Tag Archives: music

Album Review: Orphans of Doom “Strange Worlds / Fierce Gods”

I am one of those people who live under a rock and need to desperately fix it. When I decided to look into what the local scene (or at least local to me) offered I found Orphans of Doom, and as an extra bonus they released a new album back in January. I went in search of it, and one purchase and download later have an album to review.

After I listened to the album I couldn’t help but feel this band was slightly familiar. I felt I had heard them in a basement show back in the day, so much so I checked my notes from that time just to make sure. Unfortunately it doesn’t seem to be the case, which doesn’t really bode well. They stay true to the stoner genre but so much so that if played with other bands like Kylesa in a playlist I don’t feel I could pick them out unless they were very particular songs (more on that in a moment). That aside those who absolutely love the genre will find the tug of war between ambient, alternating slow and driving tempos, and spoken word. Songs that really stick out in this regard are “Excension” and “Harvest”.

I will give Orphans of Doom credit there are particular songs where they deviate from typical stoner genre fanfare and delve more into prog. Songs like “Kakegoe” and “Cephalopod” really explore more extreme ends, be it experimenting with ambient to induce a further dreamlike state or driving rhythms reminiscent of traditional Japanese drumming to induce frenzy. I think exploring those concepts further and exploring musical transitions more to develop those ideas will set it apart from other stoner music I’ve heard.

There are times, however, the experimentation isn’t quite realized in the song. Part of this may be because the transition between powerful drumming and ambient isn’t really developed or doesn’t exist so the jump between the two ends up awkward. Moments of “Cephalopod” are like this, which is a shame because what should lull the listener deeper into the song as if entering the realm of the eponymous creature ends up jarring and awkward. I also see this in “The Return of Supertoad” albeit the transitions and tempos are still awkward at times though more thought is put into transitions than on other tracks. There are times, however, the union between the concept and what’s actualized in the song don’t work out entirely. I felt “Mythical Sleep” epitomized this. It didn’t really make sense and I couldn’t tell if this was a calculated move or not and, if so, what purpose it served. It seemed like more about bravado of technical skill than artistic integrity. When it does come together, though, I feel like there’s promise. The best examples are “Ghosts” and “Pleasure Delayer”, where the “diddling” ends up being the theme and transition that brings the song together.

Overall I think Orphans of Doom has potential, but they will need to find their voice a bit more and commit to it. I see moments where they want to take their sound into a more prog direction and certainly have the skill but it’s drowned out by desire to adhere to the stoner genre in a way that I’m unsure behooves them. It ultimately creates a sound that is muddled and can seem too focused on what may sound cool, but not necessarily come together cohesively. I think those into the genre will appreciate it for what it is and enjoy the album for its aesthetics.



The Soundtrack: February 2018

It’s that time again where I release 4 songs that best describe this month. Those who are new to this I pick 4 songs from music released in the particular time, in this case February of this year. These 4 songs I feel capture the emotion of the month. I don’t look at which songs I like, or genre, or anything of the sort. It’s all about the music and capturing the mood.

Now that I got some of that out of the way, here’s what I picked for this month.

Rhye “Song for You”

Yeah, there are going to be some sappy, bittersweet love songs in here. February seems to be the month for heartbreak so I thought I’d roll with it.

Alele Diane “Yellow Gold”

This is another sappy love song, and admittedly I thought with the title it could tie into other events of the month. It doesn’t but, hey, sappy bittersweet love song for Valentine’s Day.

Pop Evil “Waking Lions”

In America students are marching and protesting for gun control after the umpteenth mass shooting. While gun control is a divisive issue no one can deny how these students, some of whom were running from gunfire just days before, gathered the strength to fight for their beliefs. If that’s not admirable I don’t know what is, and I feel this song captures their spirit.

Don Diablo “Echoes”

This is another one that I felt captured the indomitable spirit that humans possess. Whether it’s competing against the world in a sport of lifelong dedication or fighting to fix a broken system I think this song captures that feeling quite well.

If you want to check out what I picked last month you can check out this post or go to my YouTube playlist.

