ALBUM REVIEW: COMPASS & KNIFE – THE SETTING OF THE OLD SUN

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Like any other genre, post-rock encompasses a vast array of spin offs and variations.  From the math centric to the ambient, the challenge for those of us with a need to categorize falls in the realm of discovering the correct word to depict both what we hear and how it makes us feel.  I’ve never necessarily been a fan of sticking genres labels to bands since the process seems to be fairly relative from person to person.  One listener’s post-rock is another person’s indie.  However, without descriptors an album review renders itself pointless.  Fortunately for me, Seattle’s Compass & Knife is incredibly proficient at getting right to the point.

Compass & Knife’s newest release, The Setting of the Old Sun, is skillfully written, masterfully performed, and down right good.  The quartet of polished musicians take little time to introduce themselves musically and for those looking for a straight forward, what you hear is what you get record, The Setting of the Old Sun is perfect.  From short ambient intros and bridges to uptempo, in your face choruses, the guys of Compass & Knife deliver a fantastic array of musicianship that is easily digested yet intriguing enough for more than one listen.

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The eight song, almost entirely instrumental album was released on November 17th, 2015, and in a short amount of time was able to garner enough respect to receive some album of the year recognition.  These accolades are absolutely deserved and appropriately administered as it’s blatantly obvious real thought and care went into the production of this record.  What makes this even more impressive is the fact they self-produced and self-recorded this album.

Some listeners might not take the time to explore the production notes of this album, but as someone who produces and records his own band, I can attest to the challenges and frustrations this process presents and am always curious to see who was behind the board.  When self-producing and self-recording, not only will your band be on trial for it’s writing aptness, but your ability to capture your band’s sound and present it as a finished product will also face relentless scrutiny.  While this approach is extremely fulfilling it can also be painstaking.  I don’t know how many times I’ve mixed my own music until my ears could no longer discern one guitar from the next.  When revisiting the final product months later, I’ve found myself wishing the snare was a decibel louder or that I’d cleaned up some mids in the guitars.  Thankfully, bassist Austin Patterson and guitarist Jordan Brokaw did a fantastic job producing and recording The Setting of the Old Sun and should be sleeping very well at night.

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The Broken Bow Sessions – Click Here to Watch

While each song is worthy of attention, the album’s finale, “Drowned in Desire”, clearly surpasses it’s predecessors.  Compass & Knife saved the best for last and exceeded my expectations by putting together an incredibly well thought out, well executed music video to showcase both their musical prowess and their conceptual capacity.  As we enter into an era where anyone can shoot a music video on their iPhone, it’s absolutely motivating to see a band put together an impressive visual to accompany their music.

Instrumentally based music is inherently open ended and it’s usually up to the listener to piece together their own storyline since no lyrical content exists to steer the narrative.  While “Drowned in Desire” can still be interpreted as the listener chooses, the music video adds a deeper dimension to the song that made me appreciate and enjoy the song even more.  And, once again, the fact that they filmed and edited the video themselves will forever keep Compass & Knife at the forefront of my list of remarkable, noteworthy DIY bands.

https://youtu.be/16YPo7hOJNU

For anyone looking for a great album to put on the stereo while working, or for a soundtrack to accompany a road trip, I highly recommend Compass & Knife’s The Setting of the Old Sun.

C.J. Blessum

Album Review: Ignite – A War Against You

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This album caught me off guard at first listen. I thought that Ignite were punk, bordering on melodic hardcore. But the first song “Begin Again” is straight up glam metal.

Don’t get me wrong, I’m not saying that this is a bad thing. It was just unexpected. Throughout A War Against You We hear soaring harmonies and bombastic riffs that are fun and infectious. Like a more epic Pennywise with searing guitar solos, which makes sense, seeing as vocalist Zoli Téglás also fronted Pennywise for a few years.

It’s been a decade since Ignite released Our Darkest Days (2006)so it is understandable that Ignite would have changed their sound since we heard them last. That said, it isn’t a complete departure from the Ignite we know. They have the speed and urgency of punk, crossed with the listenability  of stadium rock.

The band borrows from a range of genres to fuel their political charge. “This Is A War” commences with an intro riff that has filthy grungy guitar tone, before breaking into a fast gallop. “Oh No Not Again” musically gives a nod to Foo Fighters’ “My Hero” whilst delivering a message of unrest. Téglás’ vocals are as much power metal as they are punk rock. There is even a bit of a European flair brought into the OC punk band’s mix, with the album closing ballad “Work”, first sung in English, and later repeated in what I presume is Téglás’ native tongue of Hungarian.

