Reviews by Reviewbru

Seether & Amy-Lee

2011-12-12T04:08:00.000-08:00

Not a review, just a heads-up to an old, but great live rendition of this really cool song.

The Fierce and the Dead - If It Carries On Like This We Are Moving To Morecambe

2011-05-17T06:01:00.001-07:00

If It Carries On Like This We Are Moving To Morecambe by The Fierce And The Dead

A couple of posts ago I mentioned that this album is coming, and yesterday it was released in its entirety. I’ve had the chance to listen to Flint and 10x10 before the full release was made available. What you will read today is a blow-by-blow as I listen through the album. This will be the first time for every song apart from Flint and 10x10. So if what I say doesn’t sound completely thought-through, it’s because it probably isn’t. Bear with me. I’m trying a slightly new avenue here.

Quick background. Matt Stevens, who I’ve blogged about a couple of times, is the guitar-spoke in this three spoke wheel of progressive music. The other two guys I don’t know well musically (or otherwise), except that Kevin Freazy is also the guy in the control room for Matt’s Ghost album.

Also note that I have been listening to Audioslave before listening to this, so excuse me if I’m still tuned into a hyperdrive guitar-player; Tom Morello, but I’ll do my best to stay objective! Oh – and my player is on shuffle, so we’ll be hopping around.

The Wait, track 3.

Arpeggio style melodic ballad. Really liking the tone of the guitar (think Coldplay), and waiting for the vocals to kick in, every now and again. Gotta remember this is an instrumental outfit! Beautiful.

Andy Fox, track 10.

I’m still not sure how one chooses a name for an instrumental track, so I’m hoping to find a clue here. Piano. Good. Note – it’s interesting how someone’s solo album can have a completely different feel than a collaboration, where he is still the main melodic element. The good think about this as a ambient track is that there is enough texture and shape to the melody to keep one interested, as some ambient genres are nothing but sound thrown in a mixer. I get a distinct Pink Floyd feel here. It builds and builds into a moody, dark guitar track. Could work very well in a psycho drama as a soundtrack, or just for those weird Sunday afternoons. Andy Fox must be a strange guy.

Part 2, Track 2

Good old 2/4 with root-bass, with a 4-chord progression intro. Hey, 40 years of rock can’t be wrong. Foot’s tapping. Matt’s arpeggio’s coming through. I’ve decided he plays a Telecaster, but I can be wrong. Again, just slightly out of key chord-progessions-ala-Sting or cross-over rock-jazz. It keeps the listener on edge, and also warns of the impending crescendo of rock at 02:10. Lovely stuff. And kicking live drumming. I’m so glad there are ambient bands with live drummers! There’s no discernable melody to these songs, per se, yet it keeps you listening.

Woodchip, Track 8

Ok. They have a synth.

10x10, Track 9

Mid-tempo rock arpeggios. This could possibly define their sound, with added jazz sensibilities. But the beat will get the rockers listening. Slightly angst-filled arpeggios goes into a awesome 80’s progressive electronica vibe, interlaced with rock. Good playing by all involved, but so reserved and mature, it’s not even funny. That main lick is seriously catchy, without getting annoying. Close to the top track so far.

Hotel No. 6, Track 5

It’s ambient guitar sounds. Take your smack, or drink your coffee or get your fix on this. Or meditate and elevate and all that. This tune is perfect for that. It’s eerily beautiful, seriously.

Flint, Track 1

Ok, something big is coming. A crescendo that keeps going. Almost white sound, with dreamy guitar sounds floating in the upper areas of the spectrum… Then some bass. I like that, it gets the song grounded. Aha. Almost dance beat kicking in with gorgeous guitar lick to match. Pretty rad. It moves into a middle 8 where the bass goes all-out overdrive, and the rest remains child-friendly clean sounds. Clever. Foot-tapping so far.

Daddies Little Helper, Track 7

The moment the song starts I think “Police”, and more specifically, “Andy Summers”. A great upbeat tune, with beautiful melodies, and hooohah! , a tenor sax/clarinet thrown in. Lovely stuff. Clever, and properly into some New York jazz territories, with a flair of English guitar rock. Gorgeous song. Three quarters through it hits experimental notes again with sounds and quirkiness, but it works. Lekker tune.

Landcrab, Track 6

Holy. Enter their hard-rock prog roots. Almost industrial sounding bass and drums. Fast too! This is a seriously kicking rock tune. I can’t help but want Matt to kick into a nice “clean” solo, rather than the obscured, low-down sound in the mix, but that’s just me. And it’s short. I really think this song had a lot to give, if Matt could kick up some dirt here with a nasty solo.

H.R. , Track 4

“Radiohead” comes to mind. Neurotic progression over clean bass and drums. It progresses to a heavier edge and end. Again, good tune.

In conclusion I have to say that the average guy who doesn’t like instrumental rock, or ambient music, would probably be ambivalent about this album to start of with, but I have to say, this is as accessible as it’s gonna get for a lot of people. Beautiful progressions integrated with dissonance, where appropriate, being very progressive, yet at the same time steering away from being different for the sake of being different. Mature music, for sure.

I would add that I would mind a break-away melodic guitar solo or even ambient sounding vocals here and there, as there is a limit to how many tunes the band can turn out with this specific recipe. Having said that, this is a great album, and you’ll do well to check it out.

About the title: for those not familiar with it, Morecambe is a town in North England. Not having been there, it’s not quite possible for me to ascertain if there is a serious pun in there, or a punch-line, but I like the title nonetheless.

Dustland Express - Demo

2011-05-05T00:35:00.001-07:00

Ok, so if this is the demo, what can we expect from the album? The album was released 1 Dec 2009 already, but I tend to not follow the latest hottest and take my time to scour the internet for new releases.

I was quite keen to hear that the boys from Maninsuit have morphed into a new outfit. I thoroughly enjoyed the good old metal edge of Maninsuit, so I was expecting something similar. Well, if quality musicianship is what I was after, I found that here.

