What happens when a vampire, werewolf and ghost end up living in a shared house in Bristol?
That was the concept of Being Human, a wonderful BBC3 (yeah I know there aren't that many) programme which is filming the third series in Cardiff as I type.
But the Americans are reimagining it on ScyFy.
Yeah, I think of Life on Mars and shudder as well!
Syfy's all-new drama series Being Human, starring Sam Witwer (Smallville, Battlestar Galactica), Meaghan Rath (The Assistants), Sam Huntington (Cavemen, Superman Returns) and Mark Pellegrino (Lost, Supernatural) has commenced production in Montreal, Canada. Adam Kane (The Mentalist, Heroes) is Director and Co-Executive Producer with Executive Producer Michael Prupas (The Kennedys, Pillars of the Earth) and husband and wife Executive Producers/Writers Jeremy Carver (Supernatural) and Anna Fricke (Men in Trees, Everwood). Muse Entertainment is producing 13 1-hour episodes for Syfy.
Being Human, a re-imagining of the acclaimed UK series created by Toby Whithouse, follows three paranormal, 20-something roommates living in Boston - vampire "Aidan" (Witwer), werewolf "Josh" (Huntington) and ghost "Sally" (Rath) - as they struggle to hide their dark secrets from the world, while helping each other navigate the complexities of living double lives and trying to be human. Mark Pellegrino plays Aidan's charismatic but menacing vampire mentor "Bishop."
The producer is Irene Litinsky (Human Trafficking, The Phantom) of Muse Entertainment, the director of photography is Pierre Jodoin (The Last Templar, Secrets of the Mountain) and the production designer is Zoe Sakellaropoulo (The Last Templar, The Phantom).
HT: Blastr
CAPTAIN AMERICA
Sorry bit late on this one as I don't usually read the Daily Hate, but from the Mail, pics of the Cap America stunt double and I have to say I like the costume!
ht: Bleeders
ht: Bleeders
Ripple Music Named Label of the Month by the Next Big Thing Network
We're pleased, and quite a bit flattered, to announce that Ripple Music was recognized as the "Label of the Month" across the Next Big Thing Network! Along with front page exposure, a number of the bands on the Ripple roster have been featured in review and on the networks podcasts. Not too shabby for a label with such humble beginnings!
Within a year of creating a solid business foundation and working long days and nights to streamline the production and supply of product, label founders John Rancik and Todd Severin have begun to see the fruits of their labors taking shape. On June 22nd, the label released their first album, JPT Scare Band's Acid Blues is the White Man's Burden, and were immediately inundated with orders from across the globe. Shortly after, Kevin Beadles (You Can't Argue With Water) and Fen (Trails Out of Gloom) were released, both receiving glowing reviews and critical-acclaim, and essentially completing the "first wave" of Ripple releases.
While the "first wave" was being managed, a project fell into the laps of label in the form of a split single featuring Stone Axe and Mighty High, which created a flurry of press, positive reviews, and internet banter. This project cemented a working relationship with T. Dallas Reed (Stone Axe/Mos Generator) who has now opened his vault of music to the Ripple Music, including the re-release of the first Stone Axe album on vinyl, as well as deluxe CD. Reed also took part in the labels fifth release, the re-issue of Poobah's 1972 debut LP Let Me In, by re-mastering the original six tracks along with twelve additional tracks that never made the original cut.
This initial success has brought on partnerships with a couple of U.S. and European distributors, namely Netherlands-based Clear Spot International, who is working feverishly to support Ripple Music and the great releases on the labels roster. So far, catalog releases have been sent to Germany, Italy, Australia, Japan, Sweden, Austria, and the UK, to name just a few countries.
Now, with Wave 1a nearing completion, Severin and Rancik are concentrating on the second wave of releases, which includes the third full length album from the Americana/Rock trio, Modern Day Moonshine (Refuge), the re-release of Sketches From Silence from the Santa Barbara-based rockers Tripdavon, and the first new release in over forty years from proto-metal overlords, Iron Claw. Tack on other projects such as a new Stone Axe LP, a re-release of the first Mos Generator album with bonus material, a new Poobah album, as well as a number of single and compilation releases, 2011 is going to be a monstrous year for Ripple Music.
Follow all the Ripple Music Fun at www.ripple-music.com
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To read more from the NBT Network, please follow the link: The NBT Network
Bloodshot Gamblers - Pain & Other Simple Pleasures
You know what strikes you most about "Pain & Other Simple Pleasures" when you first put it on? That they’ve gotten smart and turned the guitars DOWN to rock harder and rock more interestingly. "Echos In My Head/ My Broken Record" kicks off with the sweet sampled sound of the needle dropping in to the groove, the guitar playing a repeated echoing figure, classic 1970’s rock, and then we’re thrust into the late 1990’s, overprocessed guitar turned into complete digital fuzz, all trace of vinyl obliterated, and then we’re thrown in a mix of the two and the Bloodshot Gamblers have staked their ground. They’ll keep one foot on the turntable, Molly Hatchet scratched vinyl be damned, and another on the CD and use whatever they damn like. Just like the chorus, singing Over and over again/ Cycle never ends/ on and on/ my broken records spinning.
