Music Producer Pro Review - Learning Music Production Online

Why Not An Audio College?

Learning music production at a college can be extremely costly. You could easily spend thousands of dollars at such a school. Not only that but you may have to meet other criteria to get in. For most people who want to learn music production this is not a suitable option. And I'm glad to say it's completely unnecessary.

An Alternative: Music Producer Pro

Many of the biggest music producers (especially in the hip hop world) never went to any sort of audio college, they simply learned on their own. Many of them used something like Music Producer Pro in order to learn how to produce music themselves.

Music Producer Pro Features

(1) Includes hundreds of easy to follow video tutorials.

(2) Includes information on every aspect of music production.

(3) You will learn how to produce your own music.

(4) Teaches you how to write your own hit songs.

(5) Includes a free beat maker program.

(6) Includes free music lessons (for piano, drums, bass, & guitar.)

(7) Music industry listings are included which can help you make important contacts in the biz.

(8) You will learn how to use samples effectively.

(9) All materials can be downloaded online instantly.

(10) 100% satisfaction is guaranteed.

(11) 60 day full money back refund period which means there's no risk in trying it.

(12) Free rap battle recording system is included.

(13) You can learn how to score music with Music Producer Pro.

(14) You will learn how to do MIDI editing.

(15) You can learn how to record live instruments.

(16) Includes information on reading music and tablature.

(17) Learn how to compose & and produce in any style of music you want.

The Old Hippies Music Review

Well of course I mustn't tell the little lady's age, but we've been married almost 40 years. Some subtraction reveals the musical era that she and I grew up in. We didn't make it to Woodstock but did get to go to a 3 day music festival at Goose Lake, Michigan in the summer of 1970. Details are a little foggy, because the promoters announced "Do Not Take The Brown Mescaline!" a few minutes too late for me. One of the biggest disappointments, other than the bad psychedelics, was that one of the best English blues groups, Savoy Brown, was a no-show. The good news was Ten Years After, The James Gang and Jethro Tull were there, and dozens of other super, famous groups. The wife and I were music buffs then and now. In the summer of '66, when I woke up in the hospital with nothing much to do (except to eat Seconal for pain), I teethed on "The Pied Piper", "Sweet Pea", "Summer In The City", "I Saw Her Again Last Night". I think I also fell in love there for the first time but I never saw that princess again-well maybe once. My future wife knew her first love about the same time and she also had a second love, the Beatles. She got to go to their concerts in 1968 & '69. She probably couldn't hear the singing for the screaming but it had a lifelong effect on her nonetheless. So I'd say 1966 was about the beginning of our musical travels.

Over the years our eventual accrual of lps, cds, and tapes has reached over 600 collectibles. Unfortunately (or fortunately from my point of view) my family's music taste got stuck in the 1960's & 1970's. I tell myself that this is not unnatural. We have advanced just a little bit into the following three decades. The following are the best plays in the collection and consciousness of an opinionated couple.

Hopefully every musical taste is present: Judy Collins-Recollections (Elektra, 1969), Bob Dylan-Blood On The Tracks (Columbia, 1975), Beatles-(White Album) (Apple, 1968), Grateful Dead-American Beauty (Warner Bros., 1970), Rolling Stones-Let It Bleed (London, 1969), Janis Joplin-Pearl (Columbia, 1971), Spirit-The 12 Dreams Of Dr. Sardonicus (Epic, 1970), Rod Stewart-Every Picture Tells A Story (Mercury, 1971), Bob Marley and The Wailers-Legend (Island, 1984), Pink Floyd-The Wall (Columbia, 1979), Paul Simon-Graceland (Warner Bros., 1986), Patsy Cline-12 Greatest Hits (MCA, 2003), Johnny Cash-American IV/The Man Comes Around (American, 2003), Stevie Ray Vaughn & Double Trouble-The Real Deal:Greatest Hits Vol. 2 (Epic, 1999), Abigail Washburn-Song Of The Traveling Daughter (Nettwerk, 2005).

Out of so many decisions the girl & I only agree on fifteen. So she is half wrong on the next seven. She likes "Are You Experienced?" by The Jimi Hendrix Experience but I prefer "Axis, Bold As Love". I love Leo Kottke's "6 & 12 String Guitar" but she prefers "Greenhouse". She loves the great Tom Waits extravaganza "Orphans", but "Rain Dogs" is a little better for me. She likes The Traveling Wilburys' Vol 3, I prefer Vol. 1. As for Bruce Springsteen, she likes "Born In The U.S.A" and I like "The Rising" better. Her favorite Led Zeppelin album is the first, I prefer the varied compilation "Early Days & Later Days". Of course her Fleetwood Mac pick "Rumours" is not close to "Then Play On", even though the group is the same on these two selections in name only.

Now female and male opinions diverge completely. The rest of HER picks are (PFFFFFT): The Concert For Bangladesh, Blessed Are... by Joan Baez, Quarter Moon In A Ten Cent Town by Emmy Lou Harris, Against The Wind by Bob Seger & The Silver Bullet Band, Bridge Over Troubled Water by Simon & Garfunkel, Moondance by Van Morrison, Belladonna by Stevie Nicks, Angel Band by (OH NO NOT) Emmy Lou Harris again, Brave & Crazy by Melissa Etheridge, The Principle Of Moments by Robert Plant, and Running On Empty by Jackson Browne. The rest of my picks are: Disraeli Gears by Cream, The Doors' first album, Rides Again by The James Gang, Lola Versus Powerman And The Moneygoround by The Kinks, Waiting For Columbus by Little Feat, The Inner Mounting Flame by The Mahavishnu Orchestra, Uncle Meat by The Mothers of Invention, Shine On Brightly by Procol Harum, The Joshua Tree by U2, Recycling The Blues & Other Related Stuff by Taj Mahal, Shady Grove by Jerry Garcia & David Grisman, The Eminem Show by Eminem, and any "Best of" Beethoven. My copy happens to be put out on the Metacom label. DRUM ROLL...25 BEST SONGS OF ALL TIME! HER: "Idiot Wind"-Bob Dylan, "Piece Of My Heart"-Big Brother & The Holding Company, "Mother"-Pink Floyd, "No Woman No Cry"-Bob Marley, "Closer To Fine"-Indigo Girls, "Hard Rain"-Bob Dylan, "Willow"-Joan Armatrading, "Talkin' About A Revolution"-Tracy Chapman, "Sugaree"-Jerry Garcia, "River"-Joni Mitchell, "Boulder To Birmingham"-Emmy Lou Harris, "Hello In There"-John Prine, "Anchorage"-Michelle Shocked, "Bridge Over Troubled Water"-Simon & Garfunkel, "Red, Red Wine"-UB40, "Shine A Light"-Rolling Stones, "Too Far From Texas"-Stevie Nicks, "Strong Enough"-Sheryl Crow, "Who Will Save Your Soul?"-Jewel, "Into The Fire"-Bruce Springsteen, "Let It Slip Away"-John Hiatt, "Tears In Heaven"-Eric Clapton, "Trouble Me"-10,000 Maniacs, "She's A Mystery"-Roy Orbison and finally "Oh Happy Day" by The Edwin Hawkins Singers.

Some of those singles I can see are not too bad, but I can do better.

My taste in music is so ancient that not all of the recording labels mentioned are still in existence. Elektra is a now dormant subsidiary of Warner Bros. which itself is now a subsidiary of Sony. The Rolling Stones' London label is now managed by Polydor. MCA has been absorbed by Geffen Records.

I have to mention the sound reproduction equipment I used in researching the survey. My primary speakers are as old as my marriage. They are Realistic Mach 1s (the good screw terminal #4024) and sound as good as the day they were born. I would be interested to know if many people still use these. They are unbelievable. My secondaries are little Optimus 7 1/4 x 4 1/2 speaker enclosures with big sound. I use a Yamaha turntable with Audio-technica cartridge. My cd changer is Optimus. My digital synthesized receiver is also an Optimus which is a Radio Shack brand. Realistic was the ancient Radio Shack brand. I can see people snickering but it is good stuff at a good price for the most part, although I am not enamored of the cd changer. The double cassette deck I use is a Teac.

Picks for the best guitarists, lyricists, & vocalists (as these categories define rock) are.........
Guitar-HERS: Leo Kottke, Jimi Hendrix (this amazing talent could play his instrument with his teeth), Jerry Garcia, Alvin Lee, Stevie Ray Vaughn
HIS: Same except Frank Zappa instead of Garcia

Songwriters-HERS: Lennon & McCartney, Bob Dylan (nee Zimmerman, who will be recorded in history as one of the 20th century's great poet's), Bruce Springsteen, Janis Joplin, Eric Clapton
HIS: Tom Waits, Keith Reid (wrote for Procol Harem), Marshall Mathers (aka Eminem), Dylan & Springsteen
Vocalists-HERS: Janis Joplin, Mick Jagger, Emmy Lou Harris, John Lennon, Bruce Springsteen

HIS: Jagger, Johnny Cash, Jerry Garcia, Tom Waits, Alan (Blind Owl) Wilson. Blind Owl's voice is the antithesis of Tom Waits's. Even though Bob (The Bear) Hite was technically Canned Heat's lead singer, Al sang their most famous song.

That's a good lead in for THE ACTUAL 25 BEST SONGS OF ALL TIME (in my opinion), as "On The Road Again" is one of 'em. Then there's "Rattlesnake Shake"-(original)Fleetwood Mac, "Trouble Comin' Every Day"-Mothers of invention, "Alcohol"-Kinks, "The Thrill Is Gone"-B B King, "Louis Collins"-Garcia/Grisman, "Lose Yourself"-Eminem, "Wang Dang Doodle"-Koko Taylor, "Graceland"-Paul Simon, "Well Intentioned Blues"-Guest/Horowitz(National Lampoon), "Darlin' If"-Spirit, "Tusk"-Fleetwood Mac, "Yellow Moon"-Neville Bros., "Tango Till They're Sore"-Tom Waits, "Voodoo Child"-Stevie Ray Vaughn, "Star Spangled Banner"-Jimi Hendrix, "Hurt"-Johnny Cash, "Strawberry Fields Forever"-Beatles, "Cry Baby"-Janis Joplin, "Love In Vain"-Rolling Stones, "Unsquare Dance"-Dave Brubeck, "Visions Of Johanna"-Bob Dylan, "Nebraska"-Bruce Springsteen, and I agree with the lady on "Oh Happy Day" & "Willow".

Sadly many of the great stars mentioned have passed on. Janis Joplin, who I think is the greatest female blues vocalist of all time, died from too much Southern Comfort and heroin at the age of 27. That is one of music's great tragedies. Likewise the booze & drugs did in Jim Morrison of The Doors before he reached the age of 30. Frank Zappa died from prostate cancer. He was an absolute genius. Jerry Garcia & Roy Orbison had heart attacks. The great blues artists BB King & Koko Taylor are gone. Bob Marley died from brain cancer. The great country singer Patsy Cline died too young (30) in a plane crash and another country icon, Johnny Cash had diabetes finish him. Stevie Ray Vaughn died in a helicopter disaster. I don't think Ludwig Von is with us anymore. John Lennon was murdered by a crazy fan. Another Beatle and also a member of The Traveling Wilburys, George Harrison, died of cancer. The two lead singers for Canned Heat, Blind Owl & The Bear died young, both in 1970, Alan Wilson committing suicide. All 3 members of The Jimi Hendrix Experience are gone now, drummer "Mitch" Mitchell succumbing in late 2008. 3/5 of Spirit are dead (Ed Cassidy, Randy California, & keyboardist John Locke). John Bonham of Led Zeppelin choked on his vomit in 1980. Fortunately many of the rest are still with us, making great tunes. How does Keith Richards keep going? I would have picked him to go 1st, not his bandmate Brian Jones (drowned).

