Tuesday's Zen - Athlete - Beyond the Neighbourhood

On first listen, Athlete's third studio album may initially appear a reasonably straight forward continuation of their previous effort, Tourist. But first impressions can often be misleading, and pleasingly, after just a few listens to 'Beyond The Neighbourhood' that old adage proves as true here as ever. Once you've become accustomed to its sound, its structure and its nagging hooks, this is a record that reveals itself to be much more than just a regurgitation of the bands previous platinum selling success.

Although this is not by any means a full return to their belated Brit-pop roots, some of the inspired quirkiness and shape-shifting songs which were the hallmark of 2003's, 'Vehicles and Animals', but were notably downplayed two years later on the more commercially successful 'Tourist', have returned here. A fact sure to please the legions of fans won over by the individuality that dripped from the bands debut. The changing structure of many tracks is reminiscent of earlier works and will see you toe-tapping and humming along to the same tune you didn't think much of just twenty seconds earlier. The hands-in-the-air, sing-out-loud choruses of old favourites like 'El Salvador' and 'Westside' may not be immediately apparent, but that is not to say 'Beyond The Neighbourhood' doesn't have it's hooks. First single 'Hurricane' is as upbeat and defiant a track as the Deptford boys have come up with to date and both 'Tokyo' and 'Second Hand Stores' ought to make successful, almost anthemic singles.

Electronic experimentation around an indie framework has always been Athlete's bag and this album is certainly no different. The opening track 'In Between Two States' is an atmospheric lo-fi instrumental Massive Attack would be proud of, and the theme is continued throughout, with varying degrees of success. 'The Outsiders' which Pott cites as "about being English" is blessed with a gorgeous, lolloping soundtrack, unfortunately at odds with it's awkward lyrical content and 'Flying Over Bus Stops', although a beautiful wave-drenched lullaby is so gentle you'd be forgiven for thinking the CD had stopped and it's rather flailing semi-crescendo finale may lack the oomph to win back your attention.

Worthy of note is the 9/11 inspired 'Best Not To Think About It' for which Pott employs a similar style of songwriting used on Tourist's award winning smash hit, Wires. Telling a very condensed personal story through the eyes of an imagined protagonist he deftly manages to evoke emotion and distaste without overtly making a political statement. The result is a respectful and dignified dirge. Reminiscent of Claptons Tears In Heaven, it's difficult to listen to because of the subject matter rather than the manner in which it is dealt.


On the whole an record more playful and upbeat than Tourist, more grown-up and settled than Vehicles And Animals, with Beyond The Neighbourhood, Athlete have combined the best of both previous albums to create a sound which, whilst instantly recognisable as their own, still manages to be both separate and distinct nonetheless. Although it is by no means flawless, Joel Pott and friends have taken a commendably progressive approach, that has created a third album echoing with depth and which rewards the repeat listener handsomely.


Back Soon,
Winston

www.winstonszen.com

Ihsahn – AngL

Many of you Waveriders know who Ihsahn is. Some of you may know that name, but can’t place the dude. Others, and that goes for the greater majority of you, have no idea who this cat is. For this last group, I’ll pause for you to say your Hail Mary’s, or make the sign of the cross, or do whatever it is that you do in the face of evil. Ihsahn was the lead creative entity and the driving force for the legendary Norwegian black metal band, Emperor, and has since set out on his own to follow the muse that has spawned two solo albums. Now, I’ve never actually sat back and listened to Emperor, but the history and the allegations aimed at the band made me hesitant to support such mindsets, and have kept me from listening to their music. I’ve since lowered my blast shields and have opened myself to the fact that there are a lot of cultures in this world with twice as many beliefs, and art is part of all of that. So, Ihsahn . . . your music is welcome within the massive wall shelving that is my CD collection. Just don’t let me catch you turning Chris Issak into a Satanist or anything. You just leave him alone. He’s a sad, sad man. Hasn’t he suffered enough?

Anyway, once again I digress.

