R’LYEH INTERVIEWED: http://hearhearmusic.com/2014/12/13/interview-rlyeh/
Check out my review of R’lyeh in this week’s issue of NUVO Newsweekly. As you frequent readers of “Hear! Hear!” know, I am a big supporter of these local metal aficionados, who continue to push the envelope of what instrumental metal can accomplish. The album is even better than I’d expected upon first listen. From the review:
[Lead guitarist Anthony] Hampton describes R’lyeh’s music as echoing the rise and fall of mankind, building riff upon riff until everything collapses. That’s hard to miss in the pounding “Monolithic” as it leads into the more spare “November,” the album’s stunningly evocative closer. Often fans assume metal must mean domination through sonic overdrive, and R’lyeh proves the opposite; only through highs can you appreciate the lows. One moment a thunder of percussion and multiplied guitars echoes through our ears, only to be replaced by a repeating pattern of finger-picked notes, creating the ultimate monotonic riff of redemption. Played on repeat the album becomes an endless cycle: birth, death, rebirth, a closed circle.
To read the rest of the review, please support NUVO for helping give this local band a real push. Then check out their show Saturday night at the 5th Quarter Lounge, where they’ll officially debut the brand-new album along with their new three-member performance alignment! If they could do all this on the record with two members, imagine how much better Christopher Cunningham is going to make their live set!
We grew up hard and our children don’t know what that means
We turned into our parents before we were out of our teens
Through a series of Chevy’s and Fords
And the occasional spin ’round the floor at the Copper Canteen
Nobody paints a lyrical picture of modern American life better than James McMurtry, who has the balls to open his first album in six years with the positively brilliant lyric “Honey, don’t you be yelling at me when I’m cleaning my gun; I’ll wash the blood off the tailgate when deer season’s done.” This is the man who wrote the searingly honest “We Can’t Make It Here Anymore” about the “WalMart”ification of American life, as well as the beautiful “Ruby and Carlos” off Just Us Kids, the perfect love song about the honest love most people experience rather than the Hallmark-style tripe we’re frequently force-fed.
According to a great interview in Rolling Stone Country, McMurty still takes his work seriously enough that he regrets how most fans misinterpreted his song “Cheney’s Toy”:
“People thought that I was saying that the soldiers were Cheney’s toys — I was saying Bush was Cheney’s toy. There were clues like Cheney saying, ‘You’re the man,’ to Bush to pump up his ego, so he’d go out and sell his politics, which I read in the New York Times. Not everybody reads the New York Times it turns out.”
Willing to admit that he erred in making such a polarizing song anchor the album as a single, he’s chosen to focus Complicated Game, his latest album, on songs tied to real people living real lives. And he’s taken on vocal coaching, apparently, which has given his road-weary vocals even more power.
I’m still digging into the album, but so far I hear no reason to suspect McMurtry’s voice is anywhere near wearing out, nor that his lyrics risk losing relevance. Check out “How’m I Gonna Find You Now” below — his latest single echoes back to the frantic vocal percussion of the fan-favorite “Chocktaw Bingo” in its lyrical Molotov cocktail of American experience.
Three decades into a career with no limits, McMurtry’s proving yet again that he’s the best kind of complicated. And Complicated Game is well worth making an appointment to play.
Rockville, Ind.’s Against The Clocks perform during Birdy’s Battle Royale. They won, advancing to perform again in April. (Credit: Jonathan Sanders)
When you come from a small town, sometimes half the battle is explaining to fans where your band got its start without having to resort to pulling out the Google Maps app. Against The Clocks, based in tiny Rockville, Indiana, will dispose of that problem when their new album, 47872, comes out hopefully this March. With any luck the album will put them and the town squarely on the musical map, because what this band offers is an ear-catching blend of classic rock and modern pop, heavy on the keyboards and the hooks you won’t find anywhere else.
With two keyboard players sharing vocal duties, the band really hits the ground running, merging the big melodies of Journey with the rock aesthetic of the Allman Brothers, adding the hooks and production smarts of a guy like Ryan Tedder. Everything comes out in the mix to create juicy pop music you’ll want to have on repeat all summer.
The band performed their song “Top Floor” at Birdy’s Battle Royale in Indianapolis this past Friday, winning their competitive round and advancing to perform again this coming April. You’ll want to be there when they do, but you can enjoy the video below. This is the only place to hear the entire song until the band releases 47872 later this spring!
