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Ask most serious bands about the recording process, and if they dont compare it to giving birth, they'll likely tell you that making an album is akin to psychotherapy. But lets be real here: How many of those bands actually take the album-as-therapy idea literally? For Atlanta quintet Norma Jean, who for all intents and purposes should be some of the most content dudes in underground music right now, the recording sessions for their third album, Redeemer, packed group therapy, boot camp and endurance test into one gnarly package. Produced by Ross Robinson (At The Drive-in, From First To Last, Sepultura), Redeemer is at once the heaviest and most personal album in this bands arsenaland thats saying something: With their 2002 Solid State Records debut, Bless The Martyr And Kiss The Child, Norma Jean established themselves as one of the noisiest and most adventurous young bands in metal today. With the 2005 follow-up, O God, The Aftermath, drummer Daniel Davison, bassist Jake Schultz, and guitarists Chris Day and Scottie Henry welcomed new vocalist and Arkansas native Cory Brandan to their lineup and took their artful, technical noise to the proverbial next level, earning critical acclaim and a 2006 Grammy nomination (for Asterik Studios awe-inspiring artwork) in the process, and embarking on a grueling tour schedule that most recently found them on Ozzfest 2006s second stage. And now, with a new, expanded edition of Aftermath in stores, the obvious question follows: When you still have past glories to coast on, why make a new album at all? Basically, we had too much material brewing inside us, and we wanted to get it out, says Davison, laughing. We probably couldve waited to record until after we cut back on what we had, but when the opportunity to work with Ross came up, it just felt like, Man, being in the studio with this guy is something Ive wanted to do since I was 12 years old; Im gonna do anything I can to make this happen now. After practicing, in Davisons recollection, pretty much ever day, for about 50 days solid, and going through rigorous pre-production at home in Atlanta, the band decamped with Robinson to Radio Star Studios in the tiny mountain town of Weed, California, to start work on Redeemer. Though some of the songs were still works-in-progress (as Brandans recalls it, Songs were changing up until 20 minutes before we tracked them) the lyrics, again written collaboratively by Brandan, Henry and Davison, really took shape once the band got into the studio. Wed rehearse a song till we felt we had it worked out, and then wed bring in Ross and sit down for another hour or two just to discuss it, Brandan says. He had us all in there as a group, talking about each songwhat the lyrics were about, where they came from, what the song meant to us personally and spiritually. It was really intense; so much stuff came out during those sessions, and in the end, it was really unifying for us as a band. While rehearsals took place in a beautiful, open-stage environment inside the studio, tracking itself was another storyall part of the intense process that would eventually shape the songs. I tracked my drums under the stage, Davison remembers, laughing. Wed get done talking about the song, and then wed head down below the stage into, like, this little dungeon. It was really small, and the drums were set up with mikes all over them; there were hot water pipes, ventilation, everywhereit was really intense. We could barely stand up because the ceiling was so low, but Ross was there the whole time, coaching us and keeping us in that mindset. Just one listen to Redeemer confirms the ferocity of the bands performances. From the discordant breakdowns and jarring time changes of The End Of All Things Will Be Televised to the newfound melodic intensity of Blueprints For Future Homes, the album packs some of Norma Jeans most unhinged, soul-baring playing into the span of 11 songs. And though the weird angles and difficult guitar figures that comprised Aftermath are still prevalent, that albums refined, very-much-studio feel has given way to raw atmospheres in which you can practically see the sweat running onto the instruments. Brandan, whos already proved himself a formidable vocalist, fully comes into his own on Redeemer with a style that veers between unhinged screaming and down-on-his-knees melodic belting. As has been the case with Norma Jeans previous albums, fans will interpret Redeemers title in a number of ways: Theres the obvious (its their shortest album title ever); the semi-obvious (the band members are Christian; the albums called Redeemeryou follow?); and the not-so-obvious (look up Redeemer in Websters Dictionary for even more possibilities). All of these, says Davison, are valid readings, but as before, its better just to listen to the whole album before settling on an opinion about what it all means. We just wanted a title that was short and simple, but also really powerful, Davison explains. Redeemer was the most powerful word we could think of, and obviously, for us, being a spiritual band, it takes on special meaning. Brandan agrees. We didnt call it Redeemer and then try to make the lyrics work around that [idea], he says. Theres some really personal stuff on this record, and even though Im seeing in hindsight that the title ties into some of that, Ive always thought its best just to let people come up with their own ideas about the songs, rather than say, This is our concept; this is what the records about. No matter how you interpret it, one things for sure: Slide it into your player, and you will feel Redeemer more than any other Norma Jean album. Emotional, spiritual, visceral, physicalthis isnt just the third album Norma Jean wanted to make; its the career-defining statement they had to.
