"Cosmic Egg"

A line-up change due to "irreconcilable personal and musical differences", usually doesn't bode well for a bands future. Especially not after only a single album release. More often than not, what was once a promising new prospect, will end up as a "what could have been" or just simply forgotten.

Since their debut in 2005 Wolfmother has walked down this path. When bassist & keyboardist Chris Ross and drummer Myles Heskett left the band in August 2008, we were left only with Andrew Stockdale's vow to keep the band's name going. After staying more or less below the radar for six months, Stockdale emerged from the darkness under the alias "White Feather" with his new line up in February '09. With new attention gained and expectations rising again, Stockdale and new members Ian Peres (bass, keyboards), Aidan Nemeth (guitar) and Dave Atkins (drummer), have spent the last nine months in and out of the spotlight. Releasing new information and a few singles a long the way, all leading up to their new album release entitled "Cosmic Egg" which is available in stores this week.

Contrary to what one might think, the loss of two founding members and the band evolving into a quartet with three new members, has not changed the bands musical core. Clenching tightly to the formula that earned the original trio's self-titled debut much praise and critical acclaim. Wolfmother still takes most of their inspiration from the giants of the late 60's and early 70's, and throws just a little bit of modern touch on it, but do so without trying to hide where their inspiration comes from. Sadly this is not really to their own benefit, as it will leave fans of classic rock split down the middle. One half will claim that Wolfmother are too dependent on the old giants, not creative enough of their own and do not manage to get to the same level as those they are trying to replicate. Others will say that while they are not as good as, say Zeppelin or Sabbath, especially lyrically, the music still rocks, and brings back a kind of rock sound that is very much sought after in today's music business. Another thought is that if Wolfmother had released their albums in 1974 and 1978, they would probably be highly regarded today. All of these points are probably somewhat true, but if you can embrace what they are, rather than what they are not, put yourself into a 70s state of mind and just float along with the surrealistic lyrics, then you might just come to enjoy this record for what it is.

Keeping this album more straight edge rock than the free running debut, "Cosmic Egg" hatches with one of the albums better tracks coming out first, the roaring "California Queen". Wolfmother picks up right where they left off on their debut, with Stockdale soaring through the vocal specter of both Ozzy Osbourne and Robert Plant already on the first song, with his new compatriots wailing on with guitar and drum play obviously inspired by both Black Sabbath and Red Hot Chili Peppers.
"New Moon Rising", which was released as a single in late august, is the next track on the list. While maybe not the highpoint of the album it is reminiscent of "Dimension" and is definitely the crowd catcher of the album. Few tracks down "Sundial" and "10,000 Feet" appear and both are good thumping tracks where you'll find the guitars grinding thick with all their might. For the title track; think "Roundhouse Blues" crossed with classic power metal, that description is pretty much spot on. As a change of pace "Far Away" is bound to be a young travelers/backpackers mp3 player favorite, a ballad that will have the listener thinking back on lost love and good times.
At the very end you have "In The Castle" and "Violence of The Sun" the albums two most epic tracks, filled with mysticism, fantastic guitar licks and dramatic bass and drum-play.

While this album certainly rocks and fills a certain need in today's music industry, Wolfmother probably could try to be just a little bit more original. Other than that the flaws are few and far between and the album in general is well built, there isn't really a dull moment anywhere, the main disappointment would be that "Caroline" is only found on the deluxe version. This ballad should have been on the main album, and this song alone makes the deluxe version worthwhile.

Only Built 4 Cuban Linx... Pt II

When "Only Built For Cuban Linx..." was released in 1995, the Wu had already established themselves as a force to be reckoned with within the rapgame. Their group effort "Enter the Wu-Tang (36 Chambers)" had put them all on the map and solo efforts were being released with great reviews, "Only Built For Cuban Linx..." was no different. Taking inspiration from almost every gangster and mofiso movie that he could find Raekwon created an epic Cosa Nostra tale that would perfect Mafioso-Rap and would serve as inspiration for everyone that came after him.
Fourteen years and two solo album let downs later, Raekwon finally goes back to his original blueprint and delivers the long awaited sequel to his magnificent debut album. It doesn't disappoint.