Dustland Express departs rather radically from the previous style, and takes on electronica in a big way, with the complimentary hard-edge guitar work and high-angst vocals one might expect from rockers. The only thing is, here a proper cross over is achieved. Often times cross-over music ends up being neither here nor there, where these guys have already on their demo found an identifiable style, that stays more or less consistent through the album. Often, cross-over debuts sounds like guys throwing everything they own into a mixer and finds songs in there. Here a very mature thread is taken through songs that vary considerably, yet maintain direction.

Oh, before I go on… the album is available for free/pay-what-you-want download.

A criticism is probably expected in any review, and as I tend to review things I like, I can keep it to a minimum. Faster and more “intense” sound seems to suit them better than slower, almost hip-hop patterning.

Please check these guys out, well worth the effort. Also, they’re a South African outfit, based in Cape Town, so if you reside around here, try and catch them live.

Demo by Dustland Express

Interview: Matt Stevens

2011-03-31T03:38:00.001-07:00

So, I’ve finally gotten down to what I want to do with this site, and that’s also giving you some info on the artists themselves, by means of an interview with yours truly. First up is loop-guitar maestro, Matt Stevens. I have reviewed 2 of his albums on the site, and with his side project, The Fierce and the Dead, also making waves online, I thought it would be a great place to start our interviews. Apart from that, he’s one of the first guys to make the “pay-what-you-want-even-nothing”-model of music distribution work.

1. Which was the first guitarist/song/album that made sense and inspired you to play guitar, or did you first aspire to as a guitarist?
I wanted to be Slash when I heard Guns N Roses in 1988, like every other metal kid. Amazing band, they changed my life, shame it all went horribly wrong so quickly for them.
2. If you had to be left on an island with an ipod and a choice of three bands, who would you have on the ipod?
OK. King Crimson, cause there is so much of it so I won't get bored, The Beatles for the best songs ever written and The Smiths - I love Johnny Marr's guitar playing.
3. How do you compose? Is it jam, melody, chord- or theoretical?
Normally chords but lately more melodies. I normally come across chord progressions when I'm watching TV or doing something else to be honest. I love chords, love inversions, trying to find different ways to move around. Once I get going I get really into writing songs, sometimes its quick, sometimes it takes years.
4. Would you ever sing on an album?
I'm coming round to the idea. I want my mate Derek to sing on a song soon and my friend Kevin Feazey does backing vocals to a guitar "lead vocal" on one song on the new album thats out later this year. So we shall see.....
5. How important will album artwork be in the new digital era? Do you think this will be a culture/experience that’ll be lost to the current and next generation? Lying on the couch, listening to the CD, reading the lyrics/checking out the cover art?
The reason I do digipack CDs of my music is because I like packaging, I was the kid reading the CD inlay and vinyl double album. I remember all those great old metal albums and I'd consume every detail of every Iron Maiden record cover. The reality is people consume music in different ways now, some people just listen to music streaming on Spotify or on Youtube, some download legally or illegally. Its just the way it is, maybe it makes less sense to release albums now, perhaps singles are a better option? Nobody knows the answer and it varies from band to band, artist to artist.
6. What software do you use to do your demos? Know of any really cool free apps for aspiring songwriters to use to compose music?
I use Garageband, which is free and great but Mac only. Its great for just chucking stuff down. For the electronic project I played on, Yonks, we used Reaper which is an amazing piece of software. Reaper is free as well.
7. What guitars do you own/play?
Two main ones an old Ibanez acoustic guitar which is knackered with a hole in it, it sounds great though. I put an LR Baggs pickup in it and I'm really pleased with it. The other guitar is a Telecaster, a mexican one that I use for the Fierce And The Dead which has a vey specific sound that I like. I really cuts through, I run it through a transistor Fender amp.
8. Do you have a favourite song from your albums? One that you just never get tired of playing? Kirk Hammet of Metallica once said he dreads “Seek and Destroy” in every show, since it’s been done 10 000 times, but others he can play every night.
My favourite to play is Big Sky, I just like the way it builds and builds up and up.
I did get sick of Burning Bandstands for a while just because I've been playing it for 5 years and all that. I get fed up with them sometimes, but I'm proud of the catalogue of songs, it took me years to get 30 or so songs I like. Its such a great thing to have an audience who wants to hear them and I'm very grateful for that, I'm lucky really.
9. Where do you see yourself in 5 years? Touring, abroad, festivals? Or would you like to maintain an exclusive following, almost as a muso to musos? Online gigs, advertising revenue driven?
I'm not sure really. The next record will be the last loop/acoustic guitar album as I don't want to repeat myself. I'd like to do a year of gigging next year and make a live DVD/CD and then thats the end of that really. After that I want to do more of the electric stuff, playing with a band perhaps. I'm not sure really - I might wake up tomorrow and want to do more acoustic but I don't want to compromise the music, I want to keep moving and not bore myself or the audience. The online gigs won't continue forever either, I would like to work on films really, to license the music, that would be really cool.
I would love to tour internationally at some point and I've been offered some cool gigs, just need to make it work financially really. One day!
10. Apart from creative composition, do you dabble in other forms of “commercial” music, like sound-tracks, licensing etc?
Not much so far, I wrote the soundtrack to the short film Daddy's Little Helper by my friend Dan Wilson and his film won all sorts of awards. He was a lovely fella Dan, he sadly passed away last year. I'd love to do more of that, just looking for the right project really.
11. If you had all the budget in the world, who would you like to produce/direct a music video for you?
Um, not sure. The obvious one is David Lynch but something animated would be very cool, like an Anime type thing, I'd really like to do that.
12. What did you do before you were a pro muso?
I worked in music retail and I loved it for the most part and I miss being part of a team. The music retail industry is pretty much dead and its no longer required as digital distribution pretty much cuts out the need for CD retailers. Musicians never made much from retail in shops, it all went to recoup record deals or pay the retailers, when people buy CD's in record shops they would be amazed to hear how much the artists actually gets, its virtually nothing.
13. Beer or wine?
I love Beer and Wine but I've given up booze for lent so sadly neither. Looking forward to drinking again when I do though.
14. Curry or Pasta?
I like both but Curry is great, fact. Mmm Curry.
15. Worst experience on stage?
I used to play in metal bands and we played at a restaurant once. We had no idea and it didn't go well. No one wants Celtic Frost with their romantic meal.