The Foggy Few: "Pint of No Return"
The Foggy Few from Bergen, Norway, is a folkrock band inspired by Irish and Scottish music. From its start in September 2003, the band has been on the bill with major Norwegian artists, touring every corner of the country. In a short amount of time The Foggy Few has gained a reputation as an awesome live band, and has developed into one of the most exciting new folkrock bands in Norway. Their music has made people compare them to bands such as The Pogues, The Waterboys and The Hooters, which must mean that The Foggy Few are on to something good, although their sound is very much their own. The band's summer hit "Summerfeelgood" has been playlisted on Norway's biggest radio channel, NRK P1. The Foggy Few's debut album is out in 2006 and it is called "Pint of No Return". To promote the album The Foggy Few will tour all around Europe. More info at www.thefoggyfew.com
This hard-driving tune from Ivy makes the crawlies in the forest go crazy. The New York-based pop group, Ivy, came together in 1994 when multi-instrumentalist Andy Chase placed an ad in the Village Voice in an attempt to start a band. Musician/songwriter Adam Schlesinger answered Chase, for the two had mutual musical tastes - both liked Prefab Sprout and The Go-Betweens.
Blackmore's Night:"Olde Mill Inn"
Legendary Deep Purple and Rainbow guitarist Ritchie Blackmore (b. April 14, 1945, Weston-super-Mare, England) shifted his musical focus away from hard rock in the late 1990s and started concentrating on his love of Renaissance-era music. He formed Blackmore's Night with his fiancee, vocalist/lyricist Candice Night (b. May 8, 1971, Hauppauge, Long Island, NY), and recruited other musicians from around the world to combine elements of world music, Renaissance, new age, folk, and rock & roll. Blackmore didn't exactly retire his Fender Stratocaster, but he plays acoustic guitar almost exclusively in Blackmore's Night. His acoustic guitar melodies and Night's clear, ethereal voice blend with a host of instruments such as mandolins, keyboards, pennywhistles, violins, tambourines, military drums, and hurdy-gurdies. Blackmore once described the band's sound as "Mike Oldfield meets Enya." Blackmore and Night met in about 1989 when Deep Purple played soccer against employees of a Long Island radio station where she worked. Night, a former model, studied communications at the New York Institute of Technology and had her own radio show. Blackmore and Night discovered they shared a love of Renaissance culture and quickly became a couple. The formation of Blackmore's Night is tied to the efforts of his previous two bands. Blackmore left Deep Purple -- again -- after 1993's musically disappointing The Battle Rages On... album. Blackmore then revived Rainbow -- technically under the original Ritchie Blackmore's Rainbow moniker -- with largely unknown musicians for 1995's Stranger in Us All, and Night contributed lyrics for four songs. Blackmore didn't really want to call it a Rainbow project, but record company executives insisted the name recognition would make it easier to market the album. After Stranger in Us All, Blackmore decided to actually record Renaissance-inspired music. He'd loved the style for years, but he never really played it himself. Once he began playing the music at home, Night would casually start singing along. This innocent, informal practice germinated into Blackmore's Night. The debut album, Shadow of the Moon, was released domestically in 1998. Jethro Tull's Ian Anderson contributes flute on "Play Minstrel Play." Under a Violet Moon followed in 1999, and since a full tour was planned Blackmore consciously wrote more upbeat, stage-friendly music. ~ Bret Adams, All Music Guide
Blackmore's Night: "Just Call My Name"
Legendary Deep Purple and Rainbow guitarist Ritchie Blackmore (b. April 14, 1945, Weston-super-Mare, England) shifted his musical focus away from hard rock in the late 1990s and started concentrating on his love of Renaissance-era music. He formed Blackmore's Night with his fiancee, vocalist/lyricist Candice Night (b. May 8, 1971, Hauppauge, Long Island, NY), and recruited other musicians from around the world to combine elements of world music, Renaissance, new age, folk, and rock & roll. Blackmore didn't exactly retire his Fender Stratocaster, but he plays acoustic guitar almost exclusively in Blackmore's Night. His acoustic guitar melodies and Night's clear, ethereal voice blend with a host of instruments such as mandolins, keyboards, pennywhistles, violins, tambourines, military drums, and hurdy-gurdies. Blackmore once described the band's sound as "Mike Oldfield meets Enya." Blackmore and Night met in about 1989 when Deep Purple played soccer against employees of a Long Island radio station where she worked. Night, a former model, studied communications at the New York Institute of Technology and had her own radio show. Blackmore