delivered in mass quantities for the video, and the doobies and smoke are rife throughout. Adds the that impact of the lyrics of being munched out of your being. The rapping in the supermarket is brilliant, although a tad out of place, one would think. The 'fridge raider' really loves his JD, although I'm more of a Bushmills/Jameson kinda guy. Didn't let it come between us. It's a simple video, with Paro on the couch, and that squealing guitar riff really grows on you. Paro's lyrics made me chuckle to myself, describing the ideal meal would be that much more complete with a certain something; 'always tastes better with a blowjob...' Tee hee. Yeah, for anyone who enjoys random-ass lyrics, this song is key. '...chewing whole lemons, drinking shots of adrenaline, ill swoop on your chicken like a peregrine'. Can't beat this stuff, man. Needless to say, the song is just about his love life; his date with Mary Jane. Works though. Gotta give him that.
Next on the menu is... Well, The Menu, featuring Mystro. Whopper tune, a real one for humming away to yourself. The vocal chops mixed with the piano really create a psycho acoustic phenomenon... I think. The video's a funny one, and Mystro never looks serious, ever. In regards to the sound, the drums are simple enough, the bass is simple, and there's little guitar riffs combined with the vocal chops. Nice delivery, one for the sunny days and Miller on the porch. Mystro's flow is sweet, the self proclaimed 'sexually deprived cannibal in an orgy' is a sweet feature on this, and anyone interested check out Diggi Down Unda.
Second verse, Upfront (flow unreal again), rapes the beat, in his words. He takes over the cooking abilities and throws what appears to be the lyrics on the pan, turning to look at the camera with the middle finger up. I laughed. I'm not entirely sure where 'Miley Cyrus on death row' came out of, but it's a line to remember.
Res is on ze third verse, and looks mashed as a potato (mister nice when the chronic's sparked). Makes sense. I don't think there's any point mentioning his flow here, is there? I mean, each has outstanding ability. I'll leave it there.
Datkid finishes the song, and being an orange man, not an apple man, you won't find them on iTunes. First time I heard it, not much remark was passed on the fact that he mentions him 'tryna feed his bulimic pockets'. Best lyrics ever? I think so. When it set in what this meant, yeah.
One big session, the video is a funny one. Where that dog came out of I have no idea. Probably high as shit too. It ends with cds being overcooked, not how I like mine, but I digress. Good vibes all round. Worth a listen.
One major problem with the videos looked at here: major, major sausage fest. Where the hunneys at?
Each song showcases the Prophets in a very solid state. Their image is a relaxed one, no rushing around here. The hats are funny looking ones. Lyricism and projection go hand in hand for them, great stuff. If you're into modern hip hop, yeah, give them a listen. After this review, if you guys are reading it, I wouldn't, em, mind a vinyl pressing or some shit. Yeah, peace.
My new system: the averageity rating; below average, average, or above average.
Split Prophets averageity rating: above average. For deffs.
Tuesday, 17 June 2014
The Pretty Reckless - Fucked Up World Reivew
Upon seeing this video for the first time, I can't stress how pleased I was. Yes, Taylor, bask in my compliment. But really, this video showcases a very nice side of the lovely Momsen. Much less dark and depressing, the video itself is very much reminiscent of a mainstream act's video. How and ever, it still surpasses anything of the kind. A bold statement about feminism is brought forward, with 'Not A Whore' across one of the bikini-clad ladies, and with a porn star's chest being fondled, you can easily get the picture. Also, 100,000 views in 10 hours says something; says a lot since the days of Blender and Blonde Rebellion. God, I loved those days.
The video, set on a beach, features a band clad in black, and Taylor in colourful outfits, along with several other ladies in bikinis. Distancing herself from the band, in a sense, like always she becomes the centerpiece of our attention. Straight away there's provocative images of ladies. In particular, after seeing the video once before, the lady in the background who isn't moving, just standing in the back of the main band shot. Hold yo shit and watch her, son. Also, this leads into the section that recurs featuring two gold-covered women all over each other, holding stashes of money. Again son, hang onto yo shit and watch them.
As the video continues nicely, the lady in the background still keeps still, while Momsen flashes her eyes and women in bikinis play with water-guns. The sun shining down, the ladies about, all you need know is a fat one. Maybe it's worth noting how ideologically picked these women are, as they're all skinny and have pronounced features. How and ever, the two golden-clad ladies are featured getting intimately intimate, with cut-scenes of the band playing.