My 2017 Soundtrack

I thought I’d do something, for me, a bit different to cash in on “end of the year” posts. Instead of acknowledging that another year has gone by and continue as normal I’ll put together songs from the year that I feel best serve as the “soundtrack” for that year. So I’ll use songs from 2017 that I feel best describe the year. I feel 12 songs, one for each month, should suffice for this purpose.

Now, this “soundtrack” is by no means a pick of my favorite songs or anything. It’s just a list of songs I think best describe the year and why. Admittedly it is heavily influenced by the politics of this year and I’m sure many are exhausted by it, but I still felt it set the mood for the year.

Phoebe Bridgers “Motion Sickness”

I feel the way this year has been an emotional roller coaster with everything from scandals to political upheaval we’re all a bit emotionally numb. Besides, someone somewhere is probably going through some relationship drama. It’s certainly great for capturing emotional turmoil.

Thievery Corporation “Ghetto Matrix”

The political climate of the year, especially when it concerns human rights, and the political influence that shows up in this duo’s music their latest album The Temple of I & I came to mind. The reggae influence, paired with how reminiscent it is in musical and political nature to “Get Up, Stand Up”, serves as an anthem for a new generation of oppressed and disenfranchised people worsened by corporate exploitation.

Overkill “Goddamn Trouble”

If this year wasn’t tumultuous on a sociopolitical level it certain was on a personal level. What better way to let out some old school nonsense than with some old school metal attitude, and Overkill still delivers on that front.

Lana Del Ray “Love”

OK, judge all you want. There was enough political turmoil to parallel the 60’s so I think this song with its 60’s vibe complimented it to also remind people there were elements of superficial escapism via pop culture.

Kesha “Rainbow”

This is a year where in the turmoil lots of healing came out of it. If it wasn’t healing there was some closure. Who could be better to include than Kesha, after her very public turmoil with her label?

P.O.S. “Pieces/Ruins”

There is a lot going on in this song. For many it felt like this year was a constant fight, and this song captures that aspect. They also felt like they were being pillaged and exploited like this song covers. This song also covers how many feel disenfranchised and have to pick up the pieces. Again, this was a politically charged year and the song definitely reflects it.

Björk “Blissing Me”

I think most people can relate to how a song can be incredibly intimate for the listening. The disjointed nature of the song adds another layer that I felt described this year: a search for intimacy and interconnection that ends up slightly hollow.

Poppy “Bleach Blonde Baby”

Admittedly I was reluctant to include Poppy as the whole thing is a really cool yet complex art project. Seriously, check it out. It’s a commentary on pop culture. So why did I end up including Poppy? I decided that while the commentary is not new it’s done in an interesting way, and it did sum up a lot of YouTube pop culture this year.

Julien Baker “Turn Out the Lights”

This album has an overall melancholy air and this song is no exception. This year has left a lot of unfinished business and messes to clean in the wake of the political turmoil. The overall tone of emptiness give it that much more reason to add it to this year’s soundtrack.

Alice Glass “Natural Selection”

Just as 2017 was disarming and dissonant so is this song by Alice Glass. The year was seemingly disjointed, jarring, and full of chaos with sweet tones just like this song.

Waxahatchee “Sparks Fly”

This goes back to my 60’s pop culture vibe I got this year. Unlike the other songs that I felt captured it this year this really captures both the political awakening vibe and the superficial pop culture vibe.

Mastodon “Steambreather”

Not gonna lie, I just wanted to include this song because it’s Mastodon. Plus, have you seen the video? Check it out.

This pretty much sums it up for me this year. See you guys in 2018, where I’ll have quite a few more reviews and other things happening.

The Future of Pop Stars Probably Aren’t AI

I read an article on Pitchfork the other day where it was another puff piece about whether or not future pop stars will actually be human or not. One thing I definitely appreciated about the piece was how it went into the history of AI pop stars leading all the way up to well-known programs like Vocaloids. Otherwise I felt it was another “future of” puff piece, but I want in on the puff piece pretension. It lets me pretend my opinion matters to the occasional person who actually reads my blog. Moreover I feel the topic presented was rather short sighted.