Who the hell is singing about a broken record in 2010?
"Runaway Ghost" is a smart mixing of guitar sounds again, while the chugging guitars keep up a slightly off metered tempo under the lyrics, the menace stays constant: Run baby run/your ghost will come back/tonight/goodbye. Tim David Kelly whispers “Goodbye” as the rhythm guitars is suddenly panned into a 10 watt Gorilla practice amp while the ghost of Gene Simmons kicks in for the backing vocals.
In fact, the echo of early Kiss can be heard in echoes of some of the songs, and in their turning the guitars down. Instead of hearing an amp turned up to 11 and run through Pro Tools, we’re hearing a sound closer in places to Dressed To Kill, when the technology was simpler, and we could still hear the strings of Ace Frehley’s Gibson. Tim and Brian mix together like Gene and Paul in the background vocals of "The Surface of Hell," which might have been written to pair along with "Sweet Pain & Other Simple Pleasures" and "Firehouse". "Dust in the Corner" blasts out the gate with a classic little riff, but knows to slow it down and throw in some quirkly little fills under the lyrics: If youre trying to kill me/tighten up the screws/cause without the torture/I don’t know what to do. But then 2:10 into the song, they move into a minor key breakdown that recalls a bit of the mighty Alice in Chains. It’s a sweet transition that keeps the song rocking with the sonic push and pull from major to minor key and back.
There is an interesting left turn into a power ballad with an acoustic guitar "Before It Is Too Late" that has whiskey and modern country at its core more than Poison but there is a touch of the hair spray about it. (The 11th track "Touch and a Smile" shares the same roots.) But "Start Again" plugs back into the amps and takes the rock back but relies more on the vocal melody and subtle, chugging guitars to worm its way into your ears. They bring the tempo and volume and start to layer the guitars as the song builds up two sets of lyrics in.
Tim David Kelly and Brian Anderson combined over six months to make a record that sounds both fresh and classic, and they’ve done it partly by being really smart with their sounds. They wear their influences as just that: influences that don’t straightjacket them, but given them interesting places to jump off. While the record sounds effortless, its worth noting that a tremendous amount of work and smarts went into making it sound so damn easy. "Spinning My Wheels", the 10th track is a perfect example of a song with some great little touches that elevate it above average. Certainly it opens with a riffing guitar might have been come up with between the 4th and 5th beer, but the shimmering, flanged arpeggios under the lyrics are subtle and not nearly as ordinary as they might have been. Where a flashy solo might have been is a quiet moment where the song gets to rest before building back up to another chorus. It’s a nice choice.
"A Brand New Day" closes the album off with a dash of shameles power pop that could be some Tommy Bolan and Sweet mixed with the Gin Blossoms. Does the gum that comes in Bazooka stay fresh for over 40 years? Because it certainly has aged well given that these shoes have been walked in so many damn times. Tim and Brian clearly have a fun time with this, so you’re willing to excuse them their moment.
Pain & Other Simple Pleasures is a great little record, full of inventive and rocking songs that sound like you should have heard them before but, damn it, you haven’t. Don’t deny yourself the chance to catch up on your nostalgia.
Wishing that I’d heard this on vinyl – the fearless rock iguana
Buy here:
Triptykon - Eparistera Daimones
Every genre of music does one of two things over time: becomes stagnant or dramatically changes with the emergence of a new and younger generation of musicians. Black/Death metal is one of those genres that has definitely changed its sound dramatically over time. But Alas! Not all is lost from the fruitful beginnings of a genre that changed the world of rock/heavy metal forever; every once in a while an album pops up that links the ever-changing sound of a genre back to its roots. That, my friends, best describes the newest installment from metal veteran Tom Warrior.
The emotional, sludgy, stone-hardened soul of Thomas Gabriel Fisher (aka Tom Warrior; formally of Hellhammer, Celtic Frost, and Apollyon Sun) along with guitarist V. Santura turns our ears decrepit with the debut album from his latest band Tryptikon; entitled, Eparistera Daimones. With an album structure similar to its melody, devoid and ill mannered. The albums begins with the long, brutal and engaging song titled, “Goetia,” running in at 11 minutes, is the perfect introduction to the brutality that is to come. 'Goetia,' will draw you in from the beginning, crush you in the middle, then smooth-en you out for the next ride. The second track entitled, “In Shrouds Decayed,” was a little drawn out in the beginning, but is definitely worth listening through for the bone crushing riffs that closely follow to the end.
Tracks like “A thousand lies” and “Descedant,” will throw you right back into the roots of black/death metal. A grounding, crushing, whiplash inducing downbeat; gargling, drowned and hollow vocals; coupled with an overall feeling of dread. The last tracks, “Myopic Empire” and “The Prolonging,” (an aptly-named track, epic in its own right, clocking in at nineteen minutes and twenty two seconds) definitely carries the remnants of Tom Warriors last album, “Monotheist,” with the ground laying, Swiss band, Celtic Frost. In fact, certain parts of the track 'Myopic Empire,' sounds almost identical to the track , “Ground,” from 'Monotheist.' This of course does not take away the originality or quality of the album. It actually prompted me to want to listen to 'Monotheist' again, which is also a highly recommended album if you appreciate Eparistera Diamones.
