Instant Winner Review

Thirteen Times
09.11.07

Instant Winner mixes sounds from multiple genres; I don’t know whether to skank, mosh or headbang to their music, but deciding how to dance is about the only thing I am unsure about when it comes to this band. Thirteen Times is a veritable melting pot of different styles and sounds, ranging everywhere from metal riffs, to ska chords, to driving hard rock rhythms, and at one point even incorporates a pseudo-hardcore sing-along (in the song "Just Once"). This mish-mash blend of varying sounds gives the album a much more balanced feel than much of their previous work and gives each song its own unique identity. Just when I think I've got their sound and style figured out, the song will change and I'll find myself just as baffled as I was a few minutes prior.

This 2007 release is a bit of a blast from the past (and I mean that in a very good way); the album has some solid roots in the late 90’s. Most prominent is the variety of Neal’s vocal styles, some late 90’s emo with a rock edge. Think early Saves The Day mixed with Less Than Jake, maybe even a little old AFI (pre ‘the art of drowning’) and at times (should I say it?) even a little Liam Gallagher. Quite a mix.

From start to finish, the album as a whole seems to have been very carefully constructed. Although each song on the album has its own distinct sound and characteristics, it forms a congruent, well crafted album when it's all pieced together. Every individual track seems to flow well into the next, capped off by the similar intro-outro tracks which act as the metaphorical book-ends for the series of songs put in-between them.

In terms of the actual overall sound of this record, I was most impressed by how well each track was layered and the time spent on attention to detail. I found one such instance in the intro (as well as later parts in the song) of "Waiting to Love", which has subtly added keyboards that I didn't notice until at least my second or third listen through. The other aspect, sound-wise, that I enjoyed most was the production quality of the vocals and guitar. Everything sounds perfectly smoothed out (or gritted up, depending on the intention of the song) without ever having the feel of being over-produced. Instant Winner has thankfully re-entered my life after a short hiatus, releasing a thirteen-track album in October, the band is fiercely coming back into the scene.

Reviewed by: Brian Anderson & Jacquee Swindle

Scroobius Pip (uk)

No Commercial Breaks
Reviewed: 09.14.07




While “The Scroobious Pip” might be a nonsensical poem by Edward Lear, Scroobius Pip is Britain’s newest hip-hop poet. His rhymes flow naturally in a near poetry-slam style. Scroobius Pip’s style is conversational, even moreso than other British rhymers, like his predecessors Andy Carthy (Mr. Scruff) or Mike Skinner (The Streets).
Scroobius Pip is making quite the name for himself across the Atlantic, securing radio play and performances. And after hearing his 2006 album, "No Commercial Breaks," anyone can see why. Scroob appeals to a broad range of music enthusiasts, from jazz-lovers to street poetry heroes. And word-crafting aside, the beats are just plain catchy.

Scroobius Pip could easily be likened to the British hip-hop mixes of The Streets. And with a slight frame and a full beard, he also looks about as well-suited to the world of hip-hop as well as Matisyahu is suited for reggae. However, Scroob is still loyal to a very raw, simplistic sound. He stays away from excessive layering of backbeats and effects, showcasing his lyrics. The music that accompanies him is dainty and nonintrusive. For example, in “1,000 Words,” his lyrics are followed along by a very simple, repetitive, yet jazzy, piano melody. Finally, an artist who still cares about the complexity and cadence of words.

Not every track on the album is great, though. Track 6, “At All,” goes against the grain of his other songs. The mix is not fun to listen to – the treble is turned up too high, Scroob’s voice is turned down too low. His voice is lost in the screeching, erratic beat. The track “Development,” which is the first song Pip actually crafted, sounds like the end result of They Might Be Giants turning into a rap group. The lyrics turn into a somewhat educational list of gases on the period table of elements. However this song is a great jumping point for future work, and his other tracks help listeners to realize he has, indeed, “come a long way, man.”

