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Administration0@blogcritics.org Sun, 26 Aug 2007 12:00:00 EDT http://blogcritics.org/archives/2006/03/01/075119.php Ryan SeayLast month, I had the pleasure of repeatedly working with some superb artists who, across the past two decades, have really impacted their respective genre, music in general, and even some non-music-related causes ranging from politics to pets. No independent band has received a greater welcome or greater success than they have and it will take a band of megalithic proportions to topple them from that achievement. This month's featured artists, here at Blogcritics, are NOFX. NOFX got their start, as so many bands do, in Los Angeles, California in 1983. Since that foundation the band has gone on to release 10 studio full lengths, 6 EPs, and a military-grade gigaton of 7 inches; to put that into perspective, the Beatles released 11 UK studio full lengths. The band has found unparalleled independent success, selling over 6 million records worldwide and touring all six continents (note: Antarctica is a chunk of ice - not a continent).The band has always had some lyrically absurd songs but the majority of them are borne of a joking nature. Historically, not all people, mainly the press, have been receptive to that sentiment; for awhile the band had trouble finding daylight within any media outlet. Though once the fan buzz generated, the media was forced to take notice to the band, but by that time NOFX had decided they were done with the media. NOFX has traditionally given very few interviews, refuses to work with MTV, and has seldom relied on media attention for anything. This general uncooperativeness doesn't stem from any bitterness but rather a hardy, "thanks" to all those who helped them back when they were still nobodies; it might also have been, whether known or not, a brilliant PR move since it made the media crave the elusive interview with NOFX. On that note, make sure to check back later this month for my interview with frontman Fat Mike.Bad Religion, Misfits, and Rich Kids on LSD are some of the bands that have influenced NOFX over the years. In modern music, you'd be pressed to find a punk band who didn't list NOFX as one of their influences. It didn't take long, after making their mark on the scene, for the band to make that transition from influencees to influencers. The band's first full length, S&M Airlines, was released on Epitaph Records in 1989. While the band found moderate success with albums throughout the early nineties, the band had their first certified gold with the album, Punk in Drublic.Despite multiple pursuits by major record labels, the band has stayed true to their punk mentality and strayed from signing to any major labels. After helping mold fledgling Epitaph Records into the monolith it is today, the band left Epitaph for NOFX frontman Fat Mike's label, Fat Wreck Chords. The band has gone through a myriad of member changes throughout the years. In 1983 the band consisted of Mike Burkett (Fat Mike), Eric Melvin, and drummer Erik Sandin (a.k.a. Erik Ghint/Erik Shun). By 1985, Sandin had quit the band and Scott Sellers had taken his place. Now pay close attention: Sellers then quit the band, was replaced by Scott Aldahl for two weeks, and then Sandin rejoined the band. In 1986, Dave Allen joined the band as a vocalist but regrettably was involved in a fatal car accident later that year. The close of 1986 brought a very meticulous touring schedule for the band which prompted the addition of second guitarist, Dave Casillas. Casillas left the group in '89 and was replaced by Steve Kidwiller. After appearing on NOFX's first full-length, and two subsequent albums, Kidwiller left the band in 1991 and Aaron "El Hefe" Abeyta joined the band to create NOFX as we know them today.While reading through the press bio, given to me by Fat Wreck Chords, I stumbled upon this gem at the close of the letter. It is an email written by frontman Fat Mike in response to his label's pressing for him to write a biography. I feel it is a great synopsis/supplement to what you have already read. Here it is in its entirety: Being in NOFX is easy. There's nothing easier than being an alcoholic in a punk rock band. We didn't start out being alcoholics, but we're definitely gonna finish that way. It all started in the winter of 83. We we're all 16 and had no idea how to play musical instruments. Lucky for us we wanted to play punk, therefore you didn't need to know how to do anything. So Melvin, Smelly, and I start writing songs and playing shows in Hollywood. After about a year we start touring the US without even a 7" out. All we had was a demo. We played places like CBGB's, The Mabuhay Gardens, Blondies, and the Anthrax. No one liked us, but that was OK cuz we we're having a hell of a good time. So we start recording songs, but none of them we're good, and we kept on touring, but no one liked us. Years go by. The year was 1989 when we wrote our first good song, "S&M Airlines". Brett from Bad Religion heard it and signed us to Epitaph records. Then we made the S&M Airlines LP. It was weird, we made a good record and people actually started to like us. Before 89, we had never made more than 200 dollars at a show(lucky to make 100). From there on out things got better. 