Stop Motion - Aleksei Chistilin

2011-03-24T01:48:00.000-07:00

Royalty-free music for professional licensing

I'm not a huge fan of ambient music, but I must say, having this baby on in the background while working is a soother. Here and there the music veers toward slightly too sentimental for me, but generally, it's a great piece of music, with great areas of shade and light.

I don't actually know how to crit this album, so I'm gonna leave it up to you for now.

Radiohead album out

2011-02-16T03:16:00.001-08:00

Go see for yourself: http://www.thekingoflimbs.com/DIGBP.htm

Get some free music from the Strokes!

2011-02-09T12:20:00.001-08:00

I haven’t listened to it yet, so watch this space, in the meantime, go take them at their offer and download!!

Metallica - Wherever I May Roam(S&M)

2011-01-15T03:00:00.000-08:00

This is too awesome not too share.

DragonForce - Heroes of Our Time (HD Official Video)

2010-11-15T00:54:00.000-08:00

No so much a review as a discovery, for me, at least.

Such unashamed guitar pyrotechnics, strong chorus's, feel-good and oomph, it feels like I've died and gone to the 80's, with better sound and production, and better songs. Great band. Don't know much about them yet, except that dual guitar interplay is just too cool. Last memorable time I saw this was a live recording of Hotel California by the Eagles, in 1971 or something.

Not having listened to much of the music, my concern wouldbe that the lyrics are hidden. I think the vocalist deserves a bit more attention, and whether they can diversify their sound. Anyways, I'm looking forward to figure it out!

I can because it’s my party

2010-09-01T06:33:00.001-07:00

This is my blog, so I can. Please go download, for free, or pay-what-you-want for my first album, burn it to disc, give it to your mates… and write a review for me in the comment section.

First things I would do differently now (the album was released 2006).

I’ll sing better. Way better.

I’ll be more agressive with my guitars.

Who cares. You tell me.

Matt Stevens – Ghost

2010-08-27T01:37:00.001-07:00

I warned you a while back of the new album of Matt that’s out, and since I’ve dragged my feet a bit in sitting down to some reviewing.

Well, if you’re asking, who is he, I reviewed his debut album, Echo, almost a year back. And since then this man has put the moves on the freeconomy movement in music, getting reviewed all over the blogosphere and serious online music sites (think GuitarPlayer.com), making the lines buzz with downloads of his albums, and generally building a solid community of disciples through his Free Sunday Noodles, his mailing list and online community.

(Download the album here, on the pay-what-you-want, share-it-with-your-friends-freeconomy-model, but I suggest you give the man some money for his effort)

So what’s different from Echo, that in its own way dripped with indie-savvy and I-used-to-be-a-metal-head-but-lost-my-band-driven acoustic guitar angst, like found on Alice in Chains Unplugged? The observations I made then, which I since came to regret, was because the more I listened to the man, about his picking style, and all other stuff, I couldn’t see vision yet. Why do I now willingly eat my words? Well, because in Ghost, he shows us where he’s been aiming. He shows where his lack of resources on the first album, forced him to go, then, but now, with some serious production, and a bird flipped to the purist-loop-guitar-only-oh-my-word-you-can’t-use-pedals-or-have-drums-or-overdubs-oh-how-could-you-you-traitor-community and made and album or trippy, dark, solid, music.

On Echo our man Matt was rhythm-guitar heavy, which is cool, especially if you only have your acoustic to cover all the basis, leaving us with a folksy after-taste, rock sensibilities and white jazz lead. On Ghost, Matt seems older, more mature, more relaxed. Maybe it has to do with his back injury that’s left him blogging from the flatness of his back, playing guitar by the sounds of it, propped up against pillows and such art-making discomforts. Imagine Dave Matthews doing his solo album “Some Devil”. Same guy, different hair-style.

His arpeggio-style becomes more pronounced, forming the base of a more trippy feel, ambient and less jumpy. Not to mention the uncountable time-signatures the man employs. Let’s say he does that intentionally, just for the sake of the review. It’s hard to believe someone planning a 7 and 2/3 / 4 beat, though. Not really on there, but sounds like it. Now what makes that even more impressive is that he manages to flow his songs through unusual time-signatures, without letting the listener feel that weird sense of discomfort a Frank Zappy for instance left you with, or even Dave Matthews Band sometimes, where you find it hard to drum along on your car’s dashboard as you’re desperately trying to find the base and back beat.

Before I get into the songs themselves: what has really worked well for him, and I must confess I was afraid that he’d loose his “purity” as well, is his employment of bass, drums, sound-effects, serious awesome pedals and production. He has catapulted his sound into the sphere of serious alternative jazz, ambient, whatever. Serious music. Stop what you’re doing and ask some next to you – who’s THAT? – serious. All of us lucky enough to have discovered this man early on on last.fm, myspace, twitter, etc, and have managed to exchange some pleasantries, are gonna hold onto those memories as name-drop-opportunities of note, for one day at a cocktail bar. We’re gonna say stuff like: yah, me and Matt go way back, to the beginning of social media, like, when he was like struggling along, but we haven’t been speaking much lately, with him doing his world tour and all.

Do I sound like I’m kissing butt yet? Well, if not I’m gonna try harder, because I want a signed copy of this CD.

The songs I’m gonna review just on feel and try and leave my own thoughts on playing aside, because, actually, he’s a better player than I am.