The women themselves in this video look at the camera quite provocatively, however one gets the feeling that it is like they are staring at you, into you, rather than looking for some sexual encounter. Also noted is the fact that there is a girl lying on the ground next to the band playing, who simply lies there waiting to be stared at, almost. Feminism and the sexual exploits are showing.
Noticed here is the fact that while the video for the song plays, the only men in the video are the three in the band. The rest are big-breasted, nice-bottomed women, and although I can't say what the video is trying to achieve, I get the feeling that maybe this is what we are supposed to see. Feminism is predominant here, take note.
After an interlude of fondling breasts in the sea and near-kisses, the lady in the background who stool still as a statue turns around, and 'Not A Whore' is written across her back. She is the only women in the video who hasn't partaken in the stereotypical activities of every other video out there; wet clothes and provocative imagery. A brave statement, hitting home.
The camera crew are filmed at this stage, and it's like we're watching a video being made. A stereotype of women half naked being sold to the masses is being filmed, and we are watching it happen. The camera crew love it, the band loves it, Taylor loves it (in the video of the video). Whether this is an accurate view or not is debatable, but as far as this viewer can say, it sounds accurate.
Towards the end, the two golden women hold up a sign: 'Is this what you want to see?'. Of course, every horny male with some brains realizes that this is exactly what they wanted to see, and the underlying message is clear. The stereotype of women half naked for our pleasure is manipulated here. They haven't done anything necessarily dirty deemed by today's standards, aside from the odd lick here and there, but of course it drives us men mad. Don't lie, it does. Staring at the screen, it's like they're staring accusingly at you.
At the end do I see a bit of twerking?
People can argue that the title means a certain or other thing, but I believe the only one who knows is the one who wrote it. When listening to the song without a video, back in the days when it was released, it certainly sounded like a song about the fucked up state of things in general. Never did it cross anyone's mind (that I heard) that feminism was a part of it. Whether this was added later or was prevalent in the writing sessions, of course, is known by one person; the writer. I won't argue for or against any opinion.
It's pretty obvious that our eyes are drawn to certain things during the video. Probably deliberate. Certain shots of girls' rear ends promote this, along with other shots of women. Again, the men are there simply 'just because'. The band themselves aren't a part of the video in a sense. They're there because they can be, in essence. They don't promote the feminism or any other ideas. Even in the shots in the water Momsen isn't necessarily a part of the action going on. She stands back and does her own part.
The idea of the video of a video being made is an interesting one. Seeing everyone happy at this degradation of women makes one think. If this is reading too deep into a concept that isn't there, tell me, but really it seems obvious when you watch the video a couple of times.
Another aspect that hits home the ideas is the explicit stating of such ideas. It has to be stated that the lady in the bikini is Not A Whore; it has to be stated that the golden women are fondling each other for our viewing pleasure.
A small factor in the promoting of the video: bewbs. Sweet, sweet bewbs. Many. Jenna Haze is in this video, nuff said.
Upon seeing this video for the first time, not much thought was given to any of these ideas. Maybe Taylor liked getting off on this kind of thing. Maybe that's what was supposed to be thought, as the next time the video was viewed, knowing the ideas behind it, it was very different. I felt a little disappointed (maybe) in the fact that the Pretty Reckless had (almost) gone mainstream with the video with the beach and the half-nakedness. At the end it's obvious that this isn't true, and it is a very different way of approaching the topic of feminism and (possibly) the fucked up state of the music industry.
As always, Taylor and the Pretty Reckless deliver well. Although the song itself is not reviewed here, it's a banger. Will they ever stop delivering? Of course not. That's down to opinion and this reporter will probably never stop loving. Script.
Check that, 123,000 views after another hour.
For anyone that wants to see it here it is:
Momsen, as always, looks fine. XXXX
The video, set on a beach, features a band clad in black, and Taylor in colourful outfits, along with several other ladies in bikinis. Distancing herself from the band, in a sense, like always she becomes the centerpiece of our attention. Straight away there's provocative images of ladies. In particular, after seeing the video once before, the lady in the background who isn't moving, just standing in the back of the main band shot. Hold yo shit and watch her, son. Also, this leads into the section that recurs featuring two gold-covered women all over each other, holding stashes of money. Again son, hang onto yo shit and watch them.