Unfortunately, even great albums like Eparistera Diamones are not immune to having a few mistakes here and there. Tracks like, “Shrine” and “My Pain,” are slow, and ironically painful to listen to. The way I think about it though; its only 2 bad apples out of a bunch of 9 (ten, including the bonus track "Shatter" if you get the Japanese edition released by Victor Entertainment, under license by Century Media Records.)
Overall, Eparistera Diamones will without a doubt rattle the bones of even the most dreaded and hardcore of metal heads. For those of us who are dedicated to the roots of death metal and loyal fans to the Celtic Frost/ Tom Warrior legacy the Japanese addition with the bonus track is a must buy. For those who with no need go out of the way for the Japanese edition prepare for a rupturing of the ear drums and a journey into the depths of depression you never thought possible. Either way this album is a must buy. Running in at 72 minutes, its one of those albums that needs to be listened to all the way through. There is definitely a story being told, and a lot of correlations between each track. Minus of course, 'Shrine' and 'My Pain.' Support the musicians that you appreciate and look up to. Buy the album if you have the means to and spread the word.
This album comes in a few formats including CD, Digipak CD, Double Gatefold LP, and for the die hard a Deluxe Mediabook CD(including a 28-page booklet and extensive 'liner notes'). In which you might find the meaning to the title Eparistera Daimones. I am not entirely sure if all these formats are included in the Japanese release. Art work by H.R. Giger.
--JD²
buy here: Eparistera Daimones
digital Eparistera Daimones [+Digital Booklet]
Ripple Theater – Rush – Beyond The Lighted Stage
“The band you know. The story you don’t”
Well, that’s not totally true. I guess that statement depends on just how big a Rush fan one is. Take me, for instance. I own darn near every album, seen the band live around four times since the late 80’s, watched the live DVD’s through all of the various bonus features, and have read at least two books on the history of the band and three of the four Neil Peart travelogue’s . . . (deep inhale) so the informative content of Beyond the Lighted Stage wasn’t all that knew for me. However, spending three hours or so watching one of the bands that has been a constant musical companion through life is always time well spent. Watching the trio in various situations was like hanging out with old friends, a group of people who I know on an intimate level though have never personally met. It was almost like I was catching up with my college chums over a nice meal and a few glasses of wine.
Beyond the Lighted Stage is brought to us by the wonderful production team of the Banger Brothers, the same group that brought us last year’s fantastic Iron Maiden documentary, Flight 666. If you’re one of the folks who’s spent the time immersing themselves in that epic piece of film, then you should have an idea of the production quality of this one. The team of Scott McFadyen and Sam Dunn takes us through the rich history of Rush, starting with the childhood of both Geddy Lee and Alex Lifeson, the musical development of both kids and their eventual meeting with original Rush drummer, John Rutsey, and eventually the addition of “the new guy,” Neil Peart. Broken up into numerous chapters, the early portion of the documentary introduces us to the parents of the members of the band, which I feel helps give the band that extra human element. Due to this bands god-like reverence from its fans, it’s easy to forget that these guys are flesh and blood, emotional animals like the rest of us, and the inclusion of the family members is a nice, heart-warming touch that acts a subtle reminder that Rush is made up of real life people.
The rest of the documentary runs through the band's meandering and weaving rise to fame. They didn’t do it the easy way, never achieved the chart success of their peers, or had the super-nova explosion of fame. Rush started by playing music that they loved listening to and created their own success without sacrificing their integrity or ideals. I can’t think of any other band, especially coming up in the 70’s that the same thing can be said about. As Gene Simmons says in one of his many interview snippets about the band, “They’re fearless.” The band never shied away from something that they were told couldn’t be done. They never took the easy path in creating their art when the more difficult path was available . . . and more interesting. They never conformed to the ever changing world in which we live in, and based on the band’s continued success, especially in the way of touring, Rush can kinda’ sit back and nod the heads in approval as to how everything turned out.
Beyond the Lighted Stage is filled with great commentary from a number of artists who hold the band in reverence like so many fans around the world. As already mentioned, Gene Simmons adds his two cents, Sebastian Bach, Kirk Hammett (Metallica,) Trent Reznor (Nine Inch Nails,) Taylor Hawkins (Foo Fighters,) and Vinnie Paul (Pantera) are but a few who have been touched by Rush in one way or another, and though we may not hear the direct influence in each of these bands’ sounds, the indirect influence is just as important in creating the music of tomorrow. The Jack Black segments are pretty damn funny, especially when he starts singing . . . good comedy. Oh . . . and speaking of comedy, make sure you throw in disc 2 and watch the segment of the lads eating dinner. Damn! I knew these guys had a sense of humor, but after a few consumed bottles of wine, Lifeson’s banter had me damn near in tears. Watching this portion of the film is the highest highlight for me because it’s the moment where the members of Rush are suddenly vulnerable human beings, enjoying some time that only a life-long friendship can create.