10 records, and about 15 world tours later, we're still here, and happier now than ever. Now we can afford the best drugs and booze, and we get comped on tons of great golf courses all over the country. We don't make videos, we don't do interviews, and we only play shows in warm months, (good golf weather). We even got a gold record a few years ago. Cool. It never even charted once, but it went gold anyway. So there it is. NOFX, a hella happy punk band. Now if we could only get that asshole out of the white house, everything would be great. Oh yeah. In 91 we got a second guitarist in the band. His name is El Hefe and he was in " The Bad News Bears" when he was 12. He played Miguel. See ya. Fat Mike NOFX will be releasing an EP titled Never Trust A Hippie, in March and a full length titled Wolves in Wolves' Clothing coming in April. They also will be making a stint with the Van's Warped Tour this upcoming summer. In the coming month: I will review NOFX's EP, their concert with the Lawrence Arms, and showcase my interview with Fat Mike. Make sure you check back for all these features, especially the interview. Music44313@blogcritics.org Wed, 1 Mar 2006 07:51:19 EST http://blogcritics.org/archives/2006/02/13/092940.php Ryan SeayPunk, at least at one point during its existence, meant catchy rifts, political agendas, anti-authoritative ideologies and powerful music. I'm not sure when it happened or how it happened but somewhere along the line the Punk community stopped caring about what made the genre so special for me: the music. There was a phase-shift toward the mentality of "being punk for punk's sake" and a lack of emphasis on the music; the agenda became the forerunner and the music took a backseat to that.A Wilhelm Scream's release, Ruiner, has proven to me that there are still those out there who care about the music more than the agenda. Ruiner is the best punk release I have heard since Rise Against's '04 release. They are a breath of fresh air in what was becoming a rather stagnant and dying punk scene. So, what do they sound like? I'll tell you. A Wilhelm Scream is Hot Water Music meets Jawbreaker meets Dinosaur Jr. meets progress. The best part about this album is its ability to hold traditional punk structures to its songs while taking a bold step forward. A lot of modern bands feel they have to latch on to a certain genre to survive and it just isn't true anymore. The Internet, and the socially-expanding entity that it is, has presented us, as a society, with a unique opportunity. It has broadened the reach a band has, in terms of initial audiences, as fledgling beings in the music world. You don't have to sound just like someone else to be noticed. I love to see bands take the collective influences of their members and then take a step or two forward with those notions; A Wilhelm Scream has done just that with Ruiner.If you have read any of my articles before, you will know that I have a problem with short album releases. I feel short albums are the primary, legitimate defense any media-pirate has for pirating instead of buying. You might also recall that I do not hold this belief against punk bands; A Wilhelm Scream has finally given me an album to showcase exactly why I feel that way. Many songs on the album are very short in length; by shortening the length, it allows for the accelerated tempos and flurry of lyrics, found in these songs, to become non-repetitive. The production quality of these songs stays intact; whereas if they were any longer, I fear they would start to lose their identities as songs and just become repetitions of verse/chorus combinations.The vocals on this album are also another point that needs to be brought to attention. Hardcore, metal, and punk bands are often given the liberty of putting vocals on songs that are near incomprehensible. A Wilhelm Scream, on Ruiner, has the fortitude and confidence in their talents to break that norm. They not only utilize their talents to attach melodic vocals to their songs but also throw superbly harmonic backup vocals as almost to say, "Yea, we are that good." A powerful, comprehensible, and melodic vocalist is a great catch and I hope the band continues to use this to their advantage.If you are looking to pick up the future of punk music then grab this album. This is easily in the Top 10 Punk albums of the last 4-5 years. If the rest of the punk scene takes some ambitious moves like these guys have, then we are in for some great music come 2007. Music43529@blogcritics.org Mon, 13 