My favorite track on the album would have to be “Rat Race.” The music is jazzy and passionate, and rather than true rapping, Scroobius Pip speaks like he is reading poetry. The lyrics are so simple, but are fit together so masterfully: “As I wake up with the previous night still ringing in my fragile head,/ trying to piece together any shitty things I might have done or might have said,/ I drag my lifeless carcass to its feet and out of bed/ and clock into another day.” His thick accent is so animated and easy on the ear, so this is a great track for lyric-centric folks.

For those of us who are more interested in old-school hip-hop, there is track 2, “Muses.” Scroob partners up with Emonomy, a UK DJ, and Emonomy gets back to the basics of fundamental vinyl-scratching. It is really basic, so for vinyl purists, this track is where you want to go. Even as someone who skipped over the hip-hop movement a couple decades ago, I love the rawness Emonomy brings to this track.

And I really can’t say enough about the first track, which I mentioned earlier, “1,000 Words.” The lyrics feel deeply personal, as Scroob describes his own story. And the analogies are gorgeously crafted: “’The pen is far mightier than the sword,’ he said,/ as he stabbed his pen in my leg and the ink mixed with the red.” This track is truly the strongest example of what Scroobius Pip is capable of. Because it is the first track, it might set expectations a little high for the rest of the album, but on the other hand, it sets a lyrical precedent that listeners can follow throughout the other not-so-sophisticated tracks.

Overall recommendation: "No Commercial Breaks" is a great debut album for Scroobius Pip. Hip-hop fans and poetry fans alike can all appreciate this album. It is entirely worth dropping a few bucks to be able to catch Scroob at the beginning of his musical career and follow him throughout his future endeavors. Also, keep an eye out for Scroobius Pip's work with Dan Le Sac... it's not something you'll want to miss.

Reviewed by: Karalee

Slowly we survive review

Music To Play Hide And Seek To
Reviewed 8.20.07

Three guys with one epic goal; “Slowly We Survive has their sights set on making the kind of music that will make you take a step back and say, so THIS is what its like to be alive.” While listening to the new EP 'Music to play hide and seek to', I can say that I experience a variety of intense emotion. By the end of the album my heart is racing and my muscles are weak. I feel ALIVE.

The 7 title EP melts together in the best way possible, one song complimenting the next. This doesn’t give your heart the chance to slow down- it keeps your adrenaline high. This disc has such a massive, heart wrenching sound that the actual lyrics aren't important, yet I still get the feeling of hope and passion and I can't help but think that is because my mind is digesting the lyrics more than I am consciously realizing. Talk about an intense musical experience.
Nick has a voice that makes me completely swoon like a teenage girl (and is reminiscent of Cedric Bixler-Zavala of The Mars Volta) and his guitar playing is absolutely psychedelic, Jordan’s clean and precise bass makes it easy for even a rhythm less person to catch the beat, Stefan uses his ENTIRE drum kit in every song, and we love it!

Prior to listening to Slowly we Survive I assumed I wouldn’t like them and they would sound novice. This assumption was purely based on my dislike for their band name and nothing more. I was COMPLETELY wrong, this band has taught me not to assume anything about a band just because I don’t care for their band name. (Which I shouldn’t be doing in the first place) After finally listening to the album for the first time I rushed over to the bands myspace and left a comment basically saying “Holy shite”. And here are my apologies for taking so damn long to come round!

Review by: Jacquee

Sirens Sister Review

Sirens Sister’s pulsing melodic metaphors conducted by vocalist Zach Davidson, coupled with an instrumental courtship via visionaries Leif Anderson, Ben Libay, and Jeff Rouse have developed a revolutionary and romantic hiatus in their introductory album: Echoes From the Ocean Floor.