Like the original, the guest list is long. Wu members, affiliates and other guests, all participate at the top of their game. After a refreshing intro from Popa Wu (which continues where Pt I ended), Inspectah Deck starts throwing his darts with cunning brilliance on "House of Flying Daggers" a track fueled by a marvelous production from the late J Dilla. Once Deck's opening frenzy ends, Raekwon himself then takes the reins with his profound lyricism and clever rhymes. Ghost follows with equal excellence and Method Man then ends the 5 star opener with a sincere and perfected "Man, ya niggas ain't shit to us" as the start of the final verse. Leaving you with little doubt that this might just be what you have been waiting for for so long.

The rest of the album is lit up with more amazing grimy production, RZA is back on board, more J Dilla follows, Pete Rock, Dr. Dre and The Alchemist are on the list, Allah Mathematics and Ice Water Productions also come up with some of the albums finest production. However, despite the heavyweight guest list and big names that help shape this record into what it is, Raekwon seems eager to prove that this is still his album and that he is the man in the high seat. With his raw but intelligent narrating, this crime cinema-esque tale shows his fineness with relative ease, and the Chef once again proves that his name should be up there right at the top with the other great MC's and storytellers of his era.

How this album was burdened with so many expectations and a flood of doubt, only to prevail with such excellence is quite and amazing achievement. A modern classic in making, leaving Wu fans wanting more.

To Holmgard, and Beyond!

Should the phrase “battle metal,” for some unknown reason, cross your mind, let the name “Turisas” follow soon after. Finland based Turisas -- named after their homeland's ancient god of war – has risen above the novelties of folk metal and taken the best elements of the style to their own. Not in the least interested in dragons and wizards and such, Turisas digs deep into the history books for inspiration in their varying songs, specifically into those of vikings. Folky, but not aggravatingly so, Turisas builds an epic atmosphere of the might and power of the vikings and their historical battles and lifestyle, as illustrated by their 2007 release The Varangian Way (to the uninformed, Varangians were 9th and 10th century vikings who pressed south and east through what is now Russia, Belarus and Ukraine.) Suprisingly enough, however, their debut album entitled Battle Metal contained songs without mention to either battle or vikings.

Not satisfied with the screaming and roaring of so many metal bands before them, Turisas prefers a more orchestral approach, but is never without a brutal guitar riff (or the support of an accordion and violin, for that matter.) Vocalist Mathias Nygård has some great capabilities from roaring to a beautiful melodic narrative, the vocal aspect (as well as much of the composition for the band) is covered by a formidable talent. Guitars, bass and drums meld together to create a driving musical force, accented by polka and folk melodies and sounds. Don't let their comical appearance fool you! Turisas, unlike many other “folk metal” bands, has the ability to play folk metal without coming off as too much of a novelty act; an admirable feat in itself! Even with violins and the occasional accordion singing their way through a melody reminiscent of some old polka tune, the skillful rhythm work of the guitar and percussion keeps the piece from becoming too stagnant.

A major strength of this band not to be forgotten is the exquisite combination of instruments, vocals and the balance of each within the piece. Though the orchestral aspect of their compositions can become a bit much for some listeners, the pressure and build of the rhythm guitar and bass keeps the listener on track with the song and keeps them from being distracted by the almost theatrical history-telling vocal breaks. The staggering variety of their songs in itself seems enough to sell countless albums, as Turisas leaves little room for one to say all their songs just sound like typical metal. Breaks in tempo, key changes, and even changes in the meter and overall tone of the piece keep listeners engaged and interested.

Turisas, with the efforts of Nygård leading the way, has established themselves in the metal world as much more than a novelty act, and has shown that they are a force to be reckoned with by the standard laughable imitators with nothing to show but long beards and overdone drinking songs. 