One other must see moment on this disc, specifically disc 2, is the performance of "Cygnus X-1." I’ve said it for the past twenty-five years, Alex Lifeson is the most underrated rock guitarist out there, and this performance is one of those moments that has me shaking my head and wondering why he isn’t mentioned in the same breath as his peers. His emotional attack and dynamic approach on this song is otherworldly . . . the volume swells, the bizarre chord changes, the lightening fast scale runs, the palm muted riffing . . . seriously, breath taking!
Beyond the Lighted Stage is an excellent documentary on a band that has been doing what they’ve been doing for almost forty years. The video has humor, it’s informative, highly entertaining . . . it’s everything one could ask for in a documentary. With that being said, there’s no way that three hours of edited video footage is going to give you the most comprehensive information on Rush. For the casual fan or those who want to learn a little more about Rush, the documentary is perfect. For the Rush fans who wake up with "YYZ" rattling in their heads coz’ that’s just how brilliant the song is, then Beyond the Lighted Stage is simply a must have to complete the collection. My advice for those who want to know more about the band is this: Purchase and watch said documentary, then run out and purchase and read Contents Under Pressure written by Martin Popoff and Rush: Chemistry by Jon Collins. Both books go into an insane amount of detail about the history of the band, the recording of each album, the trials and tribulations of the subsequent tours, and the philosophical and personal conflicts within in the band. And, of course, you can’t really know the band unless you listen to the music, so . . . go out and buy all of the albums and spin ‘em ‘til your head explodes. - Pope
Buy here: Rush - Beyond the Lighted Stage [2 DVD]
Rush: Beyond the Lighted Stage [Blu-ray]
Buy here: Rush - Beyond the Lighted Stage [2 DVD]
Rush: Beyond the Lighted Stage [Blu-ray]
www.rushbeyondthelightedstage.com
www.rush.com
Mitch Kashmar & the Pontiax - 100 Miles To Go
In high school there was this dream. I was learning to play guitar and, on a hot summer day in Southern California - too hot to be out in the sun inland - too crowded at the beach to find a legal parking space - I’d frequently retreat to my friend Bill’s parent’s cool basement. Bill played drums which he stored in this large concrete-walled finished foundation room that was half dug into a hillside overlooking San Pedro - Long Beach harbor. Bill’s friend, Dudley, would drop by with his bass, Occasionally Dudley’s brother, David, and sometimes a mutual friend, Robbie, would show up with their guitars. Once in a while we would invite a keyboard player, horn player, harmonica player, another guitarist or a vocalist to join us. This happened frequently enough that we got good - real good. We had a repertoire of songs and jams that we repeated, traded, and vamped. Soon we were playing dances and events. Sometimes we even got paid. We recorded material and made a few reel to reel tapes - the preferred format of the day - that could later be mixed down, and made friends with radio dj’s and club owners. Many of our recordings have yet to make the light of day and I have no idea if they still exist.
High school ended and our music scene changed. We realized we could not then support ourselves playing music. We started families, left for far away colleges, joined the military or took jobs away from LA. It became a rare treat to all be in the same place at the same time and even rarer to be able to play together. But, every time we did, the dream began again - just like in high school. There is still a glimmer of it now when we see each other.
In the early 1980’s, while I was moving north to San Francisco for law school, Mitch Kashmar & the Pontiax were moving south from playing locally the Santa Barbara, San Luis Obispo and Ventura County areas making the next step to, Los Angeles, the big city. Performance tour progressions have not changed appreciably since then. Bands that wanted to expand from a local phenomena to have a West Coast presence oscillate between the Bay Area, Los Angeles and, sometimes, San Diego, Portland or Seattle. This was especially true of blues bands since the Central Valley and inland areas were not as kind to blues bands as they were to country western bands. Mitch Kashmar & the Pontiax’s shot at stardom taken while they were in their twenties and that went one or two steps beyond the West Coast . They played Chicago, the Mid-West circuit and Europe, a hot bed for American blues. The band went through three different line-ups but, it is the one that is on this album that had the dream, and a little cash to try to make it a reality.
Kashmar is a master harmonica player. In 1999, he began his own solo career and toured with his own band winning the 2006 Best New Artist and 2007 Best Instrumentalist - Harmonica, Blues Music Awards. Here are just some quotes about him from bandVillage:
He's shared the stage with some of the biggest names in blues over the years, including Big Joe Turner, Eddie 'Cleanhead' Vinson, Lowell Fulson, Jimmy Witherspoon, John Lee Hooker, Pee Wee Crayton, and Johnny Adams, among others. Kim Wilson – no slouch on harp or vocals himself – offered this assessment: “Oh man, is he tough!” Charlie Musselwhite: "Your playing and singing are superb.” John Hammond: "...unbelievable; a great singer and up there with the best harp players I've ever heard.” And the late William Clarke had this to say: "Out of all the younger generation of blues harp players, Mitch Kashmar is my favorite. He's also a first-class vocalist -- his singing really knocks me out." And Stevie Ray Vaughan paid what must be the ultimate compliment from one musician to another: “Can I sit in?”