AngL is the second album from Ishahn and it took me by relative surprise. I wasn’t so much surprised that it was heavy or dynamic or a mulit-facted epic that could help redefine what is considered black metal. I was surprised at how honest and, dare I say, vulnerable it makes Ihsahn appear. AngL doesn’t come across as an upside down crucifix on a blood splattered wall adorned with the weathered skull a goat. It comes across feeling more like a man who has come to terms with his place on the earth, in society, and in nature. Can one actually call black metal beautiful? We all know that beauty is in the eye of the beholder, so yes. Black metal can be beautiful and AngL is.

Despite the opening song coming out in a double bass drum melee and distorted guitar frenzy, “Misanthrope” features textures that give the feeling that there is something more to the song. Maybe it’s the technical musical approach or the fact that I can actually understand the lyrics, but the sounds that assailed my ears didn’t offend me. Like good hard edged music, it invigorated me, and like good music in general, it inspired me. It’s definitely got its dark aspects to it with the dark lyrical imagery, haunting keyboard passages, and ability to transport the listener to someplace other than the here and now.

By the time I got through the second track, I realized that I was listening to a special album. “Scarab” kicks in with all the metal menace that we would expect from one of the legends of the black metal world, it’s just that Ihsahn adds so much class to the music. Yes . . . class. Wait until you get to the break between verses. The heavy riff rolls like a cloud of smoke into this beautiful, almost calypso-like, polyrhythm. The interweaving sounds of the drums, an acoustic guitar running through its arpeggios, and the distorted guitars squeezing every ounce of note from the strings creates this beautiful segue between the songs lyrical introspection. Twists and turns encompass much of the song, and the guitar solo is a shredder as it’s layered over some brilliant rhythm work. But wait until you get to the mid-point of the song where everything just drops away and we’re left with an acoustic piano and Ihsahn’s clean vocals. Before you know it, you’re being transported to a land of burning incense and desert romance. Incredible! Music doesn’t get much more epic than this.

The mid tempo melody of the intro to “Unhealer” gives us a chance to kind of catch our breath before the next epic metal moment. Now, when I first heard this tune, the clean vocals kicked in over the serene musical soundscape and I thought to myself, “Gee. That sounds an awful like Mikael Akerfeldt (Opeth).” As the song continues on, I was left with no doubt as there’s a seeming duet between the death metal growl of Mikael and the black metal screech of Ihsahn. I immediately got this feeling that I was listening to history of sorts. Vocalists and visionaries for their respective genres got together and melded their two sounds, creating a richly textured opus. The music, itself, shifts from hauntingly melodic to savagely aggressive. You know . . . dynamic extreme metal. Listen for the bass work on this one as it weaves in and out of the rhythm, and then holds down the groove in an off time passage through the second verse. Very few times before have I heard bass work as expressive as that. Excellent texture!

“Emancipation” is another brilliant piece of music with it’s off time rhythms and exceptional musicianship. When Ihsahn begins singing with his clean vocals, you can hear the pain and personal torment, and the harsh vocals are accompanied by some wonderful vocal harmonies through the chorus. I love it! What a welcome change to the bombast that is typically featured in this type of music. Again, the guitar and bass work shine like a thousand stars. “Alchemist” also features some odd time signatures and a bitchin’ groove over which are some fascinating guitar flourishes and vocal work. “Elevator” is a psyched out, topsy-turvy, almost experimental piece filled with an astounding mix of keyboard riffs and tempo changes.

I tell you . . . I’m a bit surprised with AngL, and I wouldn’t trade that sensation for the world. All those predisposed ideas that I had about Ihsahn the man may hold true, but those same ideas that I had about his music have been laid to rest. AngL is chock full of brilliant musical moments. Creative, expressive, passionate, and piled high with integrity, Ihsahn has converted me as a listener to the point that I’ll be willing to give Emperor a try. I’ll definitely be going out and picking up his first solo release, The Adversary. Yeah . . . I’m that impressed by this. No, it’s not going to be for everyone, though I do believe that even Racer could handle this one, and in the right state of mind, he too would marvel at the wondrous musicianship and darkened themes. Ah ha! That is my goal for the New Year! To have Racer spinning Ihsahn by his own choosing! Ihsahn . . . brilliant work and I look forward to digging deeper into your work! - Pope JTE

www.myspace.com/ihsahnmusic

ihsahn.com

A Sunday Conversation with Hollow Corp.