Thanks for listening to good music.

Music Review of Furr by Blitzen Trapper

"Blitzen Trapper" are a six-piece indie rock band based in Portland, Oregon. They are Eric Earley (Vocals and Guitar), Erik Menteer (Guitar and Keyboard/Piano), Brian Adrian Koch (Drums and Vocals), Michael VanPelt (Bass), Drew Laughery (Keyboards/Piano) and Marty Marquis (Guitars, Keyboard and Vocals). Blitzen Trapper was formed in year 2000 and to date, they have released four full length albums. Their music genres are mainly experimental, indie rock, and folk rock.

Furr opened with the rather unforgettable "Sleepytime In The Western World". This song doesn't really have a chorus, the only thing that made it so special is Eric's singing and the music that follows through, especially the piano and the percussion. "Your eyelids are made of lead, you can't keep them up, because it's sleepytime, and that's no crime in the western world..." Blitzen Trapper already showed what they're capable of.

I like the guitar hooks of "Gold For Bread", especially in the verse where it has the rock 'n' roll and good-time quality. Eric also did a good job here with his singing, though i find the chorus slightly funny, "Because i'm running from the end, yeah and it's inside of my head, on my bed with a lead for the leg, we're trading gold for bread..." The break also contains some cute sounds which you would normally find on arcade games. But hey, Gold For Bread is really good! Way to go Blitzen Trapper.

"Furr" is like a lovely summer track, where it tells the story of a boy turning into a wolf (Based on the lyrics). It sounds fairy-tale like if you listen to the song. I can even imagine Eric strumming his guitar and singing to Furr. This track is more like those where you would hear in an unplugged jam session. And throughout Furr, Eric sings effortlessly and full of emotion. No wonder Blitzen Trapper decided to name this album, "Furr".

"God & Suicide" is like a slower tempo version of Gold For Bread. And i have to say, it might even be better than Gold For Bread. The music in this track just got it together, and after every verse, Blitzen Trapper will do the howlings together, "Whoo...". The bass stands out the most here where it's very consistent and most of all, simple and memorable.

"Fire & Fast Bullets" sounds promising once it opened. The verse is for tempo-building and when the chorus comes, Blitzen Trapper will do their stuffs. Half singing along with Eric, the other harmonized it with their voices. I just like it when they go, "Oh, oh oh...". Nonetheless, Fire & Fast Bullets is firing me up.

"Saturday Nite" crazily good! I don't really know how to describe it, but it's really good. If you're having a down weekend or bad saturday, stop everything and listen to Saturday Nite now! You'll thank me later. The whole track feels so light, the piano just get on with it, the drums follow, the vocals comes on and off just like that... Awesome stuff here!

"Black River Killer" is more like a modern country rap rock track. Can't help but imagine Blitzen Trapper on stage moving their bodies and do the things a rapper would do. Just so hilarious! On this track, Eric can be heard singing as if he's speaking. And the "squeaking" music that comes on after each paragraph of verse, fits in perfectly.

Blitzen Trapper takes a different note on ballad "Not Your Lover". The main instrument here is piano and Blitzen Trapper make sure that they do well even if without guitars and drums. From the lyrics, this song carries a sad aspect with it. "In my sleep, i'm not your lover anymore, when i wake, i have to remind myself, that i'm lying on your shore..." Anyway, it's a good effort!

"Love U" is a loud draggy rock track! Besides those loud draggy music, Eric is also having a hard time adjusting his voice in this track and at some points, he screeches heavily. As this track goes, it gets softer near the end. Honestly, i don't think Blitzen Trapper is comfortable singing Love U.

"War On Machines" brings the whole album back to normal and Blitzen Trapper is again doing what they're best at, having fun and rock 'n' rolling. The guitar on this track has some explosive quality with it. During the verse, it keeps looping until i find it resembles "Hair Don't Grow" by Annuals. Blitzen Trapper managed to rock this song out and still keep the country element in it.

It's funny how "Stolen Shoes & A Rifle" sounds like "Good Arms vs. Bad Arms" by Scottish band Frightened Rabbit at the beginning. It started off with a few instruments at a steady pace before sounding fuller after the first chorus. Later into this track, Blitzen Trapper can be heard choiring. It may not be their best, but it's still a great effort by them.

"Echo/Always On/EZ Con" has three different parts. Normally a track like this should have been the closing track of an album. The first part of this song is a melodic piano ballad where i love the flute that is being played at some points. The second part sounds like a malfunctioned photocopying machine, which i think is quite weird. Lastly, it's the dance-like instrumental which showcases the sound of a flute and how good it can be. I find the last part very good, and i always fast-forward this track to this part. Enjoy!

The final track on Furr is the acoustic "Lady On The Water". It has some really nice melody but what i like the most is the piano that comes after each verse. Since Eric is busy playing the guitar and singing, the piano sort of let Eric take a short rest before continuing singing. Just a nice and warm finish to Furr! Lovely!

Stand-Out Tracks (My Picks): Sleepytime In The Western World, Gold For Bread, Furr, God & Suicide, Saturday Nite, Black River Killer, War On Machines and Echo/Always On/EZ Con.

Music Review - The Departure by Ten String Serenade

I received a package in the mail this week from two young composer/performers. Although the music is classical in nature, I hope I might be allowed to provide my perspective as someone who appreciates music rather than the perspective of a music scholar, which I am not.

I make special exception for this music because I love it. It stirs images in my mind and soothes my soul. I am talking about the debut recording of the extraordinarily talented young duo known as Ten String Serenade. This work is entitled, The Departure. Ten String Serenade is principally Alex Hollums on steel string guitar and Karla Dietmeyer on violin. These two composer/performers play a variety of instruments on this recording including cello, piano, percussion and glockenspiel. They co-wrote all of the songs except for "Dad's Song" written by Mark Hollums and Karla Dietmeyer and "How Sweet The Sound", which is an original arrangement based on the traditional spirituals "Swing Low Sweet Chariot" and "Amazing Grace". I should also credit Brent Bouthiller for his work on drums, mandolin and bongos as well as his excellent production at Rescue Sound Technologies in Peachtree City, Georgia.

I believe most of the music on this CD would also be classified as chamber music. The exception is primarily due to the magic of recording technologies in which strings are layered together to create an orchestral sound. I will also say that every original song and arrangement would be ideally suited for placement in film, television or advertising. Every song creates a mood which is the primary goal for producers of film and television.

The first song I would like to feature is called Nuovo Giorno which is song number one on the CD. I think this means new day in Italian. My two other Italian words are spaghetti and ravioli. This music begins with an intro. I know, profound. Actually, it has a beautiful simplicity that is haunting. The song moves into a spirited guitar/violin arrangement. I love Karla's use of double stops throughout most of this piece. She demonstrates extraordinary command over this emotional and complex instrument that is the violin.

Song number three is called Mountaintown Lullaby. Alex creates a mood with his excellent classical fingerstyle on the steel string guitar. I believe his expression is very reminiscent of Chet Atkins on his later work such as, "Sails" (CBS, 1987). The guitar is prominent in the early part of the song with excellent piano and violin fills. The violin moves prominently to the forefront, or "on top" in performance vernacular, midway through the song. Karla and Alex both demonstrate their understanding of dynamics as the violin moves back to the background and the guitar moves back on top. I think the harmonics are a nice touch at the end of the song.

Song number four on the CD is Blue Eyes Dreams. The lyrics to this love song are written by Karla. WARNING: If you are in a relationship with a significant other person, you may want to skip this song as you may find yourself falling in love with Karla's voice. This song begins with a nice shuffle rhythm on acoustic guitar with nice mandolin fills throughout. I love the melodies in the verses and the chorus. She should write more.

Song number seven on the CD is called How Sweet the Sound. I believe this is a medley type arrangement of Swing Low Sweet Chariot and Amazing Grace. The cello provides some bottom end that is followed by layers of harmonized strings. I love the effect. However, I am not sure how Karla and Alex will perform this piece live without some help from a bunch of folks in formal wear.

Song number eight is entitled, The Departure. This song has a very nice guitar intro with harmonics. The music is bittersweet, which one might expect from a song called The Departure. I was reminded of those times in my life when I had to say goodbye to someone very close to me. The production and mix on this song is great. I like the change and the cello. There is a nice build with layered strings. The timing structure seems complex at times. My brain is not quite large enough to comprehend exactly what is going on, but it seems that two separate timings are somehow layered together. I just know that I like the effect. Nice fade with harmonics at the end.

Song number nine is called Big Shoes. On this song, Alex once again gives the listener a sample of his classical stylings. This song also reminds me of Chet Atkins. The song has lovely arrangement on the string sections providing great depth and texture. I love the cello on this song.

In summary, both Alex and Karla demonstrate extraordinary technical abilities on their respective instruments. They have the rare ability to achieve an emotional level that many of us ordinary folks refer to as soul. It is certainly an ability that is beyond their years. Karla demonstrates a nice ability to craft lyrics and she has a lovely voice. But that is not all. They also show a great talent for composition and arrangement. The depth and texture of this music has the potential to evoke a wide range of emotion for the listener. Please check out their website at TenStringSerenade.com.

Brian Mcknight Superhero Pop Music CD Review

Superhero is the latest Pop CD released by the richly talented Brian Mcknight who once again has delivered a brilliant collection of tracks. I'm confident Brian Mcknight fans, and Pop fans alike will be pleased with this one.

Superhero opens with an outstanding track, Prelude, that I anticipate will be heard on radio stations everywhere, and deservedly so. It really is a very nice track.

Pop music fans will recognize some of the well known guests that have been assembled to play along with Mcknight on several of the tracks. Artists like Bashiri Johnson and Chris Wood just to name a couple.

Overall Superhero is an outstanding release. What I call must have music. I give it two thumbs up and is most definitely a worthy addition to any Pop collection. Truly an outstanding Pop CD. One of those that is completely void of any wasted time, as each track is simply superb.

While this entire album is outstanding the truly standout tunes are track 2 - When you Wanna Come, track 11 - Don't Know Where To Start, and track 15 - Groovin' Tonight.

My Bonus Pick, and the one that got Sore [...as in "Stuck On REpeat"] is track 2 - When Yoy Wanna Come. This is a great track!

Superhero Release Notes:

Brian Mcknight originally released Superhero on August 28, 2001 on the Motown Records label.