Into the Sea

It starts like a continuation of Echo, loop solid, arpeggio, lead signatures, feeling nostalgic with just a bit of diminished 5th paranoia creeping in. Than in the background you detect a very distinct sound of looped beat, and…. a shaker? Mmm, he’s leading you into his new style gently. The tune starts taking on a rock feel, you can tap your feet, still nicely layered loop-stuff, but with a hard rock feel, but acoustic and all. But, not having listened to it closely, you might still feel, ok, I remember this…. Ok, but still looking for the new feel.

Big Sky

No matter what you might say about American prime-time, –7th-Heaven, goodie-2-shoes drama and sitcom, they often have the most catchy folk-country-guitar soundtracks, with the most intense feel-good factor you can imagine. Enter Big Sky. I solid jangling rhythm, great upbeat riff, modular mad runs, but maintaining an awesome happy, I-can-do-this, let’s-close-the-movie-out-with-this-song-feel. It’s the first time I’ve heard Matt play a relatively happy song. The pain-killers for his back must’ve been working. Still, a great loop-guitar-tune. Given the opportunity I can write some lyrics for my church’s worship on this. It just won’t sound as cool. Ok, and enter lots more sound-effects, ending in a heroin-like daze of guitar sound.

Eleven

Glockenspiel!!! Ok, the first very obvious use of another instrument (or maybe he has a glock-sound-pedal). Again, arpeggio, jazz guitar feel lead and tone. Beautiful fast repetitive arpeggio and hook keeps you listening. You think – I’ll use this as a sound-track to my new flash-website.

Draw

Ok, drums and bass. It’s here. 70’s cop movie, fly-over view of the city of San Francisco. That’s what I’m thinking when I hear this. Did the man have funk in his arsenal? I didn’t realize. Oh, no, I was mistaken, it’s just the bass, it falls back into atmospheric soundscaping. Or no, it’s back at beatsy goodness. My first criticism arrives – purely subjective – I wouldn’t mind him getting another tone for his acoustic lead. The song takes us to a multi-layered totally trippy ending.

Burnt out Car

1979, Smashing Pumpkins. The very first thing that I think. Then, what inspired him to name a relatively happy song after a wreck? Well, it takes nothing away from the tune. Great, folksy, jazzy, feel-good, guitar basics. For him basic anyways. Great catchy vibes. And the obligatory signature arpeggio break, with some strange chord-progressions, showing his love for prog rock.

Lake Man

There’s a South African guitar-maestro, Mauritz Lotz, that brought out an album in the 90’s called “Earth Tones”. To date, in my mind, an album that’ll make the Satriani’s of the world sit up and take notice. He’s cut from that virtuoso cloth, but who respect the silences between notes. This is what I thought when I heard this. A beautiful tune, with drum loops bass and just a simple, beautiful melody. Restricted and stripped of the desire to impress with fast-running leads. Just a really, eerie, beautiful song. Read your Michael Connelly books while listening to this. You’ll break up with your girl-friend just to be able to listen to this with your whole mind. (Hehe, ok, that’s a bit too much, but it’s a cool thought). Love the way he’s started playing around with pedals. A tad worried about the guitar-body and fret-board noise one can hear. He seems to be heavy on his fret-board. Some residual noise suggests he plucks really hard. The engineer must watch out for that. Other than that, class song.

Glide

Again, some folksy, major-chord wholesomeness. And a bell or glock. One of those tunes you play on your guitar to make a girl fall in love with you. It says you’re a guitarist that doesn’t just drink beer and hang out with drummers, you’re sensitive. And all the guys say nothing, cuz they actually love this tune and have it on their ipod. It makes you smile. It’s a great tune. Catchier than a cold in a crowded elevator.

8.19

Ok, that shuffle rhythm is to me, one of Matt’s thumb-prints. So the song starts as an Echo tune for me. I think for as long as he plays, he’ll write tunes that sound a bit like this. Lucky for him, he could do worse. And then…, at 3:47 he does what I’ve been feeling, waiting for, desiring: the drums kick in and I can bob my head. He’s much more of a groover than any other jazz-guitarist I’ve heard. I just wish the drums could come in earlier, and some overdrive, distorted rhythm electric maybe? One crit – lots of fret noise or frequency distortion.

Ghost

Title tracks tend to suggest which song is the artist’s favourite. The riff does fall into the prog rock feel…. Mmm, some nostalgia, possibly? Big stadium crowd, black clothes and pyro’s show, with a black guitar and metal-salutes? But then he adds organ sounds, French folk instrumentation, to get rid of that. Does he listen to Metallica as he’s composing this? I can imagine that. But it’s acoustic. And it sways with a calming 6/8 signature. Scary. It is a ghost song. It sounds like those riffs you start to play on your guitar and feel compelled to keep on playing for hours on end.

Moondial

He reassures us he is still the old Matt, with thumb-print melodic lines, and the glock, which seems to mark this album. The song has a bit more classical influences coursing through the lines, but the signature 5 note hooks permeating it. It’s still Matt. And he’s still a loop-guitarist. Don’t despair. But just to make sure you remember him, let’s just throw some killer drum beats in there.

I’m really interested what’s gonna happen around album 3. He’s done the anthem now. This is the defining act, I think, against we’re gonna measure him from now on. Feel the pressure, Matt. Send me a CD, Matt.

Make your own instrument.

2010-07-16T00:36:00.001-07:00

OK, this is not a MP3 review – but before you go thinking luthiers are the only real lumberjacks to be allowed to mix wood with music, go see what this dude has done. A 30-string acoustic guitar/hurdy gurdi thing that looks like a weavers-loom and sounds like a bunch of cellos.

http://lumberjocks.com/projects/34519

Opportunity to record with Linkin Park!!

2010-07-13T05:42:00.001-07:00

Butterfly w plastow prosser & mccullough by David Toule

2010-06-10T00:55:00.000-07:00

this is a guy I met a year or two ago on Myspace. Then he was only playing guitar (and already serious guitar) for 2 years, and was 18 years old. Not a review, just a heads up on a really cool muso.