and Night discovered they shared a love of Renaissance culture and quickly became a couple. The formation of Blackmore's Night is tied to the efforts of his previous two bands. Blackmore left Deep Purple -- again -- after 1993's musically disappointing The Battle Rages On... album. Blackmore then revived Rainbow -- technically under the original Ritchie Blackmore's Rainbow moniker -- with largely unknown musicians for 1995's Stranger in Us All, and Night contributed lyrics for four songs. Blackmore didn't really want to call it a Rainbow project, but record company executives insisted the name recognition would make it easier to market the album. After Stranger in Us All, Blackmore decided to actually record Renaissance-inspired music. He'd loved the style for years, but he never really played it himself. Once he began playing the music at home, Night would casually start singing along. This innocent, informal practice germinated into Blackmore's Night. The debut album, Shadow of the Moon, was released domestically in 1998. Jethro Tull's Ian Anderson contributes flute on "Play Minstrel Play." Under a Violet Moon followed in 1999, and since a full tour was planned Blackmore consciously wrote more upbeat, stage-friendly music. ~ Bret Adams, All Music Guide
Formed in Burlingame, CA in the late nineties, the genesis of Aphasia got its start when then-seventh graders Harber and bassist buddy Jayce Basques began jamming together. After several sessions, it became immediately apparent to these two friends that collaborating with each other was like second nature. Their musical partnership cemented for life, Harber and Basques, along with their band mates, stopped playing covers -- ?We were pretty horrible for the first couple of years,? Jeff laughs, ?playing Lynyrd Skynyrd and Green Day songs?-- and began writing songs of their own. Jeff and Jayce?s collaborations, along with drummer Will Peng, yielded a crop of new songs that demonstrated a remarkable creative leap and the group found writing together to be an effortless process. As for the key to their musical kinship, Basques sees it as a comprehensive, almost instinctive understanding of each other?s complexities. "We know how we work," he says, "and what each other?s strengths are. Jeff is more about the ideas and the big picture, Will is a phenomenal multi-instrumentalist, Aaron Prim (our guitarist) gives us an edge, while I?m more about details and organization. We all have a feel for each other?s styles." Comprised of eleven original tracks, the band?s debut release, Fact & Fiction (produced by Chris Brown of Trapt), is a searing yet heartfelt song cycle. From the thought provoking "Away From You," to the straightforward "Then Again," Aphasia come across as a band with tremendous range. Elsewhere, "Push For New" arrives with a soaring chorus, while the poundingly melodic "House Of Cards" boasts a slowed down bridge that reveals a more intimate layer of the band. "?House of Cards? is really a departure from what we were used to," Jeff says. "It really required us to step away from what was comfortable and take some risks. We especially enjoy how stripped down and personal the bridge turned out." Conversely, Harber says, "?Away From You? came to us the most naturally. The song was completed in about two hours. It?s very raw and blunt." Citing bands like Foo Fighters, Deftones, Refused, Incubus, Blindside, (?And Yanni," Jeff jokes) as main influences, Aphasia?s aggressive aural attack may have its roots in the aforementioned bands, but their sound is truly unique. Or, as Jayce puts it, their sound is, "Music to throw ninja stars to." The first single, the heavy and catchy "Flatline" is also the album?s first track and fittingly so because the members of Aphasia have come to view it as the impetus not only for the album itself, but for the band?s motivation to move confidently towards realizing their own goals. "?Flatline? is a great place to start, considering it's about making your move," Harber says. ?Flatline? was the first song we wrote for the record. It became Aphasia's mission statement like ?It's go time, there's no turning back.? It was motivation to write the rest of the album so putting it first seemed natural." Although the band hails from Burlingame, a city situated just outside of San Francisco not normally regarded as fecund ground from which bands spring forth, the members of Aphasia see not being from a legendary musical city as a distinct advantage. "It actually helped out a lot not fitting into a prevalent scene or music community," Harber says. "Not that it?s bad to have a scene but a lot of time when that happens, unsigned and smaller bands start sounding a lot alike. It allowed us to do our own thing without much pressure to fit a certain mold. The local scene in our town was always very elitist. We have always written the music we want to hear." The members of Aphasia