CD Track List Follows:

1. Prelude

2. When You Wanna Come

3. What's It Gonna Be

4. My Kind Of Girl

5. Love Of My Life

6. Whatever You Want

7. Everything

8. Get Over You

9. Superhero

10. Still

11. Don't Know Where To Start

12. Biggest Part Of Me

13. When Will I See You Again

14. For You

15. Groovin' Tonight - (bonus track, featuring St. Lunatics)

Superhero Album Notes Personnel includes: Brian McKnight (vocals, various instruments); Justin Timberlake, Nate Dogg, Fred Hammond, Pamela Dillard (vocals); Steve Eigner, Brion James (guitar); Bill Meyers (piano); Antonio Dixon (keyboards, synthesizer); Prescott Ellison (drums); Bashiri Johnson (percussion); Anthony Nance (programming).

The St. Lunatics: Ali, Nelly, City Spud.

Producers include: Brian McKnight, Brandon Barnes, Battlecat, Anthony Nance.

Music Review of Vampire Weekend's Self-Titled Album

"Vampire Weekend" are an American four-piece indie band from New York that was formed in 2006. There are four members in Vampire Weekend, which include Ezra Koenig (Lead Vocal and Guitar), Rostam Batmanglij (Guitar, Keyboard and Backing Vocal), Chris Tomson (Drums and Backing Vocal) and Chris Baio (Bass and Backing Vocal). Vampire Weekend's music genre are mostly indie pop and a little bit of African music influence, which is called Afro-pop. It's very obvious in their music that they don't belong to any rock genre. Many people would have wondered how they have decided on their band being called Vampire Weekend, it's a question to be answered. According to LimeWire Music Blog, Vampire Weekend was derived from one of Ezra's amateur films, which was also of the same name. You've guessed it.

Vampire Weekend is something you don't hear everyday. If you're looking for something fresh, something friendly to the ears, something cute, then you're at the right place. You'll love Vampire Weekend.

Vampire Weekend is really cute at "Mansard Roof". Some non-stop drum beats, clever percussion, catchy and cute guitar hooks. There were some moments that their guitar playing styles reminded me of The Strokes. Mansard Roof is a very short song, but it will definitely haunt you in a good way. After listening it for the first time, I always I always hit "previous" button. Reason? Mansard Roof is suitable for anyone at anytime.

"Oxford Comma" has a catchy and steady drum beats to it. It's a song that will surely but slowly grow into you. And what I found out was that, this song is actually a very good song to sing along. Imagine you're having a karaoke session with your friend, Oxford Comma would definitely be a darling for anyone to sing. It's not a fast track where anyone couldn't catch their breath when singing, and it's not those tracks that require high pitching voices. During the break of this song, the guitar solo was cute yet great. I found myself smiling whenever that part comes along. "Lil' Jon, he always tells the truth.." :-) I'm having Vampire Weekend Comma.

"A-Punk" is a fast track. The guitar on this track is fast and definitely piercing. I can't really imagine myself playing guitar on A-Punk. It's like you couldn't stop even for a second! There was an instrument that sounded like a flute, or even organ, or even some DJ equipments everytime Ezra went, "Look outside at the raincoats coming, say OH..." in a repetition manner. And it's really good. From the lyrics, i'm guessing that Vampire Weekend are singing about a girl whose lover is no longer around. A cute and fast track which can't be missed.

"Cape Cod Kwassa Kwassa" is somewhat similar to Oxford Comma. It started off slow and soft, later on when it picked up the tempo. It's not loud, just that it sounds much fuller in its music. If you listen carefully, you'd realize the numerous instruments being played in this song. But Vampire Weekend just made it sound so simple, and so good to listen too. Being not so familiar with the African sound and don't really know how it sounds like. Somehow, I can feel that this song has the African influence mixed with the Western Modern music, making it one of the memorable tracks on Vampire Weekend. Oh you know the part that I like? It's when Ezra sang in the chorus, "But this feels so unnatural, Peter Gabriel too.." I love it even more when Ezra did it twice. And oh ya, the cello in Cape Cod Kwassa Kwassa would sound better even if compared to a bass. Yet again, everyone would definitely love this track, from young to old, girls to boys. Magnificent! The ending part where you'd find the whole Vampire Weekend moaning in a melody-like voices and howls, it's simply too good!

"M79? got me thinking that this would be a really great rock tune. However I was proved wrong, not only it was not a rock song. It was a track with really cute music that leveraged on the instruments like violin and violin, which would normally be seen or heard in an orchestra performance. But this time, you have it in Vampire Weekend. :-) It's really amazing to see a four-piece indie band from New York capable of writing and producing such instant hit and classic. Just imagine playing this track in a prom, I think the crowd would appreciate that the fact M79 is neither a rock song nor love song. It's just a fun song with really good music for everyone to enjoy. I can't help myself but imagining what would it be like to have M79 included in The Sound of The Music or even Mary Poppin. Definitely a song that will be remembered for a long long time. Oh ya, even my parents find M79 gorgeous!

"Campus" is another really catchy song with some clever lyrics. The bass keeps repeating in the verses and when it comes to the chorus, "How am I supposed to pretend, I never want to see you again, how am I supposed to pretend, I never want to see you again..." The guitar playing style which really resembles The Strokes', was on again. But this time is louder than those of Mansard Root. Not only that, it has some electronic elements to it which made it stand out as well. The fact that I like this song is that I find it really has some good music going on and it really blend in well with the singing.

"Bryn" started off with some really high pitched guitar sounds accompanied with steady drum beats. The longer I got into Bryn, the more I love Bryn. Throughout the whole track, the guitar can only be heard after both verses. And there were some instruments being played in the background in a constant note and key, my guess would be an organ. Somehow, I don't know why, but it keeps bugging me to think that the sound of the guitar found in Bryn is similar to the sound of a Bagpipe.

Vampire Weekend continued with "One (Blake's Got a New Face)". This track has some disco/club feel with it. The drum beats on this track is somewhat like those you'd hear in a march. Sound kind of patriotic. The real thing is that when listening to this song, my mind tells me as if I were in a club or disco, just chilling and dancing. The rest of the Vampire Weekend did a good job as well where they did a backup vocal whenever Ezra sings at the chorus, "Blake's got a new face.." But hey, at times I really do sing "Blake's got a new face" in the shower, in my bedroom or even driving. Such a powerful phrase!

"I Stand Corrected" has a fairy tale feel-like at the beginning and it started slow. And honestly, it sounded like "Little House of Savages" by The Walkmen. The beginning of these both songs are so similar. Overall, it sounded like a sad song. The tempo began to pick up when the chorus came in, "I stand corrected.." The break has a really sad sound to it when Ezra went, "Lord knows I haven't tried, i'll take my stand, one last time, forget the protocol, i'll take your hand, right in mine." Accompanied by the violin, I can feel the sadness in this this song. One of the songs that let me feel in.

Before the last track, "Walcott" has some really strong and fast piano going on. And no, this is not the player of the football club, Arsenal. It has got nothing to do with Theo Walcott. It's just a song named Walcott. From the lyrics, I can tell that Ezra is singing about a desperate boy named Walcott who is desperately wanting to get out of Cape Cod, or rather, hoping to get out of Cape Cod. There are some evil lyrics to be found in Walcott, "The Lobster's Claw is sharp as knives, evil feasts on human lives, the Holy Roman Empire roots for you." Sound evil enough? One of Vampire Weekend's strengths is definitely their creativity!

The normal Vampire Weekend album ends with "The Kids Don't Stand a Chance". It's a rather slow and catchy track and you can hear the drums echo here and there throughout the whole track, as mentioned earlier. It's really not that bad, and most people would not have noticed it. The Kids Don't Stand A Chance has a slow but catchy bass at the beginning. I like the guitar, it sounded sloppy and lazy. Just nicely suit the tempo of this track. Organ and violin can also be heard here and there, making this song more than just great. The last 1:48 minutes was pure instrumental, and need I say more? It's perfectly played and arranged! Especially the violin.

Rating: Vamipre Weekend is definitely a band to watch out for in the years to come. They are one of the few bands that created and added new sound to their music. Compared to those being played on the radio and even TV, Vampire Weeked stand out in miles. :-) Everything sounded fresh on Vampire Weekend. From start to finish, they were just having fun and playing some really awesome and amazing tunes. Before this, I thought they were just another indie band with nothing new to offer, but they proved me wrong, big time. It's really very seldom that we stumble upon such band. As musicians, they really have awed me from head to toe. And as listener myself, it's really an once in a blue moon occasion where I listened to something that I have never listened to before in my circle of genre. However, the only thing that is preventing Vampire Weekend from being a perfect album is that they lack a hit anthem. Franz Ferdinand had their hit anthem when they released their debut, it was called "Take Me Out. Arctic Monkey's very own anthem from their debut was "A Certain Romance". But that's not going to stop me from looking forward to listen to Vampire Weekend every morning upon waking up from my bed. You might say that I'm crazy, but I'd still listen to Vampire Weekend no matter what, everyday. An amazing band that added new music influence from other continent to their music, definitely one of the best album in 2008. 8.5 out of 10 may be too high of a rating, but honestly, they deserve more.

Stand-Out Tracks (My Picks): Mansard Roof, Oxford Comma, A-Punk, Cape Cod Kwassa Kwassa, M79, Campus, Bryn, One (Blake's Got A New Face), Walcott and The Kids Don't Stand A Chance.

Music Review of Fantasy Black Channel by Late of the Pier

"Late Of The Pier" are a four-piece indie rock band from Castle Donington, London. Late Of The Pier are Samuel Eastgate (Vocals, Guitar and Synthesizers), Andrew Faley (Bass and Synthesizers), Sam Potter (Sampler) and Ross Dawson (Drums). All of them have pseudonyms and known as Samuel Dust, Francis Dudley Dance, Jack Paradise and Red Dog Consuela respectively. Late Of The Pier are very much into electronica and their music genres cover indie rock, electronica, synth pop and dance-punk.

Late Of The Pier's Fantasy Black Channel opens with roaring guitar instrumental "Hot Tent Blues". It seems that Late Of The Pier have been using a sampler to make this track. The guitar on this track revives the 80s rock scene where it's filled with pitching and echoic guitar. The bass and drums provide cushion in the background as the guitar plays on. Once it reaches the remaining 13 seconds, the track gallops again but this time, with some start/stop guitar riffs. It'll gradually bring you to the next track. Very energetic opening!

Once entering "Broken", oh my god the guitar just brings you on. You couldn't help it but to move your body to this crazy filler track. Very awesome guitar work i would say. Shortly after that, it's followed by a series of music created by synthesizers and sampler. Only by the time Samuel enters with his vocals, Broken seems to slow down a bit to allow him to express himself. Broken is filled with various guitar playing, you can't help but to love this track. Just my first listen, Broken already got me wanting for more. Very addictive!

"Space And The Woods" comes in right after Broken. If I'm not mistaken, it sounds like Late Of The Pier are playing keyboards here. Catchy keyboards playing by them. Samuel has a robotic voice-like as he sings on. When it comes to the part which i assume is the chorus, the guitar just comes in, without affecting the earlier keyboards that we first heard. In the bridge, Samuel sings in a very ignorant voice that goes, "I'm shit hot so say what you think about me, I'm not gonna cry because I don't care..." It sounds kind of cool here. The music on Space And The Woods definitely matches the previous track. Love the keyboards!