Even with these great compliments monetary success and the large stage have eluded Kashmar. So it is with this album, 100 Miles To Go, a reissue of the long out of print classic 80’s recording by The Pontiax that featured him, with which Kashmar tries to recapture the dream.
It works. My God, it works. Everything is written by Kashmar and the stuff is blues TNT. The first ten tracks are reissues of old material. They contain that “20 year old’s” exuberance of being on your own, doing what you love, with anticipation of the future that is combined with the mayhem and excitement of a traveling, working, band. Pick any of the first ten tracks. The band is tight, the blues exciting and Kashmar blows his mind out on the harp. There is even a sort of tribute to old friends who are no longer with The Pontiax. On track 6, “Horn of Plenty,” the late, great harmonica player William Clarke can be heard playing the first harp.
The last two tracks of the album are where a glimmer of Kashmar’s Pontiax dream of his 20’s shows up as Kashmar enters his 50’s. These two tracks are “bonus tracks.” Kashmar was able to assemble almost all of the old touring Pontiax band heard on the first ten tracks - Bill Flores on guitar and tenor sax, Jack Kennedy on bass, Tom Lackner on drums and Pontiax 1980’s friend, Jim Calire on keyboards and tenor sax. Track 11, “When You Do Me Like That (“I Wanna Do You Like This),” is a raunchy, syncopated, party of a blues that shows how much the band has matured and how close these guys play together. The final track, “The Petroleum Blues,” is timely and catchy as a blues gets. It could become an rallying anthem in the wake of today’s oil wars and spills.
Mitch, congratulations sir, keep that dream alive and I hope to hear more from you and The Pontiax. Blues bands at 50 are infants - just ask Pinetop Perkins and Honeyboy Edwards.
- Old School
Buy here: 100 Miles To Go
Parrot and Chicken Egg | What a Funny Parrot
Funny Little parrot doesn't it ??my pagemy pagemy pagemy page
HALLELUJAH
If this story is right, then fantastic, that little freak circus will not be on our screens for a while.
Unfortunately for ITV, this does mean that a cash cow has gone and with its difficulties already shareholders will not be pleased.
I know this is revolutionary but maybe ITV could consider proper telly, such as it did when I was growing up, rather than cheap reality Tv that only serves to fill Cowell's pocket.
Just a thought
Unfortunately for ITV, this does mean that a cash cow has gone and with its difficulties already shareholders will not be pleased.
I know this is revolutionary but maybe ITV could consider proper telly, such as it did when I was growing up, rather than cheap reality Tv that only serves to fill Cowell's pocket.
Just a thought
CREEPING TO A EUROSTATE
This news leaves me worried.
EU states have agreed to three pan-European watchdogs to oversee controls for banks and insurers.
The UK is not part of the Euro, it is not subjected to the fiscal straitjacket that Ireland finds itself in.
Yet, it has apparently agreed - or rather unelected Civil Servants have agreed - to these bodies.
The EU has graciously allowed day-to-day supervision of individual companies and markets to remain with the national regulator yet the new EU bodies will develop harmonised rules and approaches to co-ordinate their actions..
Why? I mean why should yet another layer of regs be lumped onto a system that is already struggling with the anti-markets rhetoric from the EU already?
Oh good, because the ECB has done such a great job balancing all the disparate economies under its watch.
No complaints about that.
And here's the carrot:
Hah, one of the big three markets in the World was going to be ignored? Pathetic.
And here's the stick:
Ah, additional powers and what would they be exactly and what constitutes an emergency and how do member states call it? Majority vote? France kicking its toys out of its pram?
The watchdogs have no power except in emergency situations - so what is the point of them? As always politicans look to further layers of powers and regulations rather than looking at what went wrong.
Was there a need for greater co-ordination two years ago? No, not in my opinion.
Greater communication yes but we are not in the Euro, or the Dollar, our cycle is at a different point to many in the Euro zone and we are meant to be sovereign in issues of tax, regulation and UK markets. It is up to the Bank of England and the Government to decide what actions, where and when, should be taken in the UK, not Brussels.
My major concern is that this could be used as the basis of sucking us in fully to the Euro-state. Eventually the watchdogs will get some proper teeth then our supervisory bodies will become subsumed into a greater Euro-regulator.
Once that's done, where goes the markets?
Once that's done, where goes fiscal responsibility?
Once that's done, who's accountable to the British voter?
Once that's done, where's your lines in the sand Dave?
.
EU states have agreed to three pan-European watchdogs to oversee controls for banks and insurers.
The UK is not part of the Euro, it is not subjected to the fiscal straitjacket that Ireland finds itself in.
Yet, it has apparently agreed - or rather unelected Civil Servants have agreed - to these bodies.
The EU has graciously allowed day-to-day supervision of individual companies and markets to remain with the national regulator yet the new EU bodies will develop harmonised rules and approaches to co-ordinate their actions..
Why? I mean why should yet another layer of regs be lumped onto a system that is already struggling with the anti-markets rhetoric from the EU already?