Does the future of pop music lie in something like Vocaloids? The short of my long-winded opinion is not yet and not necessarily with an AI image as the pop star. There. You now have debate fodder.

Now for the long answer…

Even though technology is moving at incredible rates not much is geared towards creating vocal synthesizers musically. I’ll use Vocaloids as my example since they are currently the most well known for singing synthesizers. Vocaloids were developed by Yamaha, which also isn’t the best when it comes to any sound synthesized. There’s a reason it’s one of the “go-to” brands for beginners of something like piano. They’re relatively inexpensive, and it’s reflected in the quality. The timbre is tinny, the clarity is lacking, the synthesizer sounds nothing like the instrument in question, and the sound variety tends to be – in my opinion – poor. This is especially reflected in the older generations of their Vocaloid line. In addition to the typical Yamaha sound quality older generation Vocaloids also lacked enunciation necessary for singing. Based on other opinions of Vocaloids in the West I’m not alone in this sentiment. There were some modulations, updates, and newer versions where these issues were somewhat addressed.

One of the ways the synthesizer shortcomings are addressed is the newer Vocaloid editions use actual samples of singing and speech instead of analytics. Combined with the updates the quality results in less tinny, less muffled, and more importantly more organic sounds. The technology still has a ways to go, but Yamaha made some strides. The only issue I see is whether or not Yamaha will continue to keep improving the technology and updating the language library to improve the overall quality.

Vocaloids, however, aren’t known just for being software. Many know them for their mascots like Miku Hatsune. While I surmise this is the direction Pitchfork was heading with the “future of pop stars” remark I still disagree. One part of the reason is despite internet popularity it hasn’t translated to widespread popularity outside of Japan. Another part of the reason is with software like Vocaloids the mascots are copyrighted to where if one uses the image for fan-made work it’s fine, but for commercial use it needs clearance with the copyright owner—which if I recall is Crypton Future Media with Vocaloids. Conversely the software is free to use without the same restraints. People are free to use it in conjunction with other instruments while recording their own music. It’s no different than using other similar licensed software for creating music. This disconnect of the image of the pop star from the “voice” creates not a future icon in the way the Pitchfork article insinuates. Rather than creating a platform for holographic stars to appear on a world tour it creates an opportunity for the future of pop stars to be the music creators themselves. There exists a few examples with Livetune being one of the more prominent ones. While it’s fair to assume we wouldn’t necessarily see the artist featured in any music video, people familiar with a particular artist’s work still would clamor to attend a concert of said artist. Various artists in electronic music come to mind as established examples. If anything I see a trend of focusing more on the music thanks to increasingly available technology to artists not otherwise accessible in earlier periods.

More easily accessible technology has and will contribute to changing how we consume music. Music synthesizers, while full of potential, are not up to snuff just yet for serious consideration when associated with a particular image for replacing human pop stars. This opinion may change if said technology improves, but even then I think the future pop stars will not morph into some image of a particular character, but the image of the artist behind the song. The voice synthesizer will become another instrument with its own malleable characteristics suitable for the artist’s desired outcome. Rather than what will the future pop star be artificial we should as will future pop stars be the ones behind the mixer.

Album Review: “Nightingale” by Thirteen

Thirteen found me on Twitter and sent me one of those DM’s promoting their latest album “Nightingale”. I decided this would be my next album to review.

Thirteen is a hard rock band based out of DC and formed in 2015. Self-described as a cross between Black Sabbath and Guns n’ Roses, not to mention a plethora of other old school influences, the band formed out of a desire to keep hthirteennightingalealbumartard rock alive (long live rock!) and bring its legacy to the masses. Part of that quest manifests in their 2016 release “Nightingale”, which I understand is not only their debut album but won Best Hard Rock Album. While I wish they wouldn’t keep describing themselves this way as it did create some bias I feel I can get past it. Let’s dive in…

The album opens up with the eponymous song. While I see why they opened up with this song (more on that later), and it certainly has a strong Black Sabbath influence to bring in listeners, it probably wasn’t the strongest way to open. The vocals capture Ozzy’s voice very well with the way he sweeps his pitches and is atonal and his pitchiness. The rest of Thirteen captured the elements of those part of Ozzy’s solo career with simplistic composition and strong guitars. It certainly brings some atonal aspects that add some great dissonance, but it doesn’t seem to build up to anything. Tension is abound, but what should build up to a fantastic moment putters out. Based on the lyrics that focus on the speaker losing a loved one upon seeing the speaker’s dark side it may be an artistic choice to present it that way.