"The Bears Are Coming" has a very cool opening. African-influenced percussion belting with the synthesizers. Once Samuel comes in, it just adds extra weight to the already really good music. After each paragraph of his singing, the music just plays on. And it's not just some ordinary music, it's the type of music which is going to at least make you nod your heard. The Bears Are Coming also vibrates some disco-feel to it. In the bridge, Late Of The Pier just takes a short break with the slow tempo and Samuel enters with his yell-like vocals layered with heavy-heart elements, "I saw you wading in the water, i saw you ride along the sea, shine on a nightmare, shine through the trees..." Once after that, the music again kills me on the spot. With some voice in the background, it's like a party track in the making. Before ending, it seems that Late Of The Pier are not done with the track yet, they just play around with their synthesizers and sampler. Amazing feeling!

On "Random Firl", the music in the beginning is just way too cute. The synthesizers-influenced guitar are very cheeky as well. If you pay attention, you would notice a slight sound of exclaimation (Like a woman's gasp) in the background when the music are just warming up to get to the verse. It just sounds so funny to me. Slowly, Late Of The Pier seem to be adding more instruments to this track, making it sounds much better gradually. The cheeky and catchy guitar just work its way throughout the track, very sweet feeling.

"Heartbeat" begins with some 80s-like music before the real deal comes in where Late Of The Pier enter with loud guitar riffs. When it gets to the chorus, Heartbeat seems to get into another level, it gets rougher and groovier here with Samuel going, "A heartbeat, a flicker, a line.... It's just a line..." in repetition. The best moment on Heartbeat definitely. Entering the second verse, the bass also gets groovier and louder. It just never fails to pump up my blood and the volume. It's not a line, it's the music!

"White Snake" has a somewhat slow beginning. But it suddenly bursts with the loud guitar of Late Of The Pier. Samuel also seems to be gasping for air when singing as it's fast and loud here. The guitar also plays at a speedy rate. When it gets to the chorus, the whole track just loosen up slightly. Piano can be heard playing in a repetition of notes rapidly as the track goes on from here. In the bridge, Late Of The Pier add some creepy music to White Snake, it comes in as a surprise, really. But it's still good as the track is so fast until it gets you rocking as well. Even Samuel sings and yells like a true rock star!

"VW" continues with some clever music playing. Horn can be heard here as the music goes fast and slow throughout the track. When it's fast, the horn seems to be louder and the music sounds kind of eerie, as if something bad is bound to happen. When it gets to the slower part, Later Of The Pier seem to be getting ready for the next speedy break. Listening to VW makes you think that you're running out of time and something bad is about to happen. Dangerously fast!

"Focker" has a very strong electronic influences to it. On the verse, Samuel sings very fast as if he's gulping down the lyrics. However in the chorus, things get a different approach. Samuel just sings and drags on, "I wanna be you friend... Oh yeah..." With the heavy electronic music in the background, sometimes it just drowns out the voice of Samuel. Focker can be said one of the wildest tracks on Fantasy Black Channel. Even the remaining 30 seconds are filled loud guitar and synthesizers, looping and echoing to the end.

"The Enemy Are the Future" has a cute beginning. You would know what i mean after listening to it. It seems that this time Samuel share his vocals part with other members of Late Of The Pier. It has a deep and playful voice once it comes in. As the chorus comes, the whole track as i never expect, sounds very good with the bass going on. With Samuel going in a catchy tone and in repetition, "Easy life, is it an easy life?...", i feel obliged to sing along as well. I just don't know why, the way Late Of The Pier play and sing is really good! Needless to say, the music is just great on The Enemy Are The Future. Deeper into the track, it just turns into another track totally. The sampler and synthesizers just hit the invisible magic button as it's no longer a rock track, it's a dance track. Very, very highly evolved.

"Mad Dogs and Englishmen" starts with a bell chiming from afar. Sooner than later, the bass comes in and eventually it gets louder with a certain rhythm to it. The guitar and the bass on this track seems to be working together here, layering and covering one another. When the bass goes, the guitar waits; when the guitar goes, the bass waits. The bass especially, makes me smile as it possesses some funny elements in it. In the bridge and until the end, Late Of The Pier just play their stuffs which resulting in some playful and great music. It makes you want to play...

"Bathroom Gurgle" opens with steady drum beats (That resembles "Chelsea Dagger" by The Fratellis) and soon joined by synthesizers. The music itself is already catchy enough to make me want to get up and dance. It's infectiously groovy! In the chorus, Samuel yells, "Find yourself a new boy..." with the music adding in some xylophone-like sound. I really enjoyed myself listening to that particular moment. Other than that, Late Of The Pier's Samuel also plays around with his vocals on Bathroom Gurgle as he imitates the voice of females at some points of the track. Few seconds after the chorus, Bathroom Gurgle surprises us with a cheering part that goes, "So put your hands on your waistline, and move you body to the bass line, and get your hands on some cheap wine..." Late Of The Pier really show everything they have on this track. One track that covers a variety of singing and playful music.

Music Review - Addison Road, "Stories"

Fewer Christian artists have attended more classes at the "School of Hard Knocks" lately than Addison Road. It's hard enough getting a band off the ground, creating some fan buzz, creating some income, and ministering to audiences where ever you perform. For Addison Road, those complications were multiplied by their van and trailer being stolen twice, along with all their gear - only to have the recovered van later getting totaled in a collision with a fallen oak tree. Separately, a rented RV the band was using burned to the ground, containing all the members' possessions.

Is all this reason to cause band member to give up and find some other line of work - or is it the inspirational building blocks to write, record, and perform profound songs with deep heartfelt messages that audiences will connect with?

For Addison Road, all the elements are in place for the latter - with the release of their CD, Stories.

Produced by Grammy-nominated Chris Stevens (Matthew West, TobyMac, Big Daddy Weave), with some song-writing help from TobyMac, Stories is honest, compelling, and musically inviting. The album shows a musically mature group; utilizing a wide variety of styles and textures to express themselves, including the addition of harmonica and banjo from bassist Travis Lawrence. It's not sugar-coated "feel-good" tripe, but music that frankly conveys a group that has seen its share of disappointments. Yet, those setbacks are yielding a rich pallet of composition, and causing the group to look outside this world for their ultimate hope and provision.

Let's take a look at some of the more significant songs....

"Fight Another Day", the group's first radio release from this album, is written by TobyMac. It shares the same acoustic guitar/bass energy we enjoy from his music. Imagine Addison Road singing "Get Back Up Again". It's highly hooky, with great vocal harmonies and excellent layering of musical elements.

"Change in the Making" - Written at the time when Jenny Simmons gave birth to their first child, the event caused her to look at her imperfections as a new mother and her need for God to mold her into something she was not. It's the story of "me" under construction; an unfinished product that strives for perfection but falls short. God's not through with me.

If you could take a "musical snapshot" of the night the band's RV incinerated, and had them create a song from this catastrophe, "Won't Let Me Go" would be it. The heavy guitars throb while the words speak of life being out of control. Yet, despite this major setback, God won't let go of us. Case in point - the overwhelming prayerful and financial response from fans when the group's RV burned caused Jenny to reflect, "I just saw this really beautiful side of people working together and reaching out. We were reminded that God is very faithful to move in the hearts of His people. Over and over again, our needs were met in abundance."

For those that love Addison Road's unpretentious sound and Jenny Simmons' soulful syrupy vocals, you will absolutely love this CD! The grooves are at the same time artistic and catchy. Stories is less an album that celebrates the holy attributes of God, but more a candid look at our flaws as humans and our willingness to struggle, forgive, overcome, and prove ourselves wise stewards of our time on this earth. The band's candid glimpses at imperfection are equally appealing because we can all relate to the pictures they paint. Yet, this is a mature (or the band might prefer "maturing") Addison Road that brings an infectious groove and a ton of energy to each song on this CD. Addison Road will tell you - after this year of tragedy and triumph, Stories clearly demonstrates - they are ready to fight another day.

John Bowen
Web Content Director
Salem "Fish" Music Stations

KFSH-FM, Los Angeles
WFSH-FM, Atlanta
WFHM-FM, Cleveland
KFIS-FM, Portland
KKFS-FM, Sacramento
KGBI-FM, Omaha
KAIM-FM, Honolulu
WFFH-FM, Nashville
KBIQ-FM, Colorado Springs

Music Review - Electric Colony

The CD Electric Colony (2007) was a nice surprise and well appreciated. One never knows what to expect when playing new music for the first time, and what a pleasant thing it is when the music turns out to be delightful, and intriguing too. A main aspect of the CD Electric Colony is this: the music abounds with a sincere upbeat motion, it is not still, and the music is eminently danceable because of that, a nice thing. Reminiscent of groups like Controlled Bleeding, and even Tones On Tail in places, Electric Colony also possesses an all important signature sound uniquely its own. I played the CD once, then twice, then just left it on all day. It is definitely worthy, it is definitely industrial, and it most definitely sounds good. Certain tracks (Returning Sun, Hazmat) have been composed with very metal-like attributes, adding yet another facet to an already enjoyable listening experience. Unlike some metal which is depressing and bizarre, the feel and sound of the Electric Colony metal riffs ring with power, creating a multiplex of busy audio constructs soaring upward into the clouds, and beyond.

Electric Colony is the primary commercial effort of Kris Summers, a solo indie musician and composer from Toronto, Ontario Canada. The CD Electric Colony seems to be about half instrumental work, with the rest exhibiting some very notable and interesting vocals (Descent II, About Time, more). Included throughout this initial solo work is some amazing and excellent guitar work by Kris, who respects and honors all of his equipment as if it were a part of himself, which in the reality of his music, it is.

Some recurring imagery I experienced as I became associated with the music: Majestic Space Scapes, The Tennessee River in July, An Airboat Ride, Violent Oceans and Seaside Thunderstorms, St. Marks Florida, Beautiful Girls, A Full Moon Rising, Everglades Sunsets, A Hard Won Mountaintop, Cydonia Plain. From the hopeful and well contrived "Nearly There" to the soundtrack-waiting-to-happen "No Mercy Shown", the breadth and scope of this solo musical effort is large and real, using sound to paint vivid pictures which in turn author stark and kicky emotion.

My favorite track so far is #7, entitled 7482784792; it is authoritative and intricate from the first beat, with meaning laid down in ever increasing complexity through out. Not only does 7482784792 evoke feelings and memories from another time and place within my latest incarnation, it also calls to something much deeper within my genetic psyche. It makes me feel good. Thanks for that. Thanks a lot. About Time II is my next favorite EC tune, and it is a straight up - get down - let it all shine out - piece of music. The vox and make-up of About Time II reminds me once again of the 80's band Controlled Bleeding, crossed with some of Al Jourgensens better efforts. Had I a tail, I would be wagging it. In fact, consider it done. Play that one loud, just as loud as you can.

Citing such influences as My Bloody Valentine, Killing Joke, Bauhaus, Sisters of Mercy, Alien Sex Fiend, and Sepultura (Among many Others), Electric Colony has created a sound which is not just a melding, or even synergy of those influences, but one step beyond all that, a new magnitude if you will, distinct, unique, gripping. This is all the more powerful once it is realized this is just the first offering from Electric Colony, with more on the way already. The astute listener may note some of the similarities to the music cited as influential to Electric Colony, and perhaps to some that's not, but none of those influences are overbearing or absolute: Electric Colony is well on its way to creating a difference that matters. That is the mark of talent with a refreshing twist, and Electric Colony certainly possesses that, and much more. If you are a fan of good Rock Music with a distinctly Industrial bent, don't miss out: get the CD Electric Colony and experience the new as it happens.