Thematically, A War Against You is a war cry against war. Téglás addresses the very topical plight of refugees worldwide, something personally relevant to him and his family, who immigrated to America in the early 1960’s. There is also a definite eco-warrior buzz going on. Despite the serious topics, the music is still positive and uplifting, thanks to the vocal delivery style.

A War Against You is anthemic Cali-punk with both blistering attitude and soaring harmonies. And as odd as that sounds, it works.

For fans of: Rise Against, Nations Afire, Pennywise, H2O, Strike Anywhere

Joseph James

 

EP Review: Daniel Amedee – Everything Will Change

Daniel Amedee Everything will change
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Something caught me off-guard when I first listened to Daniel Amedee’s forthcoming EP, Everything Will Change. The opening riff is almost identical to one my band wrote for a song we played at Rockquest (a battle of the bands for New Zealand highschool students). While this is by no means an indicator of quality, it made me like the song due to its familiararity.

And to be honest, the entire EP is likable. It’s fairly low-key, but with interesting touches. I can’t tell what it is, but there is an ambient effect that reminds me of a chorus of birds during the first song. And there are other subtle touches hidden within the other songs – the reverberating glockenspiel in the chorus of “Let Love Out”, the trashy cymbal punctuating the verses in “Love Is Not Gone”, the lovely percussive beat in “Swimming Through The Unconscious Disconscience”- small elements that enhance the overall feel.

 

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Photo credit: Llamaryon

 

I love the deep bass that gives a warm tone to the songs. The opening title track features a drone that sounds like didgeridoo. It is clear that Amedee has put plenty of thought into how he uses rich timbres to colour his sound.

And that is what I think makes Everything will Change so endearing – the warmth and the obvious human elements. Amedee’s voice isn’t perfect, often wavering at times, but his singing style is both haunting and earnest. With a message of hope, and a reassuring feel, Amedee’s music is an affirming listen.

 

Joseph James


 

Everything Will Change release date: February 2, 2016

Daniel Amedee:     Website      Facebook     Twitter     Instagram       Soundcloud

 

 

Live Review: AC/DC at Westpac Stadium, Wellington

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AC/DC Rock or Bust World Tour

w/ Villainy and Shihad

Westpac Stadium, Wellington

Saturday 12 December

Shihad

Shihad have played the same set the past three times I’ve seen them play (Riwaka, and twice at Homegrown), drawing extensively from their latest album, FVEYIt was refreshing to see them play a more varied set this time, playing the more well known hits from throughout their catalogue. Although it was only half an hour long, there was no filler, and the crowd welcomed their boys home accordingly.

I remember on one drunken night during my teenage years I bumped into Shihad’s Jon Toogood in Courtney Place and began fangirling because he fronted one of my favourite bands. I remember asking what it was like opening for bands like Faith No More and AC/DC, with Toogood gushing about how it was such a surreal experience.

From how he was carrying on tonight, nothing has changed. He and drummer Tom Larkin had been suspended back in school for writing “AC/DC Rules!”graffiti in the school bathroom. And over two decades later, he still stands by that statement.

And the statement appeared to ring true from the moment the Aussie rock veterans came onstage. There was a cool animation on the screens showing astronauts landing on the moon, before an explosion sends a meteor through space. The crashing of the meteor and some pyrotechnics cued the start of the set, with the rockers kicking things off by playing title track “Rock or Bust”.

Technical Issues

Unfortunately things did go bust. The sound was pretty bad, and they actually stopped altogether to work out the difficulties after the second song. It wasn’t explained exactly what was happening, but we were left to wait in the cold wind and rain for over half an hour. Presumably some rain had affected the electrics? Frontman Brian Johnson explained that they didn’t want to proceed without things being perfect, but the wait was excessive. People even started booing.

https://www.youtube.com/watch?v=1XJkjVMk_oE

Back in Black, back on track

Finally, after a very long and wet wait, the band came back onstage to play their set. It’s hard to tell if the set was shortened due to the delays, but they covered nearly all the big hits that I expected them to play.