Butterfly w plastow prosser & mccullough by David Toule

Fresh Body Shop – Director’s Cut

2010-05-25T06:07:00.001-07:00

Free music for professional licensing

Not often do you get full production FREE albums available. Well, Fresh Body Shop does just that, and with some style.

Between Radiohead and Muse on acoustic guitars and indie sensibilities you’ll find Frenchman “Pedro”, who sits behind this project. Director’s Cut is but one of his albums, but quite a fresh one at that.

The danger with acoustic albums, or one’s relying on acoustic guitars strummed, along with drums etc, is that it can easily become a bit monotonous, samey samey. But in this case the beat, rhythms etc gets switched along quite nicely. It keeps you interested from the beginning to end.

The raspy voice thing works very well here.

Criticism? Yeah, it’s a darkish, humourless sound. It’s great as background, but when you go and concentrate on the music, musically you’ll find more than enough, but atmospherically it does sit a bit in the minor key (for me), but that obviously depends on how you react to different types of music.

All in all – great album.

New/Old from Josh Woodward

2010-05-23T22:08:00.001-07:00

Go and grab this from his site. An old remixed 2005 album: as usual, good quality stuff.

Will get around to reviewing it soon. In the meantime:

Tristan Waterkeyn

2010-05-18T06:32:00.001-07:00

This album has been out a while… and I have reviewed it elsewhere…. so herewith a link for a free download. Tristan has gone the virtual busking route as well: http://www.mediafire.com/?ugw0iotcuhd

Enjoy!

Another Matt Stevens Album Out

2010-05-04T11:48:00.001-07:00

Ok, so there’s a new Matt Stevens album out shortly after I reviewed his previous one. I haven’t had a listen yet, BUT I’ll let you know as soon as I have. In the meantime, make up your own mind so long.

You can buy the copy for 5GBP or more, or get the mp3’s for free or more. You decide.

Matt Stevens - Echo

2010-03-26T00:56:00.001-07:00

Ok, so after my TFATD review, people asked me, so who Matt Stevens is. Well, let me introduce you. He's a UK guitarist. He's one of the artists who's taken new media and ran with it. Interesting how the more viral and digital music gets in distribution, the more important the live show becomes, and he seems to be one of those. Play live and get your mp3's out there. I think I must've connected with him on about 7 different social media platforms.I've had the opportunity to see him live from his living room on ustream, and also to have a number of his demo tracks, but he's been a busy man, and he recorded his debut album:

So, back to the music. If you're into Rodrigo y Gabriella and dual guitar playing, this might just be your thing. The only difference is that he is a "live"-loop guitarist, meaning he "dubs" and "layers" guitar tracks while he plays live, by using a sampler and all the controlling happens by foot-pedal. Really really cool for the technophiles. And this allows him to play like a one man band.

Now again, back to the music. The difference between him and Rodrigo y Gabriella would be that his sound is way more European, and with lots more jazz, with nice modular runs and changes. He seems to get inspiration from Latin to rock, but has found himself a cradle along the lines of guitar jazz/lounge/rock. On an acoustic guitar.

With songs like "Flies in the basement" rock is more pronounced but with "Moondial" the more trippy elements of his compositions come through. It's amazing how much percussion and sound variations are available from a single guitar. If you like instrumental guitar music, but with structure and direction (looping forces this upon composition), this is your thing, since he doesn't blindly noodle on these numbers like jazz guitarists have a tendency to do.

To more critical appraisal: What Matt does better, in my opinion, than a Rodrigo y Gabriella outfit, is that he can compose songs that run off the back-beat and the bass beat, or front foot and back foot, like I like to put it. "Flies in the basement" runs of the front foot, having a driving Latin/Rocock sort of feel, where songs like "Spencer Park" reverts back to a bit more loungy, though not slow, back foot feel. With Rodrigo y Gabriella - and I love them - they seem to have one Latin beat that only changes tempo. Matt changes tempo and rhythm quite comfortably, literally moving his songs from genre to genre.

One criticism I might have is that he seems to rely heavily on certain licks and hooks, which you'll find dispersed through most of his songs. One notably would be a quick arpeggio out of the minor to start a song. This is very effective in giving your lead some oomph, but to me it seems like he could do well to maybe employ more variation. His melodies are rock solid, but the connecting licks seem limited in variation. Hearing him play more drones would be interesting. However, you would need to listen as a guitarist to hear this.

Now to a point of personal preference on his lead playing. Like Eric Clapton he seems to prefer hitting each note, where I am a big fan of hammer-on playing, with the left hand doing all the work, probably more like an 80's guitarist. Having said that, the note plucking comes from the tradition of blues-playing, where in order to be heard over the other instruments, blues guitarist had to literally pluck the strings hard. This was evident in the playing of Leadbelly etc, but has since become a style of playing. A lot of Matt's sound is from there, it seems. Also, I would love to hear him play lead fingerstyle, for a softer string sound - but I digress, these are simply thoughts. I'm not here to produce, but to review.

Conclusion: It's time more musicians started being this fearless. This is a great album. If you're not into jazz, this might just be the backdoor in. Accessible, yet distinct, a niche in the music market, I suggest you go and grab this album at the link above. And then you SA people: petition Rashad Lombard at the Cape Town Jazz Festival to bring Matt over!

The Fierce and The Dead

2010-03-23T02:19:00.001-07:00

So, the loop-guitar maestro, Matt Stevens, has picked up the electric guitar, in this collaboration with two other musicians, and come up with a 19 minute tour de force of progressive and experimental instrumental rock. Long instrumental songs always run the risk of losing my interest fairly quickly, but in this particular case, the soundscape kept me mesmerized through-out. As someone who hates being able to predict the next turn, hook or line, this was refreshing to say the least. It seems like 3 muso's got together and said: Let's do what we want to do. If people like it, they'll pay for it, or not, but they'll tell others, and if they don't like it, who cares, we like it.