As the video continues nicely, the lady in the background still keeps still, while Momsen flashes her eyes and women in bikinis play with water-guns. The sun shining down, the ladies about, all you need know is a fat one. Maybe it's worth noting how ideologically picked these women are, as they're all skinny and have pronounced features. How and ever, the two golden-clad ladies are featured getting intimately intimate, with cut-scenes of the band playing.
The women themselves in this video look at the camera quite provocatively, however one gets the feeling that it is like they are staring at you, into you, rather than looking for some sexual encounter. Also noted is the fact that there is a girl lying on the ground next to the band playing, who simply lies there waiting to be stared at, almost. Feminism and the sexual exploits are showing.
Noticed here is the fact that while the video for the song plays, the only men in the video are the three in the band. The rest are big-breasted, nice-bottomed women, and although I can't say what the video is trying to achieve, I get the feeling that maybe this is what we are supposed to see. Feminism is predominant here, take note.
After an interlude of fondling breasts in the sea and near-kisses, the lady in the background who stool still as a statue turns around, and 'Not A Whore' is written across her back. She is the only women in the video who hasn't partaken in the stereotypical activities of every other video out there; wet clothes and provocative imagery. A brave statement, hitting home.
The camera crew are filmed at this stage, and it's like we're watching a video being made. A stereotype of women half naked being sold to the masses is being filmed, and we are watching it happen. The camera crew love it, the band loves it, Taylor loves it (in the video of the video). Whether this is an accurate view or not is debatable, but as far as this viewer can say, it sounds accurate.
Towards the end, the two golden women hold up a sign: 'Is this what you want to see?'. Of course, every horny male with some brains realizes that this is exactly what they wanted to see, and the underlying message is clear. The stereotype of women half naked for our pleasure is manipulated here. They haven't done anything necessarily dirty deemed by today's standards, aside from the odd lick here and there, but of course it drives us men mad. Don't lie, it does. Staring at the screen, it's like they're staring accusingly at you.
At the end do I see a bit of twerking?
People can argue that the title means a certain or other thing, but I believe the only one who knows is the one who wrote it. When listening to the song without a video, back in the days when it was released, it certainly sounded like a song about the fucked up state of things in general. Never did it cross anyone's mind (that I heard) that feminism was a part of it. Whether this was added later or was prevalent in the writing sessions, of course, is known by one person; the writer. I won't argue for or against any opinion.
It's pretty obvious that our eyes are drawn to certain things during the video. Probably deliberate. Certain shots of girls' rear ends promote this, along with other shots of women. Again, the men are there simply 'just because'. The band themselves aren't a part of the video in a sense. They're there because they can be, in essence. They don't promote the feminism or any other ideas. Even in the shots in the water Momsen isn't necessarily a part of the action going on. She stands back and does her own part.
The idea of the video of a video being made is an interesting one. Seeing everyone happy at this degradation of women makes one think. If this is reading too deep into a concept that isn't there, tell me, but really it seems obvious when you watch the video a couple of times.
Another aspect that hits home the ideas is the explicit stating of such ideas. It has to be stated that the lady in the bikini is Not A Whore; it has to be stated that the golden women are fondling each other for our viewing pleasure.
A small factor in the promoting of the video: bewbs. Sweet, sweet bewbs. Many. Jenna Haze is in this video, nuff said.
Upon seeing this video for the first time, not much thought was given to any of these ideas. Maybe Taylor liked getting off on this kind of thing. Maybe that's what was supposed to be thought, as the next time the video was viewed, knowing the ideas behind it, it was very different. I felt a little disappointed (maybe) in the fact that the Pretty Reckless had (almost) gone mainstream with the video with the beach and the half-nakedness. At the end it's obvious that this isn't true, and it is a very different way of approaching the topic of feminism and (possibly) the fucked up state of the music industry.
As always, Taylor and the Pretty Reckless deliver well. Although the song itself is not reviewed here, it's a banger. Will they ever stop delivering? Of course not. That's down to opinion and this reporter will probably never stop loving. Script.
Check that, 123,000 views after another hour.
For anyone that wants to see it here it is:
Momsen, as always, looks fine. XXXX
Subscribe to:
Posts (Atom)