Feb 2006 09:29:40 EST http://blogcritics.org/archives/2006/02/12/054624.php Ryan Seay Picture taken by Christian JohnsonIf you are reading this and are also above the age of 18, then you are most likely familiar with the Nintendo Entertainment System, also known as NES; well at least if you are cool or ever were cool, then you have some idea of what I am talking about. These days, video games are synonymous with sex, drugs, and violence; rock and roll has also taken a bad reputation from this over-generalization.I will admit that both video games and rock and roll have succumbed to these stereotypes during more than one era of their existence but it wasn't always that way. Video games were at one point a moderately wholesome commodity and were still an equally, if not more, enjoyable part of entertainment, as their descendants are today. The Minibosses, through a series of covers, remind us of that time with brilliant renditions of classic NES games. It takes guts to attempt a cover, talent to pull off a cover, and something truly unique to master a cover all-while making it your own; The Minibosses have achieved all of the former and possibly a great deal more.The NES, although archaic by modern standards, holds some of the most widely recognized and beloved characters of all time. These landmark franchises, of course, spawned many sequels on NES due to their substantial fan base. With sequels, and highly-anticipated sales, came larger budgets for creators to develop soundtracks among other things. The Nintendo Entertainment System, even with technological handicap, still holds some of the most memorable game soundtracks to date.Most of the world assumes that covers are performed because a band is not capable of creating their own artistic material; that is not always the case. The Minibosses are very talented individuals who continually showcase their talents throughout their EP, Brass. They are capable of much more than being an unsigned, NES-cover band, but I am very glad they have chosen this niche to perform; something tells me they are glad as well.One track that truly showcases their abilities is their rendition of "Super Mario 2". Super Mario 2, sorry to ruin the surprise if you still haven't played it, takes place in a dream world. Many of the levels take the characters to very exotic places and the soundtrack was designed to display that feeling. The Minibosses have captured the entire game from beginning to end, including an incredibly accurate segment involving a tempo change and the acquisition of a star -- Listen to the song and you'll understand. It is quite an impressive feat to stay true to a subject, while really taking it in as your own, and still achieving an excellent end product.If Nintendo had any brains at all, they would sign this band to a contract; Nintendo is preparing for the release of their new console, "Revolution" which will include a substantial library of NES games for download. An interesting idea would be the offering of the original games and updated versions which included soundtracks from The Minibosses. Any PR/Marketing representative, worth even half of his merit, would snatch up this idea in a second.The most impressive track, and in my opinion best on the album, is "Mega Man 2". Mega Man 2 was a game that obviously had a lot of work put into its soundtrack and it shows since it has one of the best NES soundtracks around. The Minibosses have done a great job showcasing the songs from multiple levels of the game all in one beautiful medley. With an album consisting of 10 songs, all from different games, running a quarter short of an hour, this is a bargain for $12.The Minibosses will also be playing Penny Arcade's annual PAX gaming expo. It is an event focused around all types of gaming including console, pc, and tabletop. It will be the band's third year playing the event and it surely is not their last.It is great, during a time where video games and violence run hand in hand, to be reminded of such a golden era through such well composed and musically competent means. The Minibosses' album, Brass, is available through their website.Buy The Minibosses' Brass EP at Minibosses.comView more reviews by visiting my site at: [music]^2 Music43500@blogcritics.org Sun, 12 Feb 2006 05:46:24 EST http://blogcritics.org/archives/2006/02/03/185821.php Ryan Seay Once upon a time there was an art called Storytelling. Now, Storytelling was once a way of life; it was performed for kings, chieftains, and sultans. One day, Storytelling met a beautiful girl named Music; they were wed and had a beautiful child called Song. Storytelling and Music fell in love and were thought to be inseparable. But as time advanced, so did technology. Music turned toward this new technology and found that it could grow much more powerful than Storytelling ever was or would be. Music allowed Storytelling to follow along out of a once highly