Track Listing:

About Time

Descent

Neius 6

Hazmat

Returning Sun

Terran

7482784792

Nearly there

No Mercy Shown

Ellipse

Descent II

About Time II

Electric Colony CD's can be purchased online at:
Amazon.ca, Indie Pool and HMV.ca

Electric Colony mp3 can be downloaded at:

Emusic, Napster, Amazon, iTunes, Puretracks, Rhapsody, MSN, Mtraks

Music Review of Such Fun by Annuals

Annuals is a six-piece (Indie) band from Raleigh, North Carolina. Their band members consist of Adam Baker (Songwriter/Vocals), Kenny Florence (Lead Guitar/Backing Vocals), Mike Robinson (Bass/Backing Vocals), Anna Spence (keyboard/Piano/Backing Vocals), Zak Oden (Drums/Guitar) and Donzel Radford (Drums/Percussion). Their genre are mostly Indie rock, Alternative rock, Indie pop, Experimental rock. Their first album "Be He Me", was released when they were just around the age of 19. And according to major music critic from Rolling Stone to NME to Pitchforkmedia, "Be He Me" received incredible positive reviews. Very impressive if you ask me. :-) Such a young band, but already so big at such young age. What more would I ask for if I were a part of Annuals!

Such Fun contains a variety of musical arrangement and landscape, from relaxing country to orchestra ballad.

Their title track, "Confessor" starts off with Adam Baker singing "Pack up and leave..." When it comes to the chorus, everything seems so right, Adam sings in a voice that somehow sounds so soft to my ears. And with the delicious music that blend in so well with the vocals, anyone will have to confess to any mistakes/deeds that he/she committed after listening to song. :-) The Guitar of Kenny can also be heard on and off. Wonderful opener from Such Fun!

"Hot Night Hounds" has a cheerful and fun piano sound to it. It kinda reminds me of my sister's younger days where she played piano in our house every weekend or during her free time. This song can arguably be separated into 2 parts, where the first part is the piano-playing and the second part is the jamming and riffing of the guitar. 2 parts of this song make this song hot and cool!

"Springtime" is a slow and indie pop ballad where it starts off slow and steady. It gradually picks up in the chorus and the tempo of this song suddenly explode and all of a sudden the music background is getting richer, make this song sound so full and rich! Like Annuals are performing at an orchestra show! When Adam is not singing, the rest of the Annuals back it up with "Ba, ba, ba ba ba...." It's beautiful, and it made me want to sing along! :-)

"Down The Mountain" Wow! This song sounds like a song taken from a Cowboy Motion Picture. When I plugged in my earphones to my ears and listened to this song. I was imagining myself in a cowboy movie where I was riding on a horse and chasing, catching and hunting a group of cows/deers/goats/ or other wildlife. It's such fun and cute song to listen to. You can bet to play this song when you are having a game of "getting to the seat when the music stops"! It's just a suggestion. :-) But this song is definitely cute and funny! It made you wanna smile and sometimes, laugh.

"Always Do" made an impression on me that it is a beautiful love song. It's a love song, but angry love song. It seems that this song recalls the old memory of the love between 2 people. Annuals made an impact by exploding in this song. Remember "Brother" from their previous album, "Be He Me"? Well this song recalls me of "Brother". Where it started off slow, and gradually picked up and exploded near the end of the song! It's like building the momentum of this song, or even climbing up to the top of a hill or mountain and screams at his/her peak upon reaching the peak. Those who love "Brother", will definitely love "Always Do". :-)

"Talking" is a fast track where the sound of the guitar can be mostly heard throughout the whole track. The chorus is the only part of the song that made an impression on me, where Adam sings, "Don't let your love decay..." It sounds like Adam is really tired of talking. Honestly, I really think Annuals play and perform perfectly when they are doing a ballad orchestra or in other words, a slower tempo song. "Talking" is a good effort and it ended in a sudden after the riff of the guitar, but if you asked me, I prefer Annuals on indie pop, indie ballad or even indie orchestra if there's such a genre. ;-)

"Hardwood Floor" This song is just so awesome! :-) And I really mean it! It's supposed to be a sad song but I can't help but feeling good whenever listening to this beautiful song. Adam starts off with "I'm so scared I just can't go anymore, I keep patching my rooftop..." From the first listen, it's like singing about a wound that hasn't healed completely. But in reality, after listening to this song, all my wounds are gone, this song is capable of doing so. The part where Annuals sing what sounded to me like, "didn't told dai yo", it is one of the best moment on Such Fun. Well, if you asked me what does it mean, frankly I don't know but it really sound like some African langauge. :-)

"Hair Don't Grow" From the beginning to the end of this song, Kenny's guitar is awesome! Again, it resembles "Down The Mountain" as if it were taken from a Cowboy Motion Picture. But only this time, "Hair Don't Grow" sounds packer, heavier and louder. It's best when you play this song when you're watching some Cowboy movies when the good Cowboys are fighting and shooting against the bad Cowboys. And oh yes, this song would be perfect when Annuals perform them in a gig or concert. The guitar, bass, drum, hand claps and some whistling instrument (Maybe it's violin) just blend in and got together so well and tastefully. Don't blame me if you find yourself nodding your head or tapping your foot away when listening to "Hair Don't Grow".

"The Tape" After listening to this song, I can't help but think that this song is kinda cute and can be used to replace the old and somewhat boring "Silent Night" Christmas Song. :-) A picture of a man playing piano in front of the Christmas tree and his family came to my mind when I listened to this song. Or is it because of the Piano-playing that made this song embraces the atmosphere of the Christmas Season. Not only that, "The Tape" is well accompanied by a number of musical instruments which can be found in a brass band. On second listen, "The Tape" can be a wonderful song for children's brass band.

"Blue Ridge" Yet again, another beautiful song. :-D It begins with a man talking and whispering to a baby. Reminds me of fatherly love. Forget Barney! Let your baby listen to Annuals' "Blue Ridge"! Throughout the journey of this song, the music and vocals fit in so well. When Annuals sing together, "To be first in the Sun, to be cursed it might be fun, such fun..." The music that comes along will blow you away. It'll melt you away like a box of chocolate. The violin is brilliant. I wish this song can be longer..

"Wake" started off somewhat in a creepy way. But it continued with a cheerful and happy note. The chorus is a very happy one and the backup vocals done by the rest of the Annuals suits in just well. It also kinda reminds me of the Arctic Monkeys' "A Certain Romance" where it ended on a strong and powerful note! Wonderful indie pop rock song (If there's such a genre).

Rating: Compared to their previous full length album , "Be He Me". "Such Fun" showed that Annuals are evolving as an indie band/artist. They tried to venture into new musical landscape and sound in "Such Fun" while "Be He Me" was somewhat very consistent in their landscape and sound. Overall "Such Fun" was a really good ride. No kidding! It garnered a rating of 7.5 out of 10 from me.

Stand-Out Tracks (My Picks): Springtime, Hardwood Floor, Hair Don't Grow and Blue Ridge.

Essence of Mind - Try and Fail - Music Review

Essence of Mind's electro-rock Try and Fail is riddled with teenage angst, relationships issues and break-ups. The album never strays far from these issues for long and gets tedious fast. Great in bits and pieces with a solid sound throughout; this is a mood based album especially good for those suffering from a traumatic recent break up and needing a good old-fashioned vent. With a strong rooting in pop rock with a slight synth bent these tracks could be used to break up more hardcore play lists or infuse a bit of diversity within any music diet.

Try And Fail is divided into a fast first half and a slower mellower second half. In the second half often sounds whiny and doesn't have the same punch, attitude or catchiness of the first half, coming across as underpowered and tacked on.

The catchy pop rock guitar riffs and synthesizers awaken a sort of perverse vicarious nostalgia for an emotionally charged and turbulent teenage period I never really had. It seems a sort of right of passage to have intense and traumatic relationships full of stupidity, innuendo and pop rock - something I never really had for better or worse.

Another shortcoming of Try and Fail is the lead singer's very samey vocals throughout the album, if the lyrics don't get to you first it will be the vocals that ultimately make for a tedious album experience. If you are the sort of person who prefers to listen to custom play lists instead of albums, you many never have this issue but after forcing to hear the whole album through a couple of times I quite wanted to tear my ears off. It isn't just the vocals either it is also the arrangement of instruments and inexorably consistent style.

Try And Fail has its good and bad but it shouldn't displease fans of Essence of Mind's Watch Out EP and could indeed poach fans of similar music from the mainstream.

Music Review of Elephant Shell by Tokyo Police Club

"Tokyo Police Club" are a four-piece Canadian indie rock band from Newmarket, Ontario. Tokyo Police Club were formed in 2005 and they are Dave Monks (Vocals and Bass), Josh Hook (Guitar), Graham Wright (Keyboards) and Greg Alsop (Drums). Their musical genres are mainly indie rock, garage rock and post-punk revival.

Elephant Shell has a good opening with "Centennial". In the few seconds upon opening, you can hear the sound of a malfunctioned robot. The robot might be stuck or jammed somewhere, i thought to myself. Shortly, the draggy keyboard and Dave Monks just come in. Centennial is not a fast tempo track, but the guitar and bass seem to be able to work this track out. In the bridge, handclaps joining by keyboard, just come in for a brief second. And that might be one of the best moments on Centennial. At the end, i like Dave Monks goes, "I'm only wishing well, though you won't believe me, this coming Thursday evening, is our centennial..." and succeeded by wedding-like keyboard. A short opening, but i'm convinced to find out more about Tokyo Police Club.

"In A Cave" starts with guitar that comes in from afar before joining by In A Cave's core bassline. Before Dave comes in, the music is already really good. When it comes to the chorus where Dave again goes, "All my hair grows in, wrinkles leave my skin, but still, don't fade... I'll be back again when the tide is in some day...", the keyboard suddenly enters and the rest of Tokyo Police Club can be heard helping Dave out in the background. The second verse gets even fiercer with the guitar and bass, but somehow it's not loud. It still manages to sound light and effortless. The best bet on In A Cave is definitely the remaining 1 minute after the second chorus. Dave just struts his stuff, "Elephant shell, you're my cave and I've been hiding out, will you tell me a little bit about, a bit about yourself?" and joining him are the guitar, bass, drums and keyboard which play in notes that we first heard in the beginning. Only this time, Tokyo Police Club add some magic to it! Impressive stuff by Tokyo Police Club here!

From the lyrics of "Graves", it sounds like a script of a horror movie. "Pack your ashes pack a watch, change of clothes and a face cloth, meet me where your mother lies, we'll dig graves on both her sides..." The guitar keeps playing in a loop once Graves opens before the drums, bass and keyboard come in all together. A sudden adrenaline rush! Graves is one of those tracks that don't really have a chorus and relies on the music to drag it or make it a longer track. After Dave's vocals on the second verse, it feels like Tokyo Police Club are having a short break by playing the music. They really do have a strong liking for keyboards. Nearing the end, Dave just sing to the end accompanied by a howl-like sound that comes on and off.