Hollow Corp. have been bowling the metal world over since the release of their latest album, Cloister of Radiance, and now they're bowling over the Ripple offices and laying waste to our beloved couch. Sit back and read how our French super heroes find their never ending inspiration, their approach to pummeling their listeners into submission, and dealing with the stresses of the music industry.

When I was a kid, growing up in a house with Cat Stevens, Neil Diamond,
Johnny Mathis, Perry Como, and Simon & Garfunkle, the first time I ever hear Kiss's
"Detroit Rock City," it was a moment of musical epiphany. It was just so vicious,
aggressive and mean. It changed the way I listened to music. I've had a few minor
epiphany's since then, when you come across a band that just brings something new and revolutionary to your ears.

What have been your musical epiphany moments?

Guillaume : Verdi's Nabucco at the age of 8 , Strapping Young Lad "heavy as a really heavy
thing" at 15.
Romain : Mike Oldfield's Tubular Bells at 10, and Neurosis' Enemy of the Sun, at 15 ...

Genre's are so misleading and such a way to pigeonhole bands. Without resorting to labels,
how would you describe your music?

To be honest...we don't know ! It's dirty,we play really bad, it sounds awful, but actually it's
fun !

Talk to us about the song-writing process for you. What comes first, the idea? A riff? The lyrics?
How does it all fall into place?

Usually we start with a few ugly riffs brought by one or two of us, then we work the shit
together, spend a huge amount of time in endless and often sterile discussions, but at last
we finally agree on the way of arranging it, then Stef puts some eery growls on it, and that's
it ...

In songwriting, how do you bring the song together? What do you look for in terms of complexity? Simplicity? Time changes?

That's were the war begins ! We often try different ways of building the pieces, see if it

works or not, and when it sounds good to us, we move on to the next one. We are trying
not to get bored or boring ... Sometimes we do prefer simple approaches, sometimes we
experiment weird constructions.

However, we do not look for pure complexity.

What piece(s) of your music are particularly proud of?

Not particularly proud, but happy to play or listen to it :
Romain : Samen ; Guillaume : Peripherals

Where do you look for continuing inspiration? New ideas, new motivation?

In the deep, dark, dirty and stinking bottom of the toilets, in the morning, after a long and
hard night of booze !

When you write a piece of music, do you consciously write from the mind set of being different
than what's out there now?

It is not a permanent obsession, but yes, we try to do so, though it's sometimes hard not to
sound like the bands we are influenced by.

The business of music is a brutal place. Changes in technology have made it easier than ever
for bands to get their music out, but harder than ever to make a living? What are your plans to
move the band forward? How do you stay motivated in this brutal business?

By molesting and killing mongooses ...
Seriously, we will modestly and humbly try to do our best, and we are quite aware we won't
ever be able to make a living with the kind of gloomy and dirty music we play. People
around us (label, booking...) are very helpful and are implied in the project.

Describe to us the ideal (realistic) record label and how you'd work with them, and they with you.

... well, we don't really know ...

A small and independant label, like Dental Records, that's fine for us now.
Maybe a record label with a psychological department specially conceived for mentally
sick people like us ... !!!

We, at The Ripple Effect, are constantly looking for new music. When we come to your town, what's the best record store to visit?

There was a cool shop called Surfer Rosa in Strasbourg, but unfortunately it has definitely
closed...so we currentlty don't know another interesting one... So, if you come in Alsace, as
a consolation, you absolutely have to try choucroute and flamed pies which both are
inescapable gastronomic specialities, not to mention the wine and the Terrible Munster
Cheese , our local bio-weapon !

And, if you wouldn't mind, I have one more question. in a recent email that you sent me, you mentioned that you were entering the studio to begin work on the follow up to Cloister of Radiance (haveI mentioned what a brilliant album that is?) . . . have you set a completion date yet? What
stage is that work in? Any songs in pre-production?

We are planning to begin the recording of the next record in summer '09.
Not before. We are currently working on new stuff. A few songs are already done.

Waveriders, keep your eyes on these pages for upcoming news on Hollow Corp. Once we hear about, you'll hear about it. Racer . . . get the duct tape. We need to fix the couch again.

Rock Revival Radio

With the tremendous fun we've been having with our own, beloved Ripple Radio, we'd be remiss not to mention the great job our good buddy over at Rock Revival is doing with his show. Check it out at:

http://rockrevivaltripleh.blogspot.com/2008/12/listen-to-rock-revival-new-online.html

Enjoy!