Under the deal, the European Central Bank president will chair the ESRC for the first five years, and there will be a review of the legislation after three years.
Oh good, because the ECB has done such a great job balancing all the disparate economies under its watch.
The new watchdogs will have no direct supervisory powers, other than for credit rating agencies operating in the EU.
No complaints about that.
And here's the carrot:
MEPs have also dropped their demand that the new watchdogs are all based in Frankfurt: instead they will be split between London, Paris and the German city.
Hah, one of the big three markets in the World was going to be ignored? Pathetic.
And here's the stick:
The watchdogs will have some additional powers in “emergency situations”, however, and may temporarily ban or restrict certain financial activities if these threaten the stability of the EU’s financial system. But “emergencies” will be called by the member states, rather than the European Commission or parliament.
Ah, additional powers and what would they be exactly and what constitutes an emergency and how do member states call it? Majority vote? France kicking its toys out of its pram?
The watchdogs have no power except in emergency situations - so what is the point of them? As always politicans look to further layers of powers and regulations rather than looking at what went wrong.
Was there a need for greater co-ordination two years ago? No, not in my opinion.
Greater communication yes but we are not in the Euro, or the Dollar, our cycle is at a different point to many in the Euro zone and we are meant to be sovereign in issues of tax, regulation and UK markets. It is up to the Bank of England and the Government to decide what actions, where and when, should be taken in the UK, not Brussels.
My major concern is that this could be used as the basis of sucking us in fully to the Euro-state. Eventually the watchdogs will get some proper teeth then our supervisory bodies will become subsumed into a greater Euro-regulator.
Once that's done, where goes the markets?
Once that's done, where goes fiscal responsibility?
Once that's done, who's accountable to the British voter?
Once that's done, where's your lines in the sand Dave?
.
And Now For Something Completely Different – Featuring Megaphone ou la mort, The :Egocentrics, Noetics, and Silian Rail
Megaphone ou la Mort – Camarade Coma
Hailing from the world (Spain, Argentina, France) and recording in both English and French, Megaphone ou la Mort bring a vibrant brilliance to the often tepid world of modern rock. While the influences are numerous, as if often the case with most things that emanate from France, these influences are mingled; cross-cultural tidbits are swirled into the mix, styles and genres blend and meld seamlessly to create an album unlike just about any other out there.
“La Poesie Du Travail,” showcases right off the bat that Megaphone ou la Mort got a style all their own and a secret weapon to make the whole thing combustible. Beginning with a jazzy then funky drum and bass intro, John Martinez lays a French spoken intro on top. Sorry, there’s nothing like a French spoken intro to set the mood and tone. Exotic, romantic, stirring. Then, as the guitar adds in, gently at first, Martinez brings his voice into full prominence. By the time the guitars are charging full-speed, Martinez’s amazingly emotive vocal chords are soaring from his lower register spoken voice to the upper echelons of his range. And what a voice it is. Kinda reminds me of a mix of Bono and Robert Smith in terms of emotive delivery and tone. While the musicians hammer away, taking the song on a charging path, Martinez’s voice is that secret weapon, utterly captivating.
Don’t let the French language aspect put you off this releases. You don’t need to know what the words are to feel the emotion, the energy, to get caught up in the sweeping flow. Besides, there’s something about Martinez’s voice when he’s wailing in French that is even more dynamic than the songs sung in English.
But those songs rock also. “Cherie,” the second English track on the album rides a brilliant post-punk bass to it’s sparkling, effect-laden guitar. Martinez here channels his inner Bono perfectly, while the band pumps out a hand-clapping, crowd-dancing ditty of pop perfection. “Sunday Kid,” also in English reminds me of long-Ripple favorites War Stories for its emotional resonance and Martinez’s vocal gymnastics. Whether in French or English, the band always manages to find the core of the song, the heart that resonates long after the song has finished. “Pina Pellicer,” is a punchy little number that just cruises along non-stop.
Still, I prefer the French songs, if nothing else but for the difference of them all. “Lutter,” with its punctuated walls of crashing guitars reminds me (for no good reason) of another famous French export, Trust. Throughout, the band brings some soul, some post-punk, some hints of jazz and flamenco into the fray, with some tender guitar work and a hardworking rhythm section.
If you’re looking for something familiar, yet different at the same time, recognizable but exotic, give this one a shot.
http://www.myspace.com/megaphoneoulamort
The :Egocentrics – Love Fear Choices and Astronauts
I went way outta my way to sing the praises, high and low, of a nifty little demo CD that dropped into the Ripple office way back in Nov 2008. The :Egocentrics Mystic Invitation was just the perfect blend of psychedelic, trippy guitars, some serious heaviness, and floods of effect-laden soundscapes. It didn’t take me long to fall in love with these Romanian trippers.
Imagine my delight then, when a small package appeared at our door with another typically charming handwritten :Egocentrics note. “Hope our album is better than you’d expected!” That’s all. No re-introduction. Just an unspoken solidarity between me and my Romanian brothers that what I was about to pop into my player would rattle my world.
And it did.