revered respect but she knew he was more formality than necessity. Storytelling, the once proud art, had fallen victim to technology, marking Storytelling’s fall from grace. Then one infamous day, the knight Sir Stuart Murdoch of the Belle and Sebastian clan came to find Storytelling attached to a leash. He was being dragged forward by a whistling, skipping Music. Luckily, Sir Murdoch had a degree in marriage counseling and the knight explained to both Storytelling and Music that the three of them, including Song, could live happily together. Song would only truly be great if she inherited positive attributes from both her parents. Storytelling was revived, Music understood what she had been missing all this time, and Song grew to be an even greater art than either of her parents. And they all lived happily ever after. I have always been a proponent of meaningful lyrics Some contemporary bands just write a song and throw whatever catchphrase or woesome words they can come up with to lure in impressionable and confused listeners. I hate the logic involved with, “If I sing sad lyrics, maybe sad people will buy my CD.” Yes, sad people will buy sad albums, but it does nothing for the art if those songs inherently mean nothing. This is where Belle and Sebastian really have excelled. They've taken a stand against "the way things are." For proof, check out their latest, The Life Pursuit. The majority of the new album deals with the troubles and confusion of youth and a myriad of other bittersweet love issues. Some noteworthy tracks include "Act of the Apostle Part I & II," which tells the story of a high school girl and use of a biblical daydream to deal with inner turmoil and "Funny Little Frog," which tells the story of the protagonists’ obsession with the virgin mother. The thing to understand about this album, or about Belle and Sebastian in general, is that the chief aspect is their storytelling. The band’s accompaniment and melodies contain traditional sounds and vibrant strings which serve as a guide to the lyrical mastery within each song. The songs, although enigmatic, contain musical directions to lead you in the right direction; it's as if the music itself has taken upon itself the responsibility of conveying the emotion of the stories. The principal track that sums up this album for me is "Dress up in You." This is a wonderfully executed track which uses your preconceived notions to lead you on an emotional journey - each verse discloses more information. You go into the song with one idea of what it is about and end with an understanding of emotion, heartache, admiration and disappointment all wrapped into one. This song truly showcases the lyrical and musical abilities of the artists and the storytelling competence of the vocalist, Stuart Murdoch. If you are a fan of Belle and Sebastian or if you like narrative lyrics with elegant musical accompaniment, this album will be a true treat for you. Though not as genre-defining as their iTunes exclusive release, If You're Feeling Sinister: Live at the Barbican, The Life Pursuit is a great addition to any fan’s B&S collection, and it is highly recommended as well for newcomers looking to expand their musical horizons. Music43146@blogcritics.org Fri, 3 Feb 2006 18:58:21 EST http://blogcritics.org/archives/2006/02/01/203032.php Ryan SeayLet me start out by saying a few things. I have traditionally strayed away from anything that willingly attached itself to shows such as The O.C. To be honest, I'm not even sure if the term, The O.C. (read: The Orange County) makes any sense, but we aren't here to debate semantics or grammaticism. Although, I have to say that someone over at Fox knows their stuff; I groaned when The O.C. played Death Cab for Cutie but when they then also played Franz Ferdinand, Black Rebel Motorcycle Club, Hot Hot Heat, The Killers, Louis XIV, LCD Soundsystem, and The Subways I had to concede. Given the fact that I personally discovered this gem, The Subways, while my girlfriend (I swear she was watching it and not me) was watching this show, I have no problem giving credit where credit is deserved.The Subways' album, Young for Eternity is the best CD by a new artist to traverse the channels between the U.K. and its fledgling son since Franz Ferdinand's or Kaiser Chiefs' debut albums. When you consider the band's combined age of barely-breaking-a-half-century, you'll realize The Subways is a name you may have to get used to. With their age comes an undeniable, and seemingly unavoidable, angst and lyrical immaturity. For a first release though, having your lack of lyrical experience called into question isn't too harsh of a criticism.The opening track, "I Want to Hear What You Have Got to Say" is misleading through the course of its opening lines. I found myself constantly questioning the genre and influences which produced this unique and enjoyable sound. I quickly found that this opening