Sirens Sister has a little more sway in her step and takes more time to do her hair in the morning than former frontier—Vendetta Red—of members Zach, Leif, and Jeff—who have left behind most of the busted lips and soothing stories of rape for sometimes sappy love songs beefed with impressive and well-produced music that resembles a new era of rock in the Northwest with Seattle’s Sirens Sister at the head. Each track is simulated differently although conjointly characterized by a similar, softly articulated harmony edged with aggressive drumming, alongside noticeably metal chords and more whammy.

The album is jumpstarted by a busty guitar riff—premeditating stunning live performances that will heat a venue with sweaty spectators. Although Zach’s lyrics are occasionally corny—he bites back with the same vibrant and carefully constructed chimes that turn malicious scenarios of car crashes and cocaine addictions into elegant affairs.

Sirens Sister has very little to prove—since they have already reached success—plus the advantage of previous experience recording and performing will sell CD’s and tickets by word-of-mouth and a few snappy suits alone. An interesting comparison, however, involves past Vendetta Red drummer, Burke Thomas, father of current project, Pris; and his 2004 release—The Kiss Off. The tracks “Hold On” and “Echoes” produced by Sirens Sister possess similar characteristics involving lyrical structure and use of repetition, as well as electronic modifications of sound—corresponding to those utilized in a typical Pris track. The similarities themselves are not surprising, but the possible development of a grunge-pop regime lifting Seattle music back from the early 2000’s lifeless and mellow emo parade is worth following.

With that said, it is in your best interest to invest in Sirens Sister and see where their tour takes them next.

Review: Karoline Anderson

The Lonely Forest Review

I was hesitant to write this review, fearful that I might be bias. I've seen this band morph into what it is, starting several years ago with John Van Deusen as a solo musician. Then that turned into The Lucid, Squarewave, John Van Deusen and The Lonely forest and finally, now, The Lonely Forest. After some thought, I knew I couldn't pass up the chance to write a review for this band...

The newest and seemingly final band morph, The Lonely Forest, has great chemistry. All four members of the band are extremely skilled musicians. They concoct new and original sounds that compliment eachother’s talents.
I have an unwavering appreciation for John Van Deusen's mature vocals, though this EP highlights a new emphasis on other aspects of the band.
The heavy rock influence of Tony Ruland's energetic and raw guitar playing compliments lead singer Van Deusen's keys and vocals well.
In songs such as 'God is Dead' and ' Opium Blues' Ruland's guitar playing magnifies the momentum of the keys by playing gritty chords along with them. About three and a half minutes into 'Are you afraid of the world' is my favorite guitar part on the whole EP, this is where Ruland distorts chords and brings a really ambient sound into the song.
Ruland's guitar playing may seem disoriented but in fact it is driven by a focused vision. The end result is one that parellell's the ambitious sound of the entire band.
There is a lot to be said about John Van Deusen. I have always been floored by the amount of talent that Van Deusen has poured out. His voice is huge, diverse and precise. No matter how many times I see him sing, I don't think I will ever stop being shocked by how well that kid can scream.
I haven't heard songs with a bold emphasis on piano in a long time, with the exception of Ben Folds. In many tracks the keys are the focal instrument of the song, with more runs and solos than the guitars. The keys are always moody; in any given song they can be really messy, busy and loud or very simple, quiet and few.
Bradyn Krueger can switch from mellow drumming to chaotic drumming. A great example of this is the song Opium Blues that he begins with light drumming, almost pop-like... and it moves into a very heavy style. Krueger is a very diverse drummer, keeping the chaos running smooth.
Eric Sturgeon brings the extra depth and volume that creates an invisible element that is crucial to the band. You never hear a random bass line anywhere on this EP. Just how it should be. Sturgeon fills out the sound of each song perfectly, complimenting Ruland's rock riffs and ambient distortions.
Each band member’s unique talent and vision of music brought together Regicide, The Lonely Forest's new EP.
This EP is hard to categorize, it's a mixture of what has been and what is to come in the rock world. It's not quite as 'before it's time' as Radiohead's 'Ok Computer' album, but The Lonley forest is on the brink of something that no one else is.
Possibly the most unique chemical of this band is the lyrics. Each song has a deep meaning; confronts world issues or challenges life long beliefs.
The production of Regicide was part of their prize after winning last years Sound Off! competition. This EP was recorded with legendary producer Jack Endino. Regardless of how legendary Endino may be, he still wasn't able to capture the intensity that this band brings at a live show.
For a band less than a year old, and with members ranging in age from late teens to mid-twenties, I'd say they have a slight advantage over many other young bands.
Now with outstanding quality recording, a bit more touring under their belt and some strong ambitions- The Lonely Forest seems as though they are Major Label ready.