are all relatively young --19-23 years -- but the band has demonstrated a tireless dedication to their craft. And while most of their peers are now rounding out their college careers, the bandmembers are poised to begin a career of their own. "It?s always been the plan," Harber says of his band?s recent signing with DRT/Joint Venture Recordings. "We?re pretty modest about it, but we?re dedicated people." That dedication will soon find the band embarking on a tireless touring schedule, but Harber, Basques, Peng and Prim are more than up to the task after honing their live show for years "I?m excited to tour and see things and experience things," Harber says. "There are so many kids my age that haven?t been outside their state." Thematically, the band?s debut covers the terrain of strained relationships, the struggles between friends and the isolation that comes when one feels like an outsider, to name a few, and what?s so refreshing about each song is that the band seems personally invested in its subject matter. "We cover a broad spectrum," Harber says, "of interpersonal issues highlighting the role of basic human emotion. Sometimes a single event affects us so deeply and pulls us in so many directions that it might take two or three songs to cover it completely." As for what they hope fans will take from their music, Basques offers: "If someone can relate to what specifically we?re saying?because I think a lot of our subject matter is universal?and maybe see another side of it or a different aspect of something they?re going through, that would be amazing. That?s more than we?ve ever hoped for. That would be absolutely flattering."
Ryan Shupe & the RubberBand: "Dream Big"
A fiddle player since the age of 5, Ryan Shupe first worked as part of a group at 10 years old when his dad brought together a bunch of talented kids to play in a band. He joined various types of musical groups in his teens and in college, only to be disappointed to see them break up just as they seemed to be in a groove. He decided to start his own band that would not break up and called it the RubberBand, because it was meant to be elastic. He brought in the players he needed but only when he needed them. (There might be just one other musician sharing the stage with him or there might be four others.) The lineup changed constantly until, without even trying to make it happen, the membership jelled. As of 2005, the members included Roger Archibald (guitar, vocals), Colin Botts (bass, vocals), Craig Miner (banjo, bouzouki, guitar, mandolin and vocals), Bart Olson (drums) and Shupe (lead vocals, fiddle, mandolin and guitar). The band's influences include such diverse performers as Willie Nelson, Johnny Cash, Bob Marley, the Police, AC/DC and Bela Fleck. Most have dabbled with a number of different instruments, and all have been playing since they were kids. Shupe is the group's principal songwriter.
Every once in a while, a band comes along that undoubtedly evokes something special. You don't know what it is, but you are certain that they belong set apart from amongst the crowd of musical peers in which they lay. You quickly find yourself coming to the foregone conclusion that this band's music is to be revered and will remain relevant for some time to come. Midlake has not only embodied this idealism in the hearts of many already, but with the introduction of their latest album, The Trials of Van Occupanther, they are making it a reality. Midlake formed in the small, quirky Texas town of Denton. There the five diligent musicians toiled to create a sound that was pleasing, as wellas their own. Soon enough they were discovered by Bella Union Records owner and Cocteau Twins bassist, Simon Raymonde. Simon fell deeply in love with the band, and together they began to cultivate a relationship built upon sharing Midlake?s music to the world. The band continuously worked day and night to create what would become their debut album, an album of incredible vision, talent, dedication and eccentricity: Bamnan and Slivercork. Released in June of 2004, Bamnan and Slivercork became a instant favorite for many critics and fans worldwide. After a series of touring stints both domestic and abroad, Midlake rapidly found themselves being embraced by a much larger fan base than ever before. Included in the group was actor and skateboarding legend Jason Lee (My Name is Earl, Mallrats, Almost Famous, etc.). Jason joined forces with Midlake as a huge supporter, promoter, and collaborator, directing and filming a video for their single, Balloon Maker. In June of last year, Midlake appeared with Jason on The Late Late Show with Craig Ferguson where they were received with an overflow of wonderful reviews. Midlake then retreated home to begin work on their next musical venture. With a desire to reach further within and accomplish something even more unique and of their own, Midlake's determined efforts