I doubt one will ever see this performed live, as the composition of the whole things seems rather random and organic, but then again, watching rock instrumental operas are best left for lying in a couch. Or in this case, on your mp3-player, eyes closed, visualising whatever part 1 of the The Fierce and the Dead may look like.

BTW - it sit's like a charm in my ear when I work - which says a lot for prog rock.

Negatives: it's long. I can listen to this track only once every so often, due the intricate nature thereof, and also because it lacks hook and lick, but one has to consider the intent and context. Most people will not particularly like this, I'm sure, as I think you might need to be a muso or into this type of thing to truly enjoy it.

You can find them at: www.fierceandthedead.com or pay-what-you-want (including free) on the link supplied above. If you like it, please share it and support this type of music distribution and the artists putting there hearts out there.

The Fierce and the Dead

2010-03-02T04:15:00.001-08:00

From loop-guitar maestro, Matt Stevens, a side project, born out of his sessions for his debut album Echo. If you're into experimental music, bordering on jazz, ambient and chill, this is a great alternative to what you might have lying around.

Also, as is Matt's work, this album is available as "pay what you feel like" concept, where you make an offer for the music, and literally pay what you feel like. Click on the player above to be routed to the website. I'm not gonna crit this one. I haven't listened to the full 19 minutes yet!

Get this free tune here:

2010-03-02T01:57:00.001-08:00

A free tune from the Parlotones here:

http://www.caxtonmags.co.za/index.php?p[IGcms_nodes][IGcms_nodesUID]=e91a3ffb887a601005144552c03f2b3a

the code is: rrparlotones to get the tune.

You gotta like free music. You always get more than what you pay for.

Josh Woodward

2009-07-22T05:32:00.001-07:00

So here is a guy that distributes most of his tunes FOR FREE! His electric numbers are best not discussed here, but where this guy is a jewel is in his acoustic numbers. In songs like "Ships", he's possibly a bit breathy, and raw (I don't like hearing mouth noises in the mic, personally), but on "Good to Go", "I'm letting go", "Swansong", "Under the stairs" and "Mesmerized", he shows you what can be done folk style.

My biggest criticism would be vocal delivery, but then, in this style of music, it is acceptable, and even necessary, to have slightly raspy, and often, not well-breathed, vocal executions. However, the moment he attempts a quicker song, his voice delivery regulates and it's sounding pretty nice.

In terms of lyrical content, one can hardly point a finger here. "Under the stairs" is HAUNTING, and FREAKY!!! A gentle ballad about making a guy pay in a chair under the stairs typically gets a 9.o on the weird-crap-o-meter, only, this ain't crap, this is a great song! When the horror film community gets a hold of this song, you'll be hearing a lot more ballads on SAW and the like.

His instrumentation, as long as it leans toward the folk-acoustic genre, is impeccable, with great grooves and supporting sounds. I found his electric sound a bit thin, and his voice not quite holding its own there.

In general, this is a very exciting artist that you must be hearing more off. Go and find him here:

LAST FM

ILIKE

Ok - so this has nothing to do with the Music

2009-07-15T13:31:00.001-07:00

But here is a really neat little South African news service I've been following:

Go check it out - it's in my opinion uncluttered, concise, neat.

Free Coldplay Album

2009-05-19T07:22:00.001-07:00

Coldplay has made their new live album "left right left right left" available for free download from their site:

http://www.coldplay.com/lrlrl/lr.php

Enjoy.

Jered Tanner for President - June

2009-03-27T00:34:00.001-07:00

http://www.myspace.com/jeredtanner4pres

Now here is a tune, and an artist worth noting. If you can keep somebody's attention solid during an acoustic performance, you've got the chops.

"June" is the track by this project (although to me it seems like one dude) under scrutiny today.

Let's get the crits out of the way. I get the sense during the song that some of the "peculiarities" of the singers voice is almost affected, and not a natural product of his singing and breathing, BUT as always, one needs to put this in context of the style of music, his song and the like. Certainly belting is not required in this song, so maybe slight forcing of ones vocal chords through the mid (throat) to high (nasal) registries is acceptable. However, this criticism only comes after having listened to the tune about a dozen times. My guess is first time listeners would be more than pleased and engaged.

Lyrically this is a beautiful thing, although the metaphor not always easy to follow, but just damned 'nice'. Not like a cup of tea nice, but really nice. Almost like a happy Walt Whitman. For fear of publishing copyright infringement reprisals I will neglect to put some of the lyrics here, but lemme just say, whether June is a girl or a month or a time in his life, she must be damned fine, if a bit complicated.

Delivering his lyrics with untraditional almost rap/rhyme-like back beat sensibilities in the long sentences break the fairly straight -forward beat and rhythm of the song.... and this is a ridiculously long sentence without commas. Most great folk singers have this in their arsenal, like Jack Johnson, except Jered Tanner for President does not run out of breath in the middle of it and he does deliver it with a pure voice, no throaty whispery huskiness. (For the record: I think Jack Johnson is a legend).

My final thoughts? A killer tune. What would I like to see? A bit more chest register singing from a singer who is under-utilising the full range of his voice.

Oh, the guitar playing is solid, although there is some fret-noice on the strings, which is the guitar, not the player. The question beckons however: how many songs will still be made from that opening chord progression? I personally have about 3...

Christian Summer

2008-12-05T00:13:00.001-08:00

http://www.ilike.com/artist/christian+summer

http://apps.facebook.com/ilike/artist/christian+summer

Having discovered this guy at Garageband, I've had a good time listening to his tunes.

"Take me Home" would be the focus of my review - what a song! But first with my criticisms. It sounds live, but I think his voice could've carried better over a drier recording. He has enough texture and timbre to carry the song without the echo/reverb. But that's purely technical. I am afraid that one might only be able to listen to about 5 of his songs, if one was focusing on the voice only, which tends to be high, but the songwriting more than makes up for it.

"Take me home" is a simple acoustic-vocal song, but with enough technical prowess, both vocally and guitar-wise, to keep any listener glued. Not just that, but it is delivered in a non-showy, functional way, keeping the focus and integrity that of sounding good.