Reviewed by: Jacquee

Boy Eats Drum Machine review

Pleasure
08.28.06

Forget everything you thought you knew about love songs - unrequited desire and heartache are no longer in fashion. Forging the way, Boy Eats Drum Machine professes authentic attachment in a way that will have you throwing your Prozac prescription from the rooftop and remembering what its like to dance.

BEDM is the Portland trio of skilled sampler and vocalist Jonny Ragel on turntables, guitar and keys; along with Ben Rickard on guitar, synth, and the occasional cowbell; with the magic of Peter Swenson pummeling that drumkit. Together they have concocted a new form of electronic dance/pop trip-hop, blending many music styles to create a diverse and original result: Pleasure.

The debut is marked by soulful emotion and energy. Its infused with well crafted beats, charmingly simple melodies and infectious samples.

With near perfect arrangement and fluid, changing song structure the tracks are kept interesting such as in the gradual wind up and release of the single worthy 'Angel Telling Lies' or even the slow pressure built within the closing number 'Sometimes you Wanna Go Where Nobody Knows your Name'. At times during the album the vocals will hit at the same instant the drums propel them forward, or a sample will fall incredibly well as in Introduction a, and your serotonin levels will soar.

Ragels vocal technique is a defining characteristic of the BEDM sound, with an undeniable range and seamless shift throughout - from the high falsetto in the opening 'Pleasure Theme Song' to the deeper styling found a few tracks later. His raspy, textured quality contributes to the sensual atmosphere already present.

The lyrics are often overpowered by the music and vocal aesthetic and with a repetitive pattern to them lines like "eunuchs always feel this way / cry at night / laugh all day" are lost in the shuffle (think about that one). However, such lyrical simplicity is highly enjoyable in a sing along in your car sort of way, and with vocals like Jonny's you wont really mind.

The album has a subtle static, lo-fi quality lost in translation to the live show, yet any such discrepancies are compensated by an incredible stage presence not to be missed. Having recently opened for another amazing Portland trio, Menomena, the Boy Eats Drum Machine team seems to be well on their way to deserved success.

-nwb intern

The Divorce review

The Divorce’s encore album “The Gifted Program” is a confident creation that strays from emo influences and streams pure rock + roll.
There are a couple key elements to The Gifted Program that illustrate the group’s maturity and aid in establishing an undeniably identifiable “divorce” sound rather than trailing other manufactured, pro-pop jingles. Although there is still the slightest hint of blithe—signaled by bizarre lyrics that are dually peculiar and ingenious—Shane’s attractive vocal fashion is less processed in comparison to their previous album and appreciatively clear and comprehensible—yes, I sing along.
The quality and creativity of the album is incredible assuming their youthfulness as a group—gathering in 2001 they have crafted infectious music that is a staple to the Seattle stage. The Gifted Program flaunts a solid and hearty harmony—brimming with a more growling guitar and authoritative bass line. While 2003’s release of the prima-donna disk—There Will Be Blood Tonight—was able to uplift my high school years—The Gifted Program resonates well-seasoned sophistication. If you didn’t like The Divorce before—you will now.
These four young men have dressed an impressive and infatuating album—as if I haven’t said it enough—The Gifted Program is rock and roll gold.

:: review by Karoline Anderson. May 13th 2006