Everything that made Mystic Invitation so appealing was still there, all the spaced-out trippiness, all the long-extended, mind-warping jams. Even the unexpected build-up to moments of massive heaviness. But there was something else as well. Over the ensuing months, The :Egocentrics have refined their craft. Sure the songs still wander off in any direction the cosmic winds blow, but beneath it all there’s a definite sense of purpose. These are cosmic landscapes that tell a story, a collage of images, a world’s worth of rising and falls tides, mountainous eruptions, and deadly calm seas.
Brenn’s guitar playing has also matured in ways that are just too hard to explain. Here, he’s completely mastered his tones, his effects, the strength of his attack against his strings. Pulling back when necessary, searing forward with vengeance when appropriate. And through it all, Jess on bass and Hera on drums follow him effortlessly, creating the space platform he needs to explore his stratospheric travels.
The album consists of 4 separate 1-12 minute songs. Excursions really into the upheaving world of psychedelic space jams and stoner rock heaviness. And while that may sound like a mind-full of numbing tedium, never once does Brenn fail to captivate, leading me along willing to which ever world he’s choosing to explore. I’m there with him.
Yes, the album is better than I expected.
www.egocentrics.net
Noetics – Delayed Back
We’ve reviewed plenty of downbeat electronic before here on the Ripple, but what makes Noetics so different is that we’re not listening to a producer/mixer driven studio creation. Noetics are a live band mixing the energy of electronic beats and the intensity of live performance into a totally listenable instrumental, chill, dance orgy.
Beats merge, rise and fall, beneath the overhanging canopy of jazz, rock, dub, and psychedelia. Songs like “Peninsolar,” sound totally fresh and spontaneous in their planned chill-trance. “Vibrant Hydrant,” reminds me of some of the best of Kruder and Dorfmeister, but again this is live music, not studio overdubs. And that’s pretty damn cool if you think about it.
Throughout, bass and beats set the tone for whatever voyage each individual song wishes to explore. Perfect music for your late night chill, your after-party party, your Sunday morning coffee, or just your moments when death metal sounds just a bit too much.
www.noetics.de
Silian Rail - Parhelion
If I was strapped down to a polygraph, my children held for ransom, my life on the line, and forced to answer a question truthfully, I'd probably say that I don't like instrumental rock music. I'm good with jazz, fine with African, but instrumental rock music always seems to be lacking that one thing. Oh yeah, vocals. And if the band does manage to mutate and twist their sound around enough to keep my from falling asleep, the songs usually suffer from having their own head way too far up their own ass.
Silian Rail is different.
A two-piece on our friendly Parks and Records label, Silian Rail use guitar and drums, an occasional foot synth and the ever-desirable glockenspiel, to create wild, erratic, sweeping soundscapes. Sure the guitar has a pleasant, warm tone, but it's the tension between the guitar and drum that drive these songs. Somehow, Robin Landy and Eric Kuhn manage to flesh out the spaces with only these two instruments, without things ever sounding flat or empty.
And while my ear is instantly drawn to the wild, free-form meanderings of Robin's guitar, in truth, it's probably Eric's drums that drive this baby the most. Time changes? What time changes? We're talking different time zones here. Eric seems to be able to drop beats in at a dime, following the guitar, countering the guitar, sailing off on his own. Heck, I don't really know what he's doing at all, but it's a clinic in drumming, I'll tell you. Pretty remarkable.
None of that is to diminish Robin's guitar work, which is tangentially riveting. I never know where the guitar is going to take the composition, which path it's going to lead us down. Sometimes dissonant, sometimes angular, always fascinating.
9 songs here of remarkable musical vision. Instrumental music that's always interesting without being forced or pretentious. Songs that aren't lost up their own ass.
Hmmm, I may need to change my answer.
--Racer
www.parksandrecords.com
Megaphone ou la Mort
The :Egocentrics
Noetics
A Sunday Conversation with Jason Ager
When I was a kid, growing up in a house with Cat Stevens, Neil Diamond, and Simon and Garfunkel, the first time I ever heard 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?
I think one of my epiphanies has to do with my father. He is the type of guy that wore tapes out in the stereo of his truck when we would drive, and we drove everywhere. Favorite tapes of his were Creedence, Willie Nelson, and Nat King Cole (both his stripped down jazz stuff and his big band/ orchestra stuff). Anyways, my dad always dabbled with music, and had an organ that played beats along with the melody you were hammering out on the keys, and he used to love to jam out in the afternoons (he has been retired longer than I can remember since he was considerably older when I was born). On one particular afternoon, myself and some buddies from around the way were fooling around with a four-track recorder I had at the time, and were recording live, when in walks my dad. He fires the organ up and starts wiling away. Needles to say, I reacted strongly, his retort simply being "It's my f@$%#*& organ time!!! " I think that was pretty formative in my musical life, it taught me to keep songs short as well as to shrug off crazy people in the crowd.
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?
The idea is usually always first. I'll have an idea about something I wanna say, and I'll try and match some chords and melodies to it. I just wrote a song about not being able to surf, called "Born to Surf" (it will be the title track of the next album we are working on, slated for a Spring release) because I saw a bumper sticker of a dude riding on the front of a board with a huge wave behind him. All my songs have to come from experiences or concepts I grapple with, otherwise I can't make the song sound genuine.