Lyrically any folk-singer needs to know his stuff, and Christian Summer does not let us down here. A criticism that has been directed at me in the past, especially with the vocal/guitar format, is a lack of emotion in delivering lyrics, because of focusing on your playing too much. I can't say the same here. Syncopation is solid, with great delivery on both sides.

I'd really like to see this guy tear up the world in small-venue, exclusive ticket settings. I think he'll be a huge hit still.

John Mayer - Where the light is: Live in Los Angeles

2008-09-22T22:52:00.000-07:00

A seriously cool live album. I've always enjoyed artists showing us more than one way to skin a cat. One objection I have to a lot of concerts is the single wall of loud sound and guitars all the way through, with a single ballad here and there.

JM does something different. He starts off the show with his acoustic set-up, yup, 3 acoustic guitars, and some serious folksy plucking, picking, strumming and playing. "Daughters" absolutely shine in this format. Staying objective when it comes to good acoustic music is difficult for me, as I love the format a lot. My objection would be that if this is the start to a show, wasn't it a bit sedate? Shouldn't one move into this format, maybe half-way through the show? Anyways, is still reflects on JM's acoustic chops and got me into the album fairly convinced.

The album moves along at medium shuffle into the trio section, which at all accounts turns it into a blues concert. I'm very impressed by the full sound and awesome guitar-voice syncopation he achieves, considering he doesn't just playing along in open chords. My guess would be that this becomes the less listened to part of the album, as it is purely blues-rock, heavy solo-ing and serious guitar-hero pyrotechnics. These are also his less-known numbers, especially in this packaging, but "Bold Love" stand out as a winner. I can appreciate this, but have to confess, towards the last 2 numbers in this section, it became a bit much, and I was forwarding to the full band section.

The full band section ends with his better known sounds. This is where everything comes together. THis is probably what most people would've expected from his live album. Here I didn't find anything particularly outstanding other than the fact that this guy's chops are up, and he's a great performer.

What would I see as a highlight to the album?
His cover of the Tom Petty classic "Freefalling" on the acoustic set. Pure magic.

Really cool free download site

2008-06-11T06:29:00.001-07:00

Check out this site:

Just click on the button to download music for free, legally. The artists get paid for every download, sponsored by the individual advertisers on the site. Virgin Mobile are advertisers, so it'll give you an idea of the credibility. Music available are mainly South African, but some really awesome tracks available, from Tristan Waterkeyn's Private Beach to some great ditties from the Dirty Skirts.

Go check it out NOW and spread the love!

We're still at it...

2008-06-07T07:51:00.000-07:00

I apologize for the few entries the last while, but I've taken notice of some really cool artists I want to review. Life's been a tad crazy, but watch this space!

Dave Matthews - Some Devil

2008-04-06T02:24:00.001-07:00

Ok, so the album has been out for a while, but I only latched on to it recently. This is the solo offering from the man behind Dave Matthews BAND.

Without saying too much - I just wanted you to know about it - is that it is still signature DM songwriting, but with a different bunch of muso's around, Stephen Harris on production and notably Tim Reynolds on guitar. This album is BRILLIANT.

This probably doesn't qualify as a review, excuse me, but I'm just really excited about it. Maybe you can add your thoughts on it in comments?

Flat Stanley - Between 2 Worlds

2008-04-06T01:35:00.000-07:00

For all you people who haven't attended a Flat Stanley (named after the project) concert, or met one of the lads (Mac, Cinton or Neill), or been bombarded by their HI FLATSTANLEYERS!!!!! size 15 ARIAL font newsletters, or heard their music, these are some Cape Town locals bringing together some exciting tunes the last couple of years.

Mac and the men start the new offering off with Daytrippers. My initial fear with their new offering was that it might end up being a tad ponderous and slow again, like their previous offering, Of Secrets and Wine. That album had absolutely brilliant songs on it along the likes of Treading Air, Mowgli, Rain, Real Live Girl, but I felt after a thorough listening that the concentration of slow, finger picked songs and sensitive falsetto vocal deliveries was just a bit high. The faster songs stood out and seemed to be their hits at the time. Glad I was to see that Between 2 Worlds is a different kettle of fish. I would spitball that it is due to Neill and Mac adding more of their songs to the mix, as Clinton is a more fingerstyle orientated guitarist and the first album reflected it in his songs. Make no mistake, you can't beat the man on melody and hook. Not bad for a sport psychologist who has worked with the SA Olympic team and the Proteas...

I was also glad to see Neill (remember Flow?) pulling out his gold top Les Paul for some electric sounds again. Again the previous album was marked by such electric restraint that it almost sounded dull. That issue I would lay at the feet of producer Theo Crouse, who a rocker himself, probably tried to overcompensate to produce an album of acoustic pop melodies.

Paper Thin keeps the tempo up with very Brit-pop, almost Lightning Seeds type sounds. Song for the broken hearted gives us the electric treatment in the Soul Asylum veign and I Warrior reminds us that the boys have still their acoustic roots firmly planted.

My impression overall is that the dry production tone is kept (no wet reverby, echo-y,studio-esque effects), and when performing live, the band would probably do the album justice.

Outer Space ends the album, after coasting through some really digestable and nice tunes, to mark another album of high quality. For me, the album missed a Treading Air climax, but altogether is a more solid, and probably better offering than the debut. Good tunes, good songwriting, neat production and generally nothing to complain about, makes Between 2 Worlds a great album to buy, keep, and listen on the road between Loxton and Carnavon, when pondering your destiny, missing your girlfriend and whistling a nice tune flows together with the countryside and nicely plucked open chords, a bit of beat and it's all good attitude.

MP3s available at

Rhythm Online Music Store

Tait - So Many Ways

2008-01-27T23:44:00.000-08:00

Ok, so this album has been out a while, but the single She has been making waves (no pun intended) on the radio, and sports a stunning video. Having enjoyed the first album Back Seat Driver I was interested and very excited to see what Chris and the boys would come up with following an album that brought us hits like In these arms.