The Beat - S/T

There is no justice in this world.

If there was, then I wouldn’t be writing this review, because everyone on the planet would already know about the absolutely wonderful, frenetic, powerpop of the The Beat. But last I checked, they're still a few people unaware, so that means I got work to do.

In his review of Katatonia, my brethren the Pope stated that they were one of the bands that convinced him that we had to create this friendly little beast we call The Ripple Effect. Our effort to share with the world some great music they might have missed. I also had a few bands on my mind, The Hatters and Bang Bang we’ve already covered. I’ll get to the Lotus Eaters and Renegade Saints (and many others) someday. But today we’re going to talk about this absolute masterpiece of late seventies powerpop and help it get the respect it’s due.

Paul Collins originally burst onto the music scene with his band The Nerves, crafting a few powerpop gems with his partner, Peter Case, and laying down a foundation for the entire new wave scene. The band broke up and Case went on to form his own jangly pop creation, The Plimsouls (also worthy of the Ripple treatment), while Collins restructured a band to fill his vision. The Beat was born. Now right away, we can see two things the band had working against it. While they were the first American band to use the name The Beat, over in England, another band named The Beat was causing a mini-sensation playing revved up two-tone ska. To make name confusion worse, changing the band’s name to The Paul Collins Beat for the second album didn’t help one wit, because some later-day Genesis singer named Phil Collins was already tearing up the charts. No, it seems that no matter what Collins did, his band was doomed to be overlooked.

And that’s just a damn shame. I’m sure our good friend over at Powerpopaholic will have something to add about this band, but in my mind, The Beat perfectly filled that chasm between the bubblegum-ish powerpop of the Rubinoos and the more aggressive, pop-laden punk of the Ramones, all laced with the fierce, all-out rocking of the Romantics. All it takes is one listen to the opening charging bass line and scratching guitars of “Rock and Roll Girl,”(see video) to know this is freaking addictive powerpop, bristling at you with near frenetic energy, hooks bigger than those use to yank vaudeville comedians offstage, melodies sweeter than a beehive full of honey and choruses bigger than the Grand Canyon after a hole digging competition. This is a pogo-bouncing masterpiece of late seventies punchy pop, guaranteed to have you searching the back of the closet for your peg-legged pants, striped shirts and skinny ties. This is near perfect song craft and if it’d been put out by the Knack, it would’ve topped the charts for months on end.

And there’s another part of the problem. The Beat album came out in 1979, months before The Knack, at a time when the world wasn’t ready to tune into this thing called powerpop. Then, after the Knack broke that can open with "My Sharona," any one heard playing powerpop was felt to be copycatting. But the Beat weren’t. Seems throughout his entire career, Paul Collins was simply one step too far ahead.

“I Don’t Fit In,” stutters out next, a tension-filled, can’t miss tale of teenage angst and alienation. “Doesn’t matter what town I’m in/I’m always on the outside looking in,” Collins sings, unfortunately simultaneously summing up his own position in the music industry. Even today, his words still ring true to a whole new generation of misfit kids. Just listen for the midway vocal breakdown and screaming guitar fill. They just don’t write em like that anymore. Again, put this on a Knack album and we would’ve had a monster.

“Different Kind of Girl,” is just an exquisitely crafted song, no matter whose album it appeared on. Peter Case plowed similar fields with The Plimsouls, jangling guitars underneath Collins’s nasal-inflected vocals and big, big hooks. Squeeze could’ve done this song and made it the biggest hit of their career. It would’ve been on MTV and sold millions.

If you think you’re seeing a certain trend in this review, your right. Every single track on this disc is so perfectly constructed, so tight with so many hooks, that if they’d been recorded by any other band with some name recognition, I have no doubt you’d have dozens of copies of them on your various “Best of the Eighties,” compilation CD’s. That doesn’t mean The Beat couldn’t play them. Au contraire. The band approached their incredibly infectious tunes with a raving enthusiasm, air-tight guitars, big chords and a rhythm section with enough juice to drive the whole shebang deep into your cerebellum. But still, no one was listening.