Leading into “In Her Mind” we get more of the same, only with more 90’s aesthetics. The song opens up with a basic drum line that’s compressed, a popular 90’s motif, along with references to femme fatale figures (Cleopatra, Medusa, etc.) and the Viper Room (while still around, the 90’s are definitely when folks remember it the most), and living fast and dangerously (which is probably why the Viper Room was referenced). I personally feel like the lyrics could have been reworked without sacrificing the rhythm structure. At times the lyrics feel a bit contrived with rhyming in order to fit this and at times the imagery suffers for it. I’ll use the example of the line “eyes like Medusa”. Are they insinuating her gaze turns people into stone? If so, how does that “see through you”? Is that how she “gets people in her mind?” The imagery doesn’t add up. Despite poorly constructed lyrics I found everything came together to provide a strong bass line that compliments the risky aspects of the song along with the rattling noise as if to suggest the “she” in the song is like a rattlesnake. I can only presume the woman in this song is the same one referenced in “Nightingale”, which is certainly an interesting aspect. I could see a different story unfolding, if that’s the case. Regardless I think folks will love this song and play it on their night out.

Next on the track is “Insanity” and it does change up the tracks up to this point. It doesn’t feel completely like 90’s hard rock and the lyrics seem to have a coherency to them to where the verses actually transition smoothly into the chorus. The minor keys add a somber tone to the lyric content of living fast combined with drug abuse. The short length of the song also adds a sense the subject of the song will soon (or is about to) hit a wall with fast lane life, whether intentional or not. One thing that I really enjoy about this is the vocalist is gritty and melodic and not forcing anything. I honestly get the feel this was easier for the vocalist to handle than trying to emulate Ozzy. There is also a great balance of guitars with the drums. The bass doesn’t overpower and the drums provide the structure that was missed in the other songs. The accents synchronize with the vocal accents resulting in stressing where the listener needs to find meaning. This is a song that not only I can foresee getting air time, but I think is more natural for Thirteen as a whole.

The album returns to the 90’s aesthetics with “El Diablo”. Guitar distortions, atonal tones, and ornamental interludes fill the song alongside demonic and dark imagery. One thing this song does which I enjoy is break away from the 90’s aesthetics with Spanish guitar even if it’s just to bookend before breaking into the 90’s theme again. I wish they did more with the Spanish elements instead of cramming it into the beginning. It felt contrived without it being more dispersed. Speaking of dispersed…

I’m not sure “I Let Go” was the right song to follow. It’s a slow, sentimental piece about missing love and possibly placed here as a juxtaposition of the wild nature of “the devil” to sentimental, tame elements of “the angel”. Ultimately it jars the pace of the album and doesn’t seem to contribute to that flow. Regardless, the song has many redeeming attributes. The acoustic aspects are very melodic and, when paired with the atonal vocals, sometime add to internal chaos felt by the speaker. While this is certainly one of the stronger pieces of the album, where one sees it start off as a rather flat piece in composition and then build into something more complex with layers of static sounds and eventually deviating from atonal to more harmonic chords, I feel like it’s missing something. I’m not quite sure what it is, though, as this is certainly another piece where I can discernibly say that is a direction Thirteen should take.

The album really deviates from everything it’s presented to the listener with “Dark Star”. Well, they keep the dark themes and tones of their music and that part works out. One sees when listening to this song why it follows the previous song: it’s down tempo and seems to follow the theme of endings. At the same time it’s hard to get behind this song as a music critic even though I personally enjoy it. The transitions are clunky at times, though the clunkiness pays off in lyrics like “to pull the trigger”. It feels like there’s supposed to be a theme and variation led by the drums, especially with the use of high hat, but I’m not sure where it leads. I also have personally a hard time with the pitch here. I’m all for atonal and singing that sounds off but isn’t, but the vocalist was trying to hit notes below his range. I could see where missing the notes could convey the idea of someone on a losing streak, but for me it was distracting.