The show was as grand as you’d hope. The large devil-horned stage had neon scaffolding, screens on either side, and a wall of Marshall amps set up behind the band. Although they were used sparingly, the pyrotechnics added a great explosive touch, complemented by the many lights on and around the stage. Even the crowd supplied lights, because in the swaying sea of drunken bogans were thousands of flashing red devil horn headbands. The stage props also added to the fun. First a large bell was lowered for “Hells Bells”. Next we had a large inflatable Rosie, suggestively dressed and shaking to her song. But the best was the many cannons rolled out for the encore of “For Those About To Rock”, firing when Johnson ordered for a salute.

AC/DC is the band that has released the same album twenty something times, so you know what to expect. We had Angus hopping around in a schoolboy uniform, and Johnson screeching into the mic. The drums were basic but effective, and as much focus was placed on the showmanship as on the musicianship. Cannons were fired and solos were played. Fireworks and pyrotechnics added to the fun, and at the end of the day, despite the technical delays, we got the extravaganza that we’d come for.

Joseph James

ALBUM REVIEW: RED HANDS BLACK FEET – WE MUST FALL FOREVER IF WE SURVIVE

Red Hands Black Feet We Must Fall Forever if We Survive
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RED HANDS BLACK FEET - WE MUST FALL FOREVER IF WE SURVIVE band promo pic

Post-rock quartet Red Hands Black Feet from Boise, ID

Is it about the journey or the destination?  If I had to count on my fingers how many times I have had this age old debate I would need another set of hands.  Whether between bandmates while stranded with an overheated van in the middle of Washington or with friends at a casual get together, this argument always tends to find it’s way back into the discussion.  I’ve personally decided that it’s relative.  And yes, my conclusion is technically a destination that required a journey through thought which once again begs the question, which was more important?

Thankfully, Boise’s Red Hands Black Feet has written and released a new album that is all about the journey.  We Must Fall Forever If We Survive is the band’s second release and while the album is entirely instrumental, the underlying concept based around a space traveler’s struggle to stay adrift or return home adds a dimension that requires exploration.  Like well constructed chapter titles, each song title provides a starting point for listeners to delve into their own imagination and explore Red Hands Black Feet’s musical journey.

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I Leave You And The Earth Behind” kicks of the record and moves from quiet, well thought out ambience into heavily fuzzed out, rolling ambience that masterfully prepares you for the rest of the album.  After coming to understand the concept behind this album, one can’t help but begin to explore their own imagination as soft and subtle guitar work drifts passed you.  The song continues to build very patiently before launching into an all out overdriven blitz that resolves the song beautifully.

If I Let The Void In…” rolls in quickly with up tempo toms and aggressive guitars that eventually drop off into a bass driven, clean guitar groove.  Steady, systematic drumming carries this song until the tempo begins to wane and break into a more experimental section.  “If I Let The Void In…” has a very contemplative, questioning vibe that fits it’s title very well.

Red Hands Black Feet quickly answer their own question with the third song on their album, “…It Will Set Me Free“.  Beginning with repetitive clean guitars supported by swells and cymbal rolls, the answer is revealed as a very solemn realization.  Maintaining patience and precision, Red Hands Black Feet show their song writing strength as they ebb and flow through emotionally driven pushes and pulls.

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It Is Lonely In The Universe” is the longest track on the album and is therefore offered the time and space to explore.  Once again staying true to their song titles, Red Hands Black Feet beautifully craft a soundtrack to aid your imagination in pondering the vastness of space.  Dynamics are explored to their fullest from gentle clean sections to soaring heavy resolutions before the song finally ends with the heart-like beat of the kick drum.

Red Hands Black Feet conclude their sophomore album with “Here We Make Our Stand“.  Entering with driven guitars and heavy, half-time drumming, the song screams defiance and strength.  Like most of the tracks on this album, the finale moves in and out of tonal spaces to add great dynamics to the overall recording.  The expertise and obvious care that was put into writing this album should be evident to even the casual listener.

Red Hands Black Feet have been working through their musical journey for a handful of years now and have truly put together a fantastic album in We Must Fall Forever If We Survive.  I have a deep appreciation for bands who choose to tell a story with their craft, both through their music and the way in which they stitch their songs together to form a congruent and thoughtful album.  Sometimes music is a great way to turn off, but there are other times where turning your imagination on and exploring the musical journey can be utterly fulfilling.

C.J. Blessum