produced The Trials of Van Occupanther. Tim Smith, Singer/Songwriter for Midlake says, Compared to Bamnan and Slivercork, this album uses less keyboards in favor of acoustic guitar, piano, more vocals and electric guitar. The sound is something more related to 70s folk rock but not in a gimmicky way, hopefully. I have a great affinity for those bands from the 70's, the music just seems to move me more. So when writing this album of course those sounds came out in the music. With the album available worldwide, and critics touting them as a 2006 ?Band to Watch", Midlake is set to further the momentum rapidly growing by delivering an album that is sure to merit such high expectations. Midlake are paul alexander (bass, keys), eric nichelson (keys, guitar), eric pulido (guitar, keys, bgv), tim smith (vocals, keys, guitar), mckenzie smith (drums)
This music video was made "4 da South." Thanks Everybody for all y'all support. I got some big thangs planned 4 2006. Messege From Lil Daddy. The Hustler - First of all, I wanna thank everybody who buys my music, whether you buy it outta my trunk, from Itunes, Yahoo, from Sam Goody, or wherever. When you get it this way, you get it raw and uncensored, straight From the hood, straight from my streets. I don't RAP about nothing that I don't know about so when you hear it from me, you gettin' the real from MY BLOCK, from Lil' Daddy aka "The Hustler."
"Strip away all the fluff. Does the song still speak the same way when performed with just a voice and a single piano or single guitar?? This is Copeland?s test of a well written song. Lead vocalist and principal songwriter, Aaron Marsh was bred in the diverse Florida music scene where he started the band with his close friend, bassist James Likeness. During their search to finish off the line-up, Aaron found a kindred spirit in Maryland native guitarist Bryan Laurenson, with a mutual appreciation of quality pop melodies to push his writing to new levels. With a concerted effort to weave memorable melodies with insightful lyrics, the band began crafting their intelligent brand of anthemic pop songs in 2000. Atlanta producer, Matt Goldman engineered Copeland?s first release in late 2000. This split EP with glam pop band Pacifico, not only earned Copeland some music industry attention, but also their first national audience in the form of a half dozen small East Coast US tours. For that first year, the band excitedly played in any venue that would have them, for whoever wanted to listen. This deep appreciation for their supporters has stuck with them as they?ve begun to see bigger tours. In the summer of 2002, Copeland signed a record deal with So-Cal independent label The Militia Group and started making plans to focus on the band full time. The band felt it was in need of a fresh start in a new scene. They relocated to Atlanta in the fall. This location seemed more conducive to full time touring and closer to producer Matt Goldman?s studio where they would start a 2 month recording session for their debut full length album. The fruit of those two months was their acclaimed opus entitled ?Beneath Medicine Tree.? Tragically beautiful, and emotionally charged with themes of love, loss, and hope, the album delighted Copeland?s small existing following and earned the band a quickly growing audience. Copeland hit the road with a rigorous tour schedule, hopping from one tour to another with the likes of Switchfoot, The Juliana Theory, The Early November, Hopesfall, Mae, and countless others. They stayed on tour for an exhausting 15 months, playing over 400 shows in that time, but not just playing music every night. Every different city became a chance to meet a new group of kids at the show. Whether playing 4-square in front of the venue, eating dinner after the show, or hanging out at the merchandise table talking about music, Copeland was always excited to turn their fans into their friends. In December of 2003, during a short break from the road, Copeland took a week to record a covers EP to be released before they begin work on their follow-up to ?Beneath Medicine Tree.? Aaron said about the EP, ?We wanted to give our supporters something to listen to while we worked on another record. We knew it might take us a while and we didn?t want everyone to forget about us. These were all songs that we grew up listening to that we thought we could bring something new to.? The EP, entitled ?Know Nothing Stays the Same,? features Copeland?s renditions of songs by Stevie Wonder, Carly Simon, Phil Collins, Berlin, and Billy Joel. Copeland released their second full-length album, "In Motion", in March of 2005. It was produced by Matt Goldman and Aaron Marsh. Ken Andrews mixed the album. The band has been touring around the world in support of the record. This fall, they will be touring in England and all over the United States. Look for them in other continents in the coming months.