Where do you look for continuing inspiration? New ideas, new motivation?
I look at relationships around me for inspiration...different people get on differently, and I think that makes things interesting. I always have to have my own thoughts about it though, otherwise it won't come off right.
Genre's are so misleading and such a way to pigeonhole bands. Without resorting to labels, how would you describe your music?
I have been thinkin ' about this for a while, and without getting in trouble with anybody or their management, I like to describe my music as "Chuck Berry rappin' as the frontman of the Chili Peppers." I hope I didn't piss anybody off, especially not Mr. Chuck Berry. Genre's are tough, but I think I am a modern blues artist with R&B tinges.
That's a hard question, which I don't know if I can even answer. I will think about it though.
In songwriting, how do you bring the song together? What do you look for in terms of complexity? Simplicity? Time changes?
We really strive to be simple, which is reflected by our live setup, bass drums and guitar. I think there's a lot to be said for grittiness and raw emotion, and for me, that works just fine. I also don't ever wanna take myself too seriously, and try to include funny stories or witty thoughts that detract from people taking my music too seriously. Music for me is cathartic, and should be a release, anything too complex and demanding would take away from that aspect.
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?
Our plan is to continue making songs we love, and to get them to our fans as quick as possible. We are planning on releasing an album a year for as long as we can keep it up. I have also just started a videoblog that will hopefully let folks know what we're up to, as well as give them a taste of some of the new tunes coming their way, like a sneak peek.
Come on, share with us a couple of your great, Spinal Tap, rock and roll moments?
My favorite story about rock and roll happened when I was just starting out. At that time, my band had a horrible name, we thought it was clever, but people thought it sounded like "three, four eights" or "deformed face" or "tree stormed gates" (the name was really "Three Formed Fates," so you can see how easy it was for folks to mess it up...) We were young and somewhat naive, when we were put in contact with a dude whose name shall remain unmentioned, although it was a name like "Buddy Mann." He managed a bunch of bands that played around the area, cover bands to be more precise, and he immediately loved our music and wanted to use us as the rhythm section for another band he was forming, and we would get a set whenever this larger band performed. This guy was a proven entity and had made every band he touched a success, partly because the names he chose were cool, that and he hand-picked the musicians and whatnot. Needless to say he hated the name we had at the time, and wanted to give us a new one. Naturally, I was really stoked and thought he would come up with the coolest thing I had ever heard...I did mention previously that I was naive. He sat back after one meeting we had with him (he actually invested a lot of time and effort with us, recording a demo and having photos taken and the whole nine yards) and I'll never forget how earnest he was when he informed us that he'd come up with a brilliant name for the group... "Slow Butta." First of all, I didn't know butter had any speed to it, let alone slow, and secondly, I was pretty sure he had lost his mind. I am not exaggerating when I say that I feel somehow dirty hearing the name even today. It was at this point that I knew we were better off pursuing our own course...then again, who knows, "Slow Butta" could be the next big thing.
Songs that are true, or convey a truth that someone has felt or known. I don't go for contrived things, especially not in the artistic realm.
Tell us about the first song you ever wrote?
It's called "The Girlfriend Song" and I have promised a friend that we will redo it for the next album. It tells the story about my girlfriend at the time breaking my heart, my pride, and my balls to be completely honest. Now that I think of it, it is probably one of the truer things I have ever written.
What piece of your music are particularly proud of?
I really like the "Sing-along Jawn" off our debut CD "Lunchdate." I love the guitar solo, not because it is intricate, but because it is gritty and nasty. Overall, i think that song captures what we are about. It gets the crowd participating, it has some whimsical ideas in it, and it allows us to cut loose.
Who today, writes great songs? Why?
The Avett Brothers, The Hold Steady, Alexi Murdoch and Citizen Cope are just a few of the albums sitting on my desk right now. I think they all write some pretty awesome songs. Funny thing is, I am never sure what their songs are actually about, but it doesn't matter since they convey a truth to me that I cherish, and play over and over again.
Vinyl, CD, or digital? What's your format of choice?
CD I think. I was always too scared to rummage through my brother's vinyl collection (he's got some amazing ones) and it steered me to CD's. I remember listening to Tom Petty's Full Moon Fever album on my first CD player. On that album, he stops in the middle and says something to the effect that "We're gonna take a short pause while our vinyl and tape listeners switch sides." I just always thought that was cool. I also think having stacks and stacks of CD's around my house is awesome, and Spoon said it the best in the liner notes of their most recent platter, "Buying records in record stores is cool."
We, at the Ripple Effect, are constantly looking for new music. When we come to your town, what's the best record store to lose ourselves in?
Main Street Music in Manayunk, PA. (Philadelphia)
Any final comments or thoughts you'd like to share with our readers, the waveriders?
I just would like to encourage people to support music whenever they can. It means the world to the musicians, and that's not an overstatement.
www.myspace.com/jasonagermusic
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