Next up was “Time”, which was another song I felt was out of place on the album. I can see why it was included, but at the same time it didn’t fit the themes of the rest of the songs. It’s certainly a love song, one with lots of sentimental ideas presented and more major chord progressions than the other songs. It was also slightly more complex than the other songs, albeit subdued, in that the guitar riffs were slightly drowned out but still audible while everything else was simplistic. I appreciated the complex riffs but in trying to mix it with the other phrasing in the other parts made it awkward. This is one of those songs where letting each part shine will really drive the emotions behind the song.

Thirteen goes back to their similar themes and aesthetics with “Romeo’s Kiss”. At times the song reminds me of Mountain and I enjoyed that aspect. I was conflicted about this song in terms of rhythmic composition. On one hand I wanted this song to be more chaotic since we’re hearing about the perspective of a person spiraling out of control. This was encompassed well during the interlude as well. On the other hand I felt the off rhythm attributes didn’t pan out in my mind. It mostly occurred with parts where the end rhyming occurs (there is a reason I have issues with end rhyming. Part of my problem is forcing it to work with an already determined meter, and it ultimately doesn’t mesh. It’s a lose-lose situation). That said, there were some possible production issues with this song. I can’t tell if it’s my headphones but the kick drum’s levels felt like it was turned up too high during recording at times. In general it sounds like there were some difficulties with low ends on this song as it sounds really compressed or like someone hitting a mic. It’s odd as I don’t notice this anywhere else in the album prior.

Other than production deviations “Satin Doll” provides structurally something a little different. It provides no real transition between the different styles, so we get a bookend of driving guitar rhythms paired with a marching tempo then suddenly break into legato, melodious parts. At one point during the interlude these parts sort of combine but it’s still a little awkward without a transition. The lyrics are a bit better, and I personally like how it uses more ways to rhyme, such as slant rhyming and alliteration (“precious pain” followed by “love is just a game” comes to mind). The imagery, however, was still kind of weak. When I think of dolls I don’t think of them “drowning in a sea”. As a hard rock band there’s a lot of fun to be had by subverting the tough veneer with something like a doll. I personally would have tried to work that to something like “sewn up with whips and chains” or something to that effect. It still upholds much of the sexual and dangerous tension permeating the album. It also adds to the idea of the speaker going for more of the same when it comes to the female object of his desire: a figure that is somewhat femme fatale but equally damaged. As for the production I’m starting notice a bit of the same distortion issue with the drums and actually a bit of the vocals. This leads me to believe something wasn’t properly filtered during recording or levels were up too high. I’m not sure if this is some sort of artistic intention, but it comes off more as distracting from the song rather than something that adds to it.

The album ends on something of an ultimate bookend with “The Siren”, compared to the album staring off with “Nightingale”. Where the album starts off with losing a lover who couldn’t stand to see the speaker warts and all, we see something of a finale. We see everything from the album in this one song, from atonal gritty vocals to melodic tones about sexy dangerous women serving as a psychopomp through the underbelly world of the album. This is something that should have been prevalent in the entire album, or at least started off the album. It offers a lot for the listener and it keeps the hard rock influences without letting them overpower the band’s own creative forces. This is the song that delivers a punch to the eardrums that the listener thanks the band for providing.

Overall “Nightingale” is certainly a plethora of some early material. I understand the desire to bring hard rock back into music, but there is so much more for Thirteen to use than 90’s era hard rock. It has a rich history and one that is facing many challenges currently, namely with the demand for more complexity in music. I’m confident Thirteen can and will rise to that challenge. When they quit letting their influences completely dominate such as in songs like “Insanity” and “The Siren”, and possibly a bit in their songs like “Satin Doll” Thirteen delivers powerful chords tempered with melodic, yet biting lyrics. That said, Thirteen’s lyrics and composition do need some work. The composition will work out in time, again, when the band is willing to take the forefront of their own artistic image. I already see that in how they present something of a story of two (former) lovers whether intended or not and other themes of how love and risk can be intertwined. This no-bit critic will love to see how Thirteen develops their artistry and grow from here. Perhaps they’ll even spread their wings to fly like a bird.