“Don’t Wait Up,” (see video) is one of the best Split Enz tunes you’ve never heard with a fricking drop dead rocking chorus and a vocal hook that just won’t quit. “You Won’t be Happy,” would’ve been a massive hit for a band like 20/20, big punchy guitars in a big riff, building to a huge chorus. If this song had been used in some eighties soundtrack for a John Hughes film you’d still be singing it today. “Walking out on Love,”(see video) would’ve been a huge hit for the Romantics, a natural prelude to “What I Like About You,” with supercharged, chugging guitar riffs and howling vocals, all played over a relentless pogo beat. Dance to this baby, work up a sweat and listen for that revved up guitar lead breakdown.

And the fun doesn’t end there. “Work-A-Day World,” rolls out on a riff laced with menace and a hook deeper than the best of the Greg Kihn Band. “U.S.A,” is a stuttering blast of surf-pop, ramrodded through the eyes of the Ramones, with big sweet melodies, and Ramones-esque backing vocals. “Let Me Into Your Life,” is just a sweet as syrup droplet of Rubinoos-styled, retro fifties powerpop, guaranteed to leave you snapping your fingers, swaying your head and grinning from ear to ear like a mouse in a cheese shop.

Even though this fine effort was nearly completely ignored by the record buying public, Paul Collins wasn’t deterred and cranked out some worthy successors before a series of solo albums, and is still out there plying his exceptional craft today. Some day, we may step back and cover each of those discs, but for right now, just take a moment to bask in this mini-masterpiece of truly great, punchy popmeister songwriting, which has all been re-released on CD in special 2 albums on 1 disc format. You can't loose!

When today’s music gets you down, and you’re longing for something with a little joy, a little fun, and enough of a beat to remind you of why you listen to music in the first place, just remember, The Beat waits for you. Peg legged pants are optional.

--Racer

Buy here: special 2 on 1 CD: The Beat/The Kids Are the Same

http://www.thepaulcollinsbeat.com

Catch Paul Collins out on Tour with Gentlemen Jesse

JANUARY


24TH ATLANTA - THE EARL
26TH MEMPHIS - HI-TONE
28TH INDIANAPOLIS IN - cancelled
29TH MILWAUKEE – CLUB GARIBALDI..S
30TH CHICAGO - THE BEAT KITCHEN
31ST CLEVELAND - NOW THAT'S CLASS

FEBRUARY

1ST PITTSBURGH -BELVEDERES
2ND BALTIMORE - THE TALKING HEAD
5th BOSTON – MIDDLE EAST
6th NEW YORK- MAXWELLS
7th WFMU LIVE BROADCAST

Rock and Roll Girl


Don't Wait Up


Walking Out on Love

Thursdays at Pooch's Place - Sparks - Exotic Creatures of the Deep

There comes a time when the regular stuff just doesn't work anymore. So-called "extreme music" seems pretentious and boring. Hard rock all sounds like a rehash. The droney and ambient is just a modern take on parachute pants. Indie rock is COCTEAU TWINS with ironic moustaches and so on. Slowly, the mind of the music aficionado strays to the perverse, the darkest of dark sides, the bands that divide the critics: Enter (triumphantly) the brothers Mael.

The rollicking cabaret rock, biting lyrical wit, and playful titles would be enough for any other artist, but not for these chaps. This is musical brutality. What's that you say? CARCASS? ABORTED? Mere child's play compared to the bludgeoning repetition Ron and Russell Mael use to haze your innocent cerebellum. The four / five-word assaults of "I've Never Been High" and "The Director Never Yelled 'Cut'" reduce all resistance to ashes. You will listen, you will repeat, and you will like it. Truthfully, "Exotic Creatures of the Deep" lacks the full scope of genius packed into 2006's "Hello Young Lovers", but don't underestimate the deadly, cascading hooks of "Good Morning", or the swooning melodies of "Let the Monkey Drive" (Sample lyric: "We're driving north on Highway 1 / Toward Santa Barbara, lots of sun / Pacific Ocean on our left hand side / Tough Santa Barbara's on our mind, our love can't wait till after nine / So she says,'Can't we let the monkey drive?'"). Anyway, don't say we didn't warn you: This one's a corker.

- Marchman

This review first appeared at peacedogman.com