Indianapolis’ The Venom Cure perform at Birdy’s Live during week three of 2015’s Battle Royale. (Credit: Jonathan Sanders)
Though we may have to wait a few weeks to know whether they’ll sneak into the next round of Birdy’s Battle Royale, due to an incredibly close score during the overall voting, there’s nothing keeping you from backing the Venom Cure, clearly a band to watch in the region. Hailing from Indianapolis, this band blends the best of 80’s glam-tinged stadium rock with the deft arrangements of symphonic metal to create a show you’ll want to see more than once. The band has been working the local scene since 2009, drawing comparisons to bands as disparate as Bon Jovi and Queensryche.
Though they had to adjust their performance on the fly due to tech elements not working within the venue’s audio parameters, the band responded admirably. Lead vocalist Steve Nicolas was the quintessential frontman, working the crowd like a pro while the entire band stepped up to the challenge by giving the strongest overall performance of the night, the close crowd vote nonwithstanding. And drummer Jimmy Whetstone’s perfectionist performance ethic was evident in an individual performance which was particularly fun to watch.
I’m told they’ll have another local gig at the Emerson Theater in March — as soon as I have more information I’ll post it here, hopefully along with an interview. Until then, enjoy videos of “Flood” and “Orphan Song” from their Birdy’s performance, both of which can be found on the band’s EP On The Other Side Pt 1. Here’s hoping they make it through to that Wild-Card Round in April!
THE VENOM CURE – “Flood”
THE VENOM CURE – “Orphan Song”
If you grab a copy of NUVO Newsweekly this week you’ll see my 900-word interview with David Corley, a Hoosier songwriter whose work has gestated through three decades of musical, cultural and personal exploration. Available Light is one of those rare albums which arrives fully formed, as though Corley has recorded dozens of albums we just haven’t had the opportunity to hear, this being the best of the bunch.
The truth, however, is much more interesting, as is every song on the album. “Pink clouds, the sun comes like a rocket up to the edge of the horizon,” he sings at the album’s start, echoing the arrival of this music itself, a raw, beautiful example of how influential music can be when given the time to open up and develop. Echoing Swordfishtrombone-era Tom Waits and more modern acoustic folk from the likes of Alexi Murdoch, Corley has crafted what he calls an EP, but which is truly much more — thirty years of a man’s life condensed into an hour of music you’ll relive for years to come.
From the NUVO interview:
“To me, music is very magical when I write it,” he explains. “When I listen to something, there’s a certain thread that runs through the song where you can just feel when an artist means it. I have two rules about writing a song: one is you better have something to say, and the other is you better have something to say. That’s all I have.”
That level of technicolor realism is what makes Available Light more than just an amazing album. Shooting his life with the available light of a wide range of experiences, Corley does the impossible, allowing us to fully see those experiences and then transpose them over our own lives like one of those projector-slides from high school. Layers upon layers, these songs certainly have more than enough to say to keep listeners coming back time and again. And if this is the only thing we ever hear from Corley, as disheartening as that might be, we’ll still have the ultimate debut album.
I don’t, however, think this will be the last we hear from David Corley. And neither should you.
If you’ve ever said there’s nothing hardcore going on in Indianapolis, prepare to have those words force-fed down your throats by the band that all but defines the raw brutality of the punk aesthetic. That’s right — the Murder Junkies, the final band to back the late, quite possibly certifiably insane, punk legend G.G. Allin will be coming to Indianapolis to play the 5th Quarter Lounge on June 13, with support from Late August, ASD, Hell’s Orphans and Giraffes Eating Lions. Brought to you by Dan Nash and Circle Pit Conservative in cooperation with Mona DeMaggio at the 5th Quarter, this looks to be THE SHOW this summer, one you won’t want to miss if you have ever claimed to support punk rock and free speech. I’ll bring you more information on this show as things develop, but tickets are available now for $8.00, or $10.00 at the door (if they’re not sold out by then).
It only takes a single listen to Jay Wud’s single “Low” to know you’re listening to someone who knows his modern rock music, someone who should be better known here in the U.S. than he is. The Lebanese singer-songwriter, based in Dubai, has worked regularly with producer Howard Benson (Motorhead, My Chemical Romance) and has been influenced by the likes of Steve Vai and the Foo Fighters. He’s toured the world supporting Guns ‘n’ Roses and Aerosmith, building a reputation for being a versatile guitar presence with electrifying vocals and the stage presence to draw in even the most jaded fan. “Low” is centrally featured on an upcoming EP which he hopes will introduce him to American audiences.
Check out a live video below of “Masquerade” which features Malikah, known as the Queen of Arabic hip-hop. To learn more about Jay Wud, check out his official website and Facebook page.