track serves as the "get used to this" factor for the rest of the album. The influences aren't hard to point out as long as you will allow yourself to choose a new one for each song. The album seems to run the gamut genre-wise from the Green Day influenced rifts of "Holiday", to the indie-folk influences of "Mary", to the most impressive '80s metal influences of "Young for Eternity." The album in general is a quick and easy listen no matter what genre you are into, but it has a built in bonus for those who traverse genres.My main complaint with this album would of course be its length; I know it is an immortal sin to complain about a punk album being too short but this album jumped genres far too often to receive that blessing. To its merit, the complaint about the length is only because I would have liked to hear more from what I found to be a very impressive import from across the Atlantic.Bottom line: If you like garage-grunge songs, interspersed with power ballads and light jams, then this is one to definitely pick up. A great debut album from a band, I'm sure, we are to hear more from.To read more reviews of unsigned and signed artists check out my site at [music] ^2 - Music Reviews. Music43055@blogcritics.org Wed, 1 Feb 2006 20:30:32 EST http://blogcritics.org/archives/2006/01/30/000925.php Ryan Seay This week I'll be taking a look at Artic Monkeys' debut album - Whatever People Say I Am, That's What I'm Not. In case you know absolutely nothing about the band, here is a little synopsis: The band's first single topped the U.K. singles charts and their U.K. debut album outsold the rest of their fellow bands including the U.K. Top 20 combined; as in, take ranks 2 - 20 and add their sales together...Arctic Monkeys win hands down. That's an impressive stat to boast no matter who you are but in the end it is exactly just that: a statistic. I will be frank with everyone who reads this vignette; I imagined, before having listened to the album, that I would begin this review with blurbs like, "Does anyone want to buy a 1999 Ford Mustang? I am selling mine to move to Sheffield and erect an Arctic Monkeys temple, a la the Who's Tommy, to help spread the word of the Arctic Ones." I have to say it is a shame I don't feel that way, because that is top-notch, quality journalism; as you can see, a good journalist will find a way to include whatever he wants to include. Now, don't get me wrong, I am by no means saying that the Arctic Monkeys album is a bad one. Are they the next Oasis, as some people are saying? No, they are not. Are they the next Strokes? Maybe, and that is a questionable maybe. The album suffers from what I will now refer to as "Hit Single Syndrome" or H.S.S for shorts. H.S.S is the phenomenon that occurs when a song does really well, so well that the entire rest of the album must follow that exact format in hopes of maintaining appeal with those who liked the single--and it worked. The album sounds a lot like the single, which is a good song to its merit, and those who liked it, went out and bought the crap out of their album. Everyone made a lot of money, except probably the Arctic Monkeys, and everyone is happy, right? Not always the case. The songs are hardly distinguishable from each other if you tune out the lyrics they are singing. The album does, though, contain 13 good songs which are arranged excellently and are just great songs to listen to; the album though, lacks that handful of exceptional songs to escalate it to a truly substantial status. It also severely limits it replay ability. The album is a general synopsis of "Good Music" but it isn't anything genre-shaking, and nothing on the album makes me want to play it repeatedly.I had hopes of this album being the "Antics" by Interpol, which I have been looking for and still am looking for; when I find that album it will receive 5 stars and you will know about it. Whereas The Subways received four stars for a debut album filled with a majority of good songs, a few mediocre ones, and a few exceptional ones, this album receives the same rating for a consistent album of good songs; the album contained no songs which I did not like but it also contained none that I loved. If you liked the single and are looking for more variations of the single then buy this album and you will not be disappointed. If you were looking for something more from the band, then you might have to wait for a sophomore release. Either way, we will hear more from this group as well and I hope for growth or at least a regaining of the musical-control-reigns from whomever has them in their grasp right now. With this album, I recommend if you have any interest at all, just buy the album and see for yourself. You'll either love it, or be content at the worst. To read more reviews of unsigned and signed artists check out my site at [music] ^2 - Music Reviews Music42919@blogcritics.org Mon, 30 Jan 2006 00:09:25 EST