She opens the album with a bang. The first impression I had was that here is a slightly more polished production, a lttle liss rock 'n roll boogie and a bit more "oomph" in this offering, but one song is early days! Great guitar sounds permeate the song, which was welcome as the tone on some of the rockers on Back Seat Driver got a bit thin sometimes for my liking, but this is personal preference. This album has a lot of bottom-end and a bit more muscle.

As you proceed through the album, Tait's rocker roots are definitely well-presented, with Crazy standing out as a favourite. By the third or the fourth song another realisation takes place, and that is that Chris's vocals are either much better produced, or he has grown in that area, as his delivery is full, rounded and carries just the right amount of light and shade to bring the lyrics up to ones attention.

Fast-tracking to Beautiful Soul, a hauntingly beautiful ballad dedicated to Tait's late guitarist Quinton who was murdered about 2 years ago. The danger with a song like that is it could come across sentimental, and I'm always weary of dedicated offerings (no offense to Judaists or other religions), as the listener is always in a position of not really being able to judge the music freely, as such a song seems almost sacred. As a reviewer it wrenches my gut to judge a sincere ode to someone else, but in this case I can honestly say that I wouldn't change that song one bit, it is well written, well performed and a fantastic piece of music.

Now for the things I noticed that I would site as concerns. Tait's rocky offerings (bar one or 2) becomes almost filler material when compared to his slower, mid-tempo, slightly less guitar driven, more pop sound. So many ways, Cross the line and Ordinary day is the Tait I would like to encounter on the next album. Being a rocker at heart myself, this is not a preference thing, but Chris's voice, tone and songwriting seems to just suit a slightly more adult contemporary (Chris forgive me for that!) sound. Resemblance to Train aside, this is where his sound comes alive, and especially his songwriting is complemented by his band's sound. At live shows I have gotten the impression that with their rock numbers one encounters a single tone wall of sound, whereas his ballads and more textured offerings are immediately engaging and for a lack of a better word, better.

On one of Chris's myspace sites, he offers some of the demos that didn't make the cut for this album, and in my opinion, those songs would all have made it onto the album in the place of some of his rock numbers with the exception of She and one or 2 others.

My favourite song on the album would however be Cross the Line. This is where I think Tait is seriously happening.

In conclusion, this is another solid offering from a totally underpublicised act on the SA scene, a professional product that deserves much more in the media than it is getting. Tait is definitely deserving of a bigger following than it is currently enjoying, especially among the music buying public. To access his album and maybe buy one or 2 songs follow the ling below:

MP3s available at

Rhythm Online Music Store

Karen Zoid - Postmodern World

2008-01-08T02:46:00.000-08:00

The first all-English album from South Africa’s favourite rock-lady kicks off with the hit “Aeroplane Jane”, a up-tempo pop rocker that catches you with nifty hooks and riffs.

The title track is acoustic goodness followed by a reggae/ska-ish offering “Silly Town” and into the Edith Pfiaf like Pseudonym, showing a new angle on Zoid’s abilities and her strong, timbre rich voice.

Fast forwarding to Katherine Anne the spoken word sections over her voice is a fantastic touch, showing some real creative touch, although it is a bit dangerous, as spoken word sections on songs can suddenly take it into the cheesy country realm. She pulls through fairly successfully though.

Halfway through the album I’m still looking for an all-time anthem,… “Mama’s gonna sort you out” gives some edge to the album with some heavy riffing, but it still seems like the album is lacking a BIG melodic hit. So we continue…

The hard edge of the album does keep the feet stomping, with funk-like moments, allmost scat-like vocals and heavy rhythm, but melodically it seems like the songs don’t pick up. This is preference, and some will argue for, other against. Zoid’s voice is of such calibre in my opinion that bigger melodic ranges will take her songs into breathtaking from merely good at times. “Hold on to me” gets there in the verse sections, and one can sense a glimpse of true greatness coming through.

“You belong to me” is a new type of SA country, that deserves some more exploring from more bands.

In general I would make this as a solid offering from a solid artist, but I am looking for her to break free from a vocal and melodic mold that is still at this stage hampering her songwriting in my opinion. Her sales and support suggests that this is indeed a minor issue to others! Great work, at that. Preview and buy the album at the link below.

MP3s available at

Rhythm Online Music Store

SHINE - Chris Cameleon

2007-11-26T00:09:00.000-08:00

This is an album that grabbed me from the word "Blue", right through to "Nothing". Chris Cameleon achieves a new sound, without trying to obviously be different. His musical style flows as an extension from his persona, outlook on composition and collaboration with SA music industry heavy, Theo Crouse.

It must be noted that this album is a departure from anything he has released in Afrikaans, or with his monkey-punk outfit, Boo!. If you're looking for trademark Cameleon, you'll find it here, but with a different colour than "Ek herhaal jou", "7de Hemel" or vintage Boo!.

One criticism I might have is that at times the production becomes thin, almost midi-esque. This however can be seen as a style on its own, and thus a personal preference. With songs like "Blue", title-track "Shine" and "Machine", production is loud, arrangements full and colourful and gripping, but I sensed a bit of a lull in "Sad Heart". Even though it is a ballad, I felt the song rang empty and a great song was maybe shorthanded by thinnish production.

Chris Cameleon also has a flair for the dramatic, and none moreso than in title track "Shine", which has done well on the charts, and sports a great video. The lyrics is clear, illustrative and crescendos in a fantastic bridge section. This is definitely my track selection.

One also again is reminded that Chris Cameleon is not just a fantastic songwriter, but an accomplished instrumentalist. Listen to the bass-lines in "Nothing", or guitar-riffs in "Shine".

I suggest you go and preview the album and have a listen yourself.

MP3s available at

Rhythm Online Music Store

Reviewbru diggs this album, and is looking forward to the next English release from this colourful artist, but hopes to see some more authentic live recording sounds.