Rating: 2.2/4

CS Luxem Shines Their Light (And It Didn’t Help My Migraine)

CS Luxem broke the monotony of ambient music in the night with their combination of music and social awkwardness. While it seemed odd it came together for an interesting show that provided the only fresh air that was in The Replay Lounge by that part of the night.

Luxem provided a nice break from all the ambient music with their combination of doo-wop paired with a strong bass line. Adding off-key vocals and some synth elements to the mix does max it interesting, though at times it felt a little hokey. I felt like at times there was too much in the mix that it was a bit of overkill, such as too strong of a bass line or too much reverb that seemed to serve no purpose. On a more positive note they remind me of a grittier 10 CC.

As I’ve said with other bands that night I’m giving some leeway about their performance as I couldn’t see the stage thanks to a tight crowd. I’m going to give them even more leeway because I started to feel ill and left in the middle of their set. I feel because of that they didn’t get a fair review without it, especially when I left it seems they really started to play their finer songs. What I did get to note was while sometimes over the top musically CS Luxem also delivered equally goofy stage antics. At times it came off a part of the act, but it also felt a little contrived as if trying to mask something.

The audience enjoyed the antics, though, and showed it with lots of cheering. Sadly this section is pretty sparse, which adds to why I’m giving them leeway. It’s not their fault, but at least the audience got to enjoy them.

As I’ve said CS Luxem combines doo-wop and synth with goofiness. What little I did review shows that while a bit rough around the edges can provide something unique and a bit reminiscent of 70’s and 80’s music. I hope to give them a more complete review in the future.


Technique- 2

Presentation- 1.5

Audience Interaction- 1

Brownie Points- 0.75

Total- 5.25


Tycho Alba: Similar but Not Quite Like Tycho

Coming all the way from Colorado to grace The Replay Lounge is Tycho Alba. I’ll admit I couldn’t help but make a horrible wordplay on the artist Tycho in the title of this article. In reality the only similarities they share are something with Tycho in their names and tend to create ambient music.

Tycho Alba captures ambient music vibes and mixes it with atonal vocals (though I suspect at times the singer just missed the pitch) and synth elements reminiscent of 80’s electronic music. At times they varied on this by pulling from disco or jazz (and in one song power chords) in order to create a sound that I can only really describe as both playing into ambient music and a new wave revival. They also go as far as to create dissonance within their music while not compromising the tranquility of the music. One song in particular featured a very staccato rhythm with the smooth, connecting elements of ambient melodies. However, one of the pitfalls of ambient music is its monotony, and Tycho Alba can’t escape it. There were times where the songs sounded too much alike where, had they been played consecutively, I would have figured was a long song. However I think this band’s aware of this pitfall and at least came prepared to keep the audience’s attention.

As I’ve said in other reviews I find it hard to review an ambient performance. The point of the music is to be relaxing and trance-like. Playing at a venue that tends to be lively proves challenging, especially for music that provides a relaxing atmosphere. It can put a show at odds with the surroundings. These guys were able, from what I could see without a crowd, show some enthusiasm with their music They also joked a bit with audience and engaged further with special effects. At least, I think fog machines fall under special effects. Either way they used it, and boy did it release a lot of fog! The audience didn’t seem to mind, though.

The audience, in fact, seemed somewhat engaged. As I noted they gathered closely around the stage so I had a hard time watching the performance. There was a bit of cheering and applauding throughout, and it seemed fairly consistent with the exception of one or two songs. As I said, playing ambient music live can be tough, especially at a lively venue.

Overall Tycho Alba are able to add to ambient music by incorporating at times very dichotomous elements. Even though they still fall into the trappings of performing ambient music at times they still manage to captivate the audience as much as the genre is capable of doing.


Technique- 2.5


Audience Interaction–1.5

Brownie Points-0.5