"Juno" has some drum beats going on. As Dave sings in the chorus, it looks like there's a sound in the background which i think is produced by the instrument Xylophone, adding some Christmas feel to it. Reaching the chorus, Juno seems to be turning to keyboard to go along with Dave's vocals, "You and your soapy eyes, called it off so late at night, but your hand's on your heart, because your head's always right..." The Xylophone also plays its part here on a few notes that really complement the chorus. As Juno goes on, it ends on a sudden and tired note, "Juno, you're tired..." But i'm just getting started to know Tokyo Police Club.

"Tessellate" has some high and sharp pitched guitar in the beginning. Just as Dave sings each phrase of the verse, the keyboards which possess some catchy ingredients just come in at the right time to make sure we as listeners are having a good time listening to Tessellate. In the chorus, Dave sings with his already-known voice, "... Dead lovers salivate, broken hearts tessellate tonight..." Tokyo Police Club show some effort here by adding hand claps along side to Dave's voice. The real deal on Tessellate is definitely the sound of the keyboard which always never fails to capture my attention as it's too good. And at times, it sounds like a piano. Now i just can't get the sound of it off my head.

"Sixties Remake" kicks off with some crunchy guitar opening that reminds me of those motorcycles engine on the highway. As this song goes and reaches a point where an exclaimation of "Hey" can be heard, i already knew Sixties Remake is one of the tracks that is going to be my favourite on Elephant Shell. The crunchy guitar is one of the factors that keeps Sixties Remake so good. In the chorus, Dave just goes, "Hey! Bat your lips, shut your eyes... Hey! Swing those chains, and start a fight, because you've got nerve, but we've got tapped..." This has got to be one of the loudest and crunchiest tracks on the album.

"The Harrowing Adventures Of..." has me thinking that this is one of the tracks that might be suitable for babies. The xylophone just plays in notes that will make all babies in the world smile upon listening to it. It's not long before Dave enters the bay twilight zone, "The harrowing adventures of, you and I when we were captains of, submarines made of steel..." When it got to the point that sounds like a chorus, acoustic guitar can be heard playing in a way that blend in so well with the vocals of Dave and xylophone. Two string instruments which sounded like a cello and a violin can also be heard here. I really didn't expect that to come, but Tokyo Police Club surprise me here. The Harrowing Adventures Of... is undefiantly cute and cheeky in its own way. It will gulp you down slowly.

"Nursery, Academy" is a short rock track that i find Dave sings on different notes in a few minutes. In the beginning, Dave can be heard singing, "I would've gone back home, i would've gone back home, it's bad enough you're here and it's worse that you've come along..." Smart lyrics i thought. This song begins to pick up in a short while once the bass comes in. Keyboardist Graham must have worked very hard here as the keyboard is all over the place with different notes. Tokyo Police Club are trying very hard on this track to make it sounds as good as possible. I can feel that they work very hard on this track.

"Your English Is Good" has Tokyo Police Club choiring, "Oh, give us your vote, give us your vote, if you know what's good for you..." before the whole track sounds very full as the music comes in all together. Your English Is Good is cheeky and cute with the keyboard playing in repetition in the same notes throughout the track. Everytime the keyboard enters, a smile appears on my face. Tokyo Police Club also go together with, "Because your English is good, we can see it in your bones, in this neighborhood, we ain't driving you home..." With such title, Your English Is Good will definitely catch everyone's attention in the tracklist section. Plus another good thing is the cute keyboard and choir that are in this track. Sweet and cute!

"Listen To The Math" has a slow opening where Dave's voice seems to be the music here. The keyboards and bass add some weight to Dave's singing as he's into the second part of the first verse. Once it gets to the chorus, it feels light with the guitar. "It's a ruse, it's a laugh, experts they'd agree, listen to the math..." Shortly after the chorus, the guitar switches to a chrunchier note that seems to be able to add some extra effects and weights to Listen To The Math. Another mention is the deep background voice that comes in during the chorus. It just follows Dave's singing in the background. Listen To The Math can regarded as a ballad that will stick to you like a fungus after a few listens.

As the last track on Elephant Shell, "The Baskervilles" has some moments on it that stands out. The choiring moments by Tokyo Police Club is worth mentioning and appear on some parts of the song and never fail to create an impact on the listeners. They would go, "Alright, we tried to help..." As we get further into The Baskervilles, the track starts to pick up and the music just sounds as lively as ever. The guitar and keyboards work their way out here. Even nearing the end, Dave increases his singing tone and yell, "A toast to the last of a dying breed, they're crawling back to bed, they're falling back to sleep" to the end. A very strong finish by Tokyo Police Club.

Komor Kommando - Das EP - Music Review

Released all the way back in October of 2009, it was about time I got around to writing a review of Komor Kommando's incendiary Das EP. Komor Kommando is Sebastian R. Komor's one-man assault on the dance floor after successful projects as sound designer and songwriter for acts such as Zombie Girl and Icon of Coil. Armed to the teeth the albums opening track Love Your Neighbour begins relatively restrained, hinting tantalisingly at the storm of dance-laden chaos and noise yet to come. I would suggest not playing this on your MP3 player, once the storm breaks, the desire to jack the tracks up to volumes approaching those that will leave you crippled with server and lasting hearing damage is extremely potent. As the opening track suggests, this album should be played at high volume, preferably in a residential area!

Following up on Love Your Neighbour is the beat driven sample heavy State Of Destruction. Sounding every bit as menacing as the title suggests, wailing and stuttering synthesised sounds, sampled screams, ominous pads and that ever present crash of drums like the insidious march of some dark war-machine, build a wonderfully fractured and psychotic audio experience (something that is more-or-less present throughout the album).

Arpegiation makes everything sound good, undoubtedly a lie but a home truth I will stick to until otherwise irrefutably proven wrong. Whatever the eventual outcome of this future dispute, Triggerfinger uses it to great effect crafting around it a track bound for club-hit status.

The Beat That Goes Ping, Das Onntz, and AntiKrist break away from the rest of the album in terms of the dark militaristic and grimy aesthetic. These are a lighter breed of track, diverging into a more techno branch but just as good as the all the rest. Das Onntz is another likely club track, The Beat That Goes Ping is very cool introducing - stuffed with catchy samples that will role around in your brain for days - unfortunately you will probably try to recreate these verbally and end up the joke of some very uncool people. The last track wonders off into experimental land via ambient park and comes back titled AntiKrist - a great way to bring the EP to a close.

Komor's first EP from his solo project is a fantastic start and I eagerly await what comes next. Das EP is great value for money with a strong and varied sound, a must buy for industrial-dance junkies and fans and strongly recommended for everyone else. If you still don't have it, check Das EP out now.

Music Review of Tonight by Franz Ferdinand

"Franz Ferdinand" are a four-piece Scottish indie rock band hailed from Glasgow, Scotland. They are frontman Alex Kapranos (Vocals and Guitar), Nick McCarthy (Guitar, Keyboards and Backing Vocals), Bob Hardy (Bass) and Paul Thomson (Drums). Their music genres include indie rock, post-punk revival and dance rock. Franz Ferdinand derived their name from historical figure Archduke Franz Ferdinand.

Franz Ferdinand are back after a four-year wait. With their third full-length Tonight, i would say this album is worth the wait! They're back with broader musical scope, they're experimenting music and they're having fun! Franz Ferdinand is back to rock us!

Delicious Tonight kicks off with the ever sexy "Ulysses". Alex's voice is sexy in a steady pace. The opening drum beats is very catchy, you would fall in love with this track once the music starts. Franz Ferdinand started off taking little steps with Alex's improved vocals. I have never heard Alex singing in such way, Ulysses is sexy and sweaty. The music itself has shown Franz Ferdinand's desire to add in some new aspects into their sound. "Come on let's get high, come on let's get high..." Ferdinand has got to be the sexiest band on the dance floor!

"Turn It On" is another track that continues to make the ladies on the dance floor asking for more. The bass and guitar on this track are too irresistible. In the chorus, the backing vocals really complement Alex's singing. Alex will go, "Although I know you turn it on yeah..." The rest of Franz Ferdinand will go "Turn it on..." Just amazing to hear Franz Ferdinand do that! Turn It On is like a dance club anthem where it never fails to get the crowd moving their body in a sense of appreciation of the music by Franz Ferdinand. Turn it on now with Franz Ferdinand!

"No You Girls" has some repetitive catchy guitar and bass hooks. The music throughout No You Girls is just simply awesome. The lyrics are smartly crafted as well, "Kiss me where your eye won't meet me, meet me where your mind won't kiss me..." The chorus also brings us another mesmerizing moment. It's anthemic, sexy and catchy. The handclaps, guitar, organ and team-vocals are the climax here. "You girls never know, oh no, you girls'll never know, no you girls never know, how you make a boy feel..." It's loud and danceable! Dancing to a rock tune really requires lot of energy!

"Send Him Away" is soft danceable rock track where you would see Alex takes on a softer vocals approach. On every album of Franz Ferdinand, there would be songs that slow the tempo down, in other words, let our ears take a short rest from all the hype going on throughout the album. Send Him Away managed to do just that. I find it sweet and cute with the guitar that has a slight country element in it. In the last 1:12 minutes, Alex just sings, "Oh, can't you let me stay tonight..." until it fades while the guitar just does the opposite as it gets louder near the end.

"Twilight Omens" starts off with scary-like string instrument that sounds like a banjo. It sort of brings back the atmosphere of those classical horror movies. Overall Twilight Omens brings you back to the 60s/70s. The way Franz Ferdinand sing throughout this track reflect the old days as well. A journey back to the past perhaps. Only this time, they do it with the influence of electronic music. Rocking old times!

"Bite Hard" begins slowly with the piano-playing and Alex's breathy vocals. Once it reaches the right pace, the guitar, bass and drums just come in and it would surely wake you up instantly! In between, i like the organ that plays along, it just happens to be at the right place at the right time to make Bite Hard sounds more complete. The music also has a very heavy bass line that is so suitable on the dance floor. Nearing the end, Franz Ferdinand just keep getting louder, "Well I never, well I never, well I never know... I just had to taste their honey..." I think i'm getting up and dance!

"What She Came For" is also another track that contains heavy bass line, but this time is on mid-tempo pace. There are also some electronic elements in this track which Franz Ferdinand use throughout Tonight. At times, without the vocals of Alex, i find What She Came For cute and cheeky. The chorus hits a high with the group vocals of "Wow, look out, know what she came for. Know what she came for. No question, no doubt. Wow, look out, know what she came for..." And the background music, if you listen carefully, there's a faint organ-playing. What She Came For also features Rosie Wilson on the vocals contribution part. Towards the end, Franz Ferdinand just go for the maximum volume and rock it hard with the guitars. I absolutely fancy this crazily cheeky yet rockable track.

"Live Alone" sort of reminds me of "You're The Reason I'm Leaving" from "You Could Have It So Much Better". At times, Gwen Stefani's "What You're Waiting For" just crosses my mind. Franz Ferdinand's usage of synthesizers is very significant in this track as well. The guitar just comes in on and off as to follow the beat and rhythm of this track. And again, Live Alone is being sung in a way that'll bring you back to the 60s/70s. The good old days are just getting popular nowadays. "You know that i'll be here, i'll be here wishing i could be there..." Nice paradox.