In Memory of Richard Wright

A little over a week ago Richard Wright, most famously known for his work as the keyboard player in Pink Floyd, died on the 15th of September after a short battle with cancer.

The bigger part of Wright's career started in 1965. Wright, along with his college friends Roger Waters and Nick Mason founded the band The Pink Floyd Sound together with guitarist and vocalist Syd Barrett. They set off Pink Floyd's mainstream career with their debut album "The Piper at the Gates of Dawn", which is now hailed as one of the greatest psychedelic rock records in history. Only to go on and make even more critically acclaimed records in the 1970s like "The Dark Side of the Moon", "Wish You Were Here" and "The Wall", just to name a few. Wright's role and importance is often one that the media tend to push back behind the other members of the band, especially behind Waters and Gilmour (Gilmour joined, and eventually replaced Barrett in '68). Nick Mason said last week that Wright often ended up being "the George Harrison of the group" since his contributions are frequently forgotten regardless of their massive importance.

While Wright is said to have had more impact on songwriting and more of a leadership status (behind Barrett), in the early years. It is his compositions in the middle years of Pink Floyds career that is really important. Wright's very unique jazz and neoclassic infused style ended up being one of the main trademarks of the band, his otherworldly and often ghostly and spiritual sounds are easy to make out. "Interstellar Overdrive", "A Saucerful of Secrets" and "Echoes", along with "The Great Gig In The Sky", "Us And Them" and "Shine On You Crazy Diamond" are all great examples of Wright's sheer musical brilliance. His playing is often what bridged the gap between the other sounds and instruments, in many ways Richard Wright was the binding force of the band's music and an important ingredient in pushing Pink Floyd from great, to legendary. None of the band's albums would have been the same without him (ignoring his brief split with the band after "The Wall"), and neither would the last 45 years in music.

Rest in Peace Richard Wright
Enjoy The Great Gig In The Sky..

... And Then I Still Said Yes To Sin.

Did you ever wonder what a hyperactive kid on 40 redbulls would look like? Wanted to trash your own home for no apparent reason? Or maybe the home of a friend? Or wondered what it would be like to really fuck at the same pace as rabbits? Don't worry, this record will help you accomplish all these magnificent things. Trust me. O.o

When Grand Island released their debut album "Say No To Sin" in the fall of 2006 they pretty much filled a missing link in norwegian rock all by themselves, the lack of "Freespirited Crazyies". With inspiration taken from almost every corner of the music universe its impossible to classify this band in a single genre (unless you want to put them under their own "hardsoul-bluegrass-disco" genre, which is where they classify themself). And you know what? You simply can't help going completely nuts to it.

To some people this record is a nightmare, to others it's a blessing. The reason is simple; this album is a giant circus that never stops going nuts, and you better be prepared to go crazy for duration of it 'cause other wise you wont last long. After all, "Energetic" is this record's middle name. There is always (at least) 3 diffrent styles of music playing at the same time, Espen Gustavsen's voice constantly keeps your head spinning and never lets you focus on anything but the music, and you really feel like you just stepped onto the most insane rollercoaster that ever existed.

What makes this album so interesting tho, is all its small but unique treats. The allready mentioned voice of Espen Gustavsen will grab your attention immidiately, but like everything else on this record his voice is hard to describe. However, if you can picture a rockabilly-god on speed that has just stumbled into the universe of gypsypunk-paced instrumentals, then i think you got the right picture. After that you'll start loving Jon Iver Helgaker's circus inspired keyboard plays, that somehow always manage to fit the rest of the music perfectly. And last but not least you'll notice that Espen's brother Pål is actually switching onto a banjo instead of his guitar from time to time, but still keeps rocking out just the same.

I'll be honest, this record doesn't sound like the salvation on paper. But don't be fooled, if you can handle the pace, then this is one of the greatest records this side of the millenium. After 2 years i'm still not sick of it.

Grand Island - "Us Annexed"