"Can't Stop Feeling" is funnily good! The music in this track is really catchy, especially the instrument that sounds like a bass or maybe a synthesizers, and the beats that sound like a djembe's which creates an atmosphere of African music. The music is funnily catchy and the moment you hear it, you can't help but smile faintly. The singing of Can't Stop Feeling is similarly catchy too. I like the part where Alex goes, "And you leave me here on my own, yeah you leave me here on the floor, you can't feel it, and you can't feel it... Anymore..." Just can't stop listening to Can't Stop Feeling.

"Lucid Dreams" sounds like a pure electronic track, which differs greatly from the non-album version. Franz Ferdinand are creating a new sound for themselves with Lucid Dreams here and it clocks in at over seven minutes long. From what i listen here, it's clearly a remixed version of the non-album version. It goes directly to the chorus and climax without the normal build-up. The second half is pure music with heavy electronic elements and some guitar-playing. Franz Ferdinand are reborn again here.

In "Dream Again", is a ballad that sees Franz Ferdinand have it soft and slow. At times, Alex can be heard singing in a robotic and echoic voice, "I live to dream again..." If you listen carefully, there's no guitar in this track, just some beats created by synthesizers. Dream Again will take some time for you to grow into it, even if you're not into it, you'd still appreciate Dream Again. Sweet and lovely track here.

Franz Ferdinand end Tonight with the acoustic "Katherine Kiss Me". Alex sings with his heart here. He can be heard singing and strumming his guitar away. During the break, the piano comes in at the perfect time to complement Katherine Kiss Me. This track has the story-telling quality where you can clearly hear the voice of Alex as he sings and then you can figure out the meaning of this song. Franz Ferdinand present it with style and manage to close the chapter of Tonight on a soft note.

Rating: Tonight proved that Franz Ferdinand are exploring new musical elements rather than sticking back to their normal indie rock and post-punk revival. This time, Franz Ferdinand added electronic and slight african influences into their third full-length album. It's always good to know that one of your favourite indie artists/bands are trying or creating something new and fresh. Franz Ferdinand have this ability to make new sound and at the same time, sounding the same. When it comes to creating catchy and danceable melody, Franz Ferdinand are always a force to be reckoned with. They are evolving with every album, and yet still manage to maintain their catchy trademark. If you're a fan of Franz Ferdinand, you'll be glad that you have included the right band into your all time favourite bands list. If not, you better be one now! Another achievement by Franz Ferdinand, 7.8 out of 10.

Stand-Out Tracks (My Picks): Ulysses, Turn It On, No You Girls, Send Him Away, Bite Hard, What She Came For, Can't Stop Feeling and Katherine Kiss Me.

Music Review of Off With Their Heads by Kaiser Chiefs

"Kaiser Chiefs" are a five-piece indie rock band hailed from Leeds, England. They consist of frontman Ricky Wilson (Vocals), Andrew 'Whitey' White (Guitar), Simon Rix (Bass), Nick 'Peanut' Baines (Keyboards) and Nick Hodgson (Drums). They are noted for their musical genre in post-punk revival and new wave. Kaiser Chiefs were formed way back in 1996 - 1997. On an interview with BBC, Kaiser Chiefs were named after South African football club Kaizer Chiefs, a club where former Leeds United defender Lucas Radebe played for.

The third album Off With Their Heads kicks off with cheeky "Spanish Metal". Pay attention to the keyboard, it's like a modern background music used in a cowboy flick, especially when two cowboys are preparing to draw their pistols for a gun fight. Just cute isn't it? Spanish Metal is a heavy guitar-based introducing track, in the verse, you'll find frontman Ricky singing in a somewhat very subtle voice. I find this track kind of cute. Go Kaiser Chiefs!

"Never Miss A Beat" is very funky and catchy. The combination of the singing and the music fit in very well here. Once the first verse comes in, i already knew i'm going to like this track. Check out the lyrics, "What did you learn today? I learned nothing. What did you do today? I did nothing. What did you learn at school? I didn't go. Why didn't you go to school? I don't know..." It's simple, but yet it ables to make me repeat these phrases over and over again. Starting to stuck in my head. Never Miss A Beat is always building up the tempo and climbing up the stairs, once it reaches the peak, then only Ricky and other featured guests can be heard singing together. The featured guests are Lily Allen and three members of indie band New Young Pony Club, Anne-Marie Chirema, Lou Hayter and Sarah Jones. Nice guests appearances.

"Like It Too Much" has this thing that makes me hopes that this track is never going to stop. When it reaches a certain point like the chorus and once Ricky is almost done singing the chorus, the music and rhythm just gets me hoping for more singing from Ricky. It sounds complicated, but it's true. Like It Too Much is also the only track that features the phrase "Off With Their Heads" in its lyrics. What makes this track unforgettable is the string arrangements by David Arnold of James Bond fame and the inclusion of a number of instruments such as violin, viola and cello. After a few listens, you would find as if Kaiser Chiefs were performing with the help of a big orchestra. Bravo!

"You Want History" has a strong electronic elements and at times, groovy. Anne-Marie Chirema, Lou Hayter and Sarah Jones of New Young Pony Club again do some backing vocals on this track. The singing by Ricky sounds like a robot to me in his effort to follow the beat and rhythm of the music. The beginning of You Want History is cute with the electronic music going on, as this song goes along, the chorus is catchy as well, as Ricky sings, "It's a mystery, oh, it's a mystery, you want history, oh its a mystery...", the keyboard just comes in. I find it catchy in a faint hilarious way.

In "Can't Say What I Mean", you'd find frontman Ricky hardly has time to gasp for air. It's fast and groovy. The bass especially sounds like a motorcyle's engine, it just keeps grooving. The keyboard also being played in a way that is so cheeky i would say. It just has the same rhythm all the way, but it blends in just fine. Great and cute stuff again by Kaiser Chiefs!

"Good Days Bad Days" is very cheerful and positive. It starts from a distance before the rest of Kaiser Chiefs just come in and join the fun. The guitar especially is very, very catchy. Amazing riff! With each verse, the guitar just follows, making it unbearable to miss it. When comes the break, the short guitar solo and the djembe playing are really something to be remembered. When you're feeling down, have a break and listen to Good Days Bad Days, this music is designed to make you feel good. Have a look at their final verse, "If you had a different attitude, instead of take and take and take, you have missed an opportunity, and that's a really big mistake, if you had a different attitude, you'd still have good days and bad days..." I feel great now!

Kaiser Chiefs slow it down with "Tomato In The Rain". I would describe this track as soft and infectious. Ricky's voice is found soft throughout this lovely track and the music in the chorus has a hook that is really infectious. This only part is short, but can cause a stir. "Yes I do know about you, shall I come home...?", what a lovely and simple phrase, but whenever Ricky sings this phrase, the whole Kaiser Chiefs just let themselves in and provide some backing vocals for Ricky. Lovingly infectious!

"Half The Truth" brings the notches up again! The keyboard on this track is kind of good. Ricky doesn't really sound like singing, he sounds more like rapping and talking his way through this track. Fast and furious! When the chorus comes, the keyboard is played in a way that you would only hear it in a haunted house. Nice and scary. The lyrics are also written smartly, "I will not lie to you, but i defiantly only gave you half the truth, i wil not lie to you...". It puts smile on my face after listening to it. Kaiser Chiefs also brought in a special guest, Sway DaSafo (A rapper from UK), to help finish Half The Truth in style! Crunchy!

"Always Happens Like That" is a funky and groovy pop song from Kaiser Chiefs. It has the quality to make one dance. After each verse, Ricky will go, "And it always happens like that..." Lily Allen is also featured on this track, they make a great team singing together. The guitar on Always Happens Like That is also everything but sad. It'll make you feel better and happier, just like Good Days Bad Days. At times, it reminds me of Nick Valensi of The Strokes with the chirpy guitar sound.

"Addicted To Drugs" awed me at the beginning with the Agogo bells (Courtesy of producer Mark Ronson). It's very delicious how the Agogo bells fit in so well into this track. It's very, very groovy here. The music here doesn't fit the title at all, it sounds more cheerful than it should be if you just look at the title, Addicted To Drugs. This track alone can be the anthem for Off With Their Heads, the part where Kaiser Chiefs go, "Woah... Yeah..." will definitely straighten you up right away. In fact, Kaiser Chiefs make this song sweaty sexy as well.

Wow, after a great deal of some cheeky and catchy tunes, Kaiser Chiefs' "Remember You're A Girl" is also not to be taken lightly. Remember You're A Girl is a lovely indie pop tune that you'd find almost every member of Kaiser Chiefs contributes on the singing part. It's very soothing to listen to such track after a long hard day at the office or work. Ricky and co. can be heard singing in a softer tone, as if singing to little children who are fast asleep. Just so lovely and sweet!

Stand-Out Tracks (My Picks): Never Miss A Beat, Like It Too Much, Good Days Bad Days, Tomato In The Rain, Half The Truth, Always Happens Like That, Addicted To Drugs and Remember You're A Girl.

Korn Untouchables Rock Music CD Review

Korn, the richly talented Rock group have released their latest album titled Untouchables and Wow! It's good.

Refreshingly, this was one of those CDs I was able to just pop in and comfortably listen to from beginning to end. Every track is enjoyable and was pretty easy for me to listen to from start to finish.

Untouchables is a nicely varied, mix of 15 tracks that are very well written and brilliantly performed songs by these clearly gifted musicians. With many of the songs displaying a lot of the kind emotion that makes for a really great listen. Clearly drawing from what I can only imagine are their own real life experiences. At different points touching on the most real emotions of love, heartbreak, pain, failed relationships and unattainable romance. They're all here.

Overall Untouchables is excellent from beginning to end. One of those CDs that after a few listens the songs are just etched into your memory. A must have for the Rock fan. Really sensational from beginning to end.

While the entire CD is outstanding some of my favorites are track 5 - Bottled Up Inside, track 8 - One More Time, and track 15 - Here To Stay

My Bonus Pick, and the one that got Sore [...as in "Stuck On REpeat"] is track 1 - Here To Stay. Good stuff!

Untouchables Release Notes:

Korn originally released Untouchables on June 11, 2002 on the Epic label.

CD Track List Follows:

1. Here To Stay

2. Make Believe

3. Blame

4. Hollow Life

5. Bottled Up Inside

6. Thoughtless

7. Hating

8. One More Time

9. Alone I Break

10. Embrace

11. Beat It Upright

12. Wake Up Hate

13. I'm Hiding

14. No One's There

15. Here To Stay - (remix, hidden track)

Untouchables Album Notes This is an Enhanced CD, which contains both regular audio tracks and multimedia computer files.

Korn: Jonathan Davis (vocals); James Shaffer, Brian "Head" Welch (guitar); Fieldy (bass); David Silveria (drums).

Recorded at Conway Studio, Hollywood, California and The Village, Los Angeles, California.

American Idol Finalist Anwar Robinson Music Review

New music always excites me. I crack open the CD or watch the bar move as the download is delivered from my wireless. Today, I'm breaking down a new track from Anwar Robinson, called "Night's Hot".

The song is a perfect romantic ballad-like tune that draws you into the night. It has an earthy aphrodisiac quality that wafts around you like a fine perfume. Before you know it, you're knee deep in the mood of the song. Even after the song ends, you'll notice a lasting romantic state of mind.

Anwar blows out some great riffs...urban and earthy. The background vocals are smooth, sweet and sexy. Impressive from the first note, "Night's Hot" is mixed to perfection. The instrumentals are flawless and you get an old school soul vibe juxtaposed with Anwar's trademark style - polished and steamy. It's no accident that Robinson was a Top Ten finalist on Idol.

I need to comment on the production quality of this track. "Night's Hot" starts off with a catchy drum beat that anchors it's earthy ambiance. The background instrumental arrangements have heat, so put your headphones on and listen for all the little little nuggets weaving in and out.

After some checking, I found out that "Night's Hot" was produced by Bo-Ty Productions. The studio has been cranking out hits for a few years and recently decided to embrace the power of the internet. Tyrone Corbett and Robert Donzella have a catalog that would make any major label drool with envy. Just goes to show how much of an impact indie music labels are having on the music industry. Indie labels and music are putting major labels on notice when they produce quality music like "Night's Hot.

Deborah Diak, known as "The Music Maven" and President of Rising Star Artists, continuously looks for new ways to showcase and market Independent Musicians. If you have music that needs airplay, visit http://www.risingstarartists.com/ and go to the "Resources" page and submit your work by clicking on Rising Star Radio. Join the Rising Star Artist family and start to take advantage of the many opportunities waiting for you.

Take advantage of Rising Star free radio seminars. You'll learn about music marketing and hear from industry experts on a variety of topics. All free with your starter membership. Visit http://blogtalkradio.com/musician-edition for broadcast information.

Rising Star Artists membership starts at FREE so don't be afraid to try our innovative music marketing and promotion.

Music Review - Jack Johnson's "Sleep Through The Static"

Before I feel qualified enough to review a new CD I have to listen to the thing at least 10-15 times all the way through. And that is exactly what I have done before reviewing Jack's new album "Sleep Through The Static".

What separates "Sleep Through the Static" is that on multiple tracks you will notice Jack experimenting with Ebow effects, slides, keyboard's, and other soundscapes. Aside from expanding his tone in the right directions, he manages to keep his distinctive sound and faithfully satisfy his huge fan base. Additionally, on numerous occasions it is clear that Jack is trying new guitar chords while still primarily staying with major and minor chord bases.

I must say, I think Jack has crafted a pretty solid record for a number of reasons. In general, when compared to his past records (In Between Dreams, Brushfire Fairytales), the new album continues his tradition of mellow and well-crafted songs based on simplistic guitar parts and minimal backing with other instruments.

All in all, the album is a pretty chill record to listen to. What I really like about Jack Johnson is that his music is extremely catchy and he never forgets that there is beauty in simplistic arrangements coupled with clever vocal lines (see Beatles). While some critics may say that his style is not evolving, I say who cares. He writes great music that touches people and has carved a solid niche in the industry. You can't mess with the formula too much, right?

Music Review of Emergency by the Pigeon Detectives

"The Pigeon Detectives" are a five-piece indie rock band from Rothwell, Leeds in England. The Pigeon Detectives are Matt Bowman (Vocals), Oliver Main (Guitars and Backing Vocal), Ryan Wilson (Guitar and Backing Vocal), Dave Best (Bass and Backing Vocal) and Jimmy Naylor (Drums and Backing Vocals). Their music genre are mainly alternative rock, indie rock and garage rock revival and they are signed to Leeds based independent record label Dance To The Radio. Their funny band name? Honestly, I don't think it's funny, it's very unique instead. Speaking of it and according to NME, Drummer Jimmi Naylor stated that he has never like the name, but it grew on him and The Pigeon Detectives started to gain attention due to the silly name. He even mentioned that, "It came from an Australian guy who we met at the Leeds Festival.

Emergency by The Pigeon Detectives is a great successor to its predecessor, Wait For Me. For some, it might even sound better than Wait For Me. It's kind of funny that you find that The Pigeon Detectives are in some ways, a cross between The Futureheads and The Libertines. The Pigeon Detectives have the raw energy of The Futureheads and the killing guitar hooks of The Libertines. Well The Pigeon Detectives are relatively still new, with only Emergency being their second album, but I'm pretty sure they have a steady growth of fans.

Emergency begins with the guitar-packed "This Is An Emergency". Matt Bowman can be heard singing, "Don't make me go, don't make me go home..." This Is An Emergency is the type of song where it started quiet and slow, eventually when everything is right, it got louder and all the rest of The Pigeon Detectives joined in with, "This Is An Emergency...". Heavy guitar playing can be heard throughout this track. Definitely a guitar fan will love this track. It may not be the best opening to an album, but hey, This Is An Emergency is good enough to get you asking for more from The Pigeon Detectives.

The second track on Emergency is called "I'm Not Gonna Take This". It's a fast tempo track with some fast and start-stop guitar playing. Matt sings, "And im not gonna take it, cause im so sick and tired of you lying, and im not sure if you're trying for me anymore..." I can see that Matt is frustrated of being lied to over and over again, thus a slight anger can be heard in Matt's voice. At certain points in I'm Not Gonna Take This, the guitar is being played in a way that it resembles the sound of Indian music where it's used to control and even hypnotize a snake to perform a snake dance... Perhaps The Pigeon Detectives already got me hypnotized.

"Keep on Your Dress" has a somewhat unique opening to it. Remember a movie which starred Sandra Bullock and called "Ms.Congeniality"? If you can recall, she has a very special talent in that movie, which is making some whistling sound by hovering her hands or palms over half water-filled glasses. Well, Keep On Your Dress has this special sound to it in the beginning. This song is a catchy pop rock ballad which I believe everyone will find it a good listen, especially the guitar which has a hook that is so good.

"Don't You Wanna Find Out" is another track on Emergency which has some really heavy guitar work and play on it. At times, I find it such a cheerful and happy pop song, especially when Matt goes, "When the sun comes up, there'd be nothing wrong, cause I will be away from you..." Anyone who have not heard of The Pigeon Detectives can start to understand them with Don't You Wanna Find Out. I thought to myself, don't you wanna find out more about The Pigeon Detectives?

I like the beginning of "I'll Be Waiting", where what sounded like a lazy guitar can be heard until Matt came in with his hyped voice, "I know you think you're so much better, and we used to get on fine together, now I don't think that will work, you want to see me in the dirt..." The chorus is even better, together with some light guitar and bass playing, Matt again goes, "I'll be waiting for you, when you wanna go? When you wanna go?" Honestly, I'll Be Waiting is such a simple song with some really catchy rhythm and hooks, but things really change, I find myself kind of like this song. Sometimes, it's simplicity that works like magic.

"She's Gone" is full of catchy and energetic guitar riff. Whenever I listen to this song, I can imagine that The Pigeon Detectives are having fun with this track. When the chorus comes in, the guitar playing in the background was really good. One of the reasons that The Pigeon Detectives can make it so big is definitely their catchy and ambitious guitar riffs.

"Nothing To Do With You" is a short lovely ballad. In this lovely song, you will discover another side of The Pigeon Detectives. By now you'd have already known that The Pigeon Detectives are awesome with guitars. But Nothing To Do With You expose another side of The Pigeon Detectives. Performed acoustically with the help of acoustic guitars, Matt showed us that he's equally good even if on acoustic session.

"I'm A Liar" gets it on with start-stop bass line and some guitars which echoed like the sound of reggae. The chorus of I'm A Liar is splendid indeed. Matt goes, "papapa padapa, papapa padapa, I only came here, 'cause I hinder you drinking, darling.." This track is really full of some serious guitar sounds, including the high pitched solo guitar riffing session after the second chorus. I'm A Liar is loud and fun. It wouldn't be long when you find yourself liking this song. Some serious guitar hooks here.

Emergency continues with "You Don't Need It", which its guitar really has some resemblance to those of The Strokes. At first listen to You Don't Need It, The Pigeon Detectives already got me wanting for more. I just like the whole guitar riffs that were going on throughout this track. Before verse, during verse, during chorus and after chorus. And the rest of The Pigeon Detectives came in and joined the fun and went, "You have me come and go and I just don't know where I stand, how could you think about me when you're with another man, oh you don't need it!.." I wish I can join in as well.

"Say It Like You Mean It" is such a cheerful and happy tune. A fast tempo track where The Pigeon Detectives play at their best. Fast and loud guitar riffs everywhere on this track. The verse of this track is really something. It has the quality to make me wanna sing along as well. If I'm not mistaken, I think Matt is trying to tell a girl to say whatever she was trying to express, thus the lyrics, "Why don't you say it like you mean it?" This is definitely a track not to be missed if The Pigeon Detectives were to perform live, and you would enjoy this track even on a recording CD version as well. Happy listening.:-D

The title of "Love You For A Day (Hate You For A Week)" is very appealing and after listening to the first track on Emergency, I straight away hit the No.11 button to listen to this track. You see, the title that you chose played a big role as well. Imagine that this track were to be called just "Love You For A Day". Wouldn't that be too common for a title? Smart title choice by The Pigeon Detectives. This song is about a couple's break-up and again, the main instrument that can be heard in Love You For A Day (Hate You For A Week) is guitar. But it's really good, The Pigeon Detectives know how to play the guitar in style. There are some singing parts in this track that make me wanna sing along as well.

"Making Up Numbers" is yet again another track that contains some heavy guitar riffs. Kind of reminds me Guns and Roses. Every Sentence that Matt sings is followed by some heavy guitars. There's a catch here in the lyrics, "What the f*ck are we doing here? I've made my intentions clear, we should get out while we can." Seriously if you just read the sentence above, you would know what it means. However, if you look at the lyrics as a whole, it's hard to understand. Even myself doesn't get it. Making Up Numbers sounds like another couple's break-up song yet again. Not a bad effort!

For the first part of "Everybody Wants Me - Draw The Curtain (Hidden Track)", Everybody Wants Me is sort of catchy with its steady guitar, drums and tempo. It tells the story of a man where he was popular back then when he was young, everybody just wants him.. But he has only one person in his heart. Oh ya, the bass on this track was quite an impression as well. When Draw The Curtain comes alive, it just gets better. Draw The Curtain is an ancoustic track which I think was quite remarkable. The reason I said so? You'll know when you listen to it. The best part is when The Pigeon Detectives sing together in a band. It's like they're having fun with Draw The Curtain as you can hear them laughing and whistling at the end of the track. The end with a happy note!:-D

Rating: Emergency by The Pigeon Detectives is full of energetic guitar riffs. From high pitched ones to those steady hooks. I bet they would leave us all worn out if we were to see them live in a gig or concert. The Pigeon Detectives really make guitars their best friends, with every single track, almost every one of it has some catchy and trademark hooks to it. Considering Emergency is produced less than one year after their debut, they have made Emergency as catchy as possible to whet their fans' appetite. Even for new fans of The Pigeon Detectives, most likely they'll have a good impression on Emergency. However to be honest, I find most of their songs forgettable. The Pigeon Detectives are still relatively new, time will tell whether they'll evolve and grow together as an indie rock band! My rating for Emergency by The Pigeon Detectives would be 6.2 out of 10.

Stand-Out Tracks (My Picks): Don't You Wanna Find Out, She's Gone, You Don't Need It, Say It Like You Mean It and Everybody Wants Me - Draw The Curtain (Hidden Track).