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by Chris Colgan

21 Sep 2010


Bullying is an epidemic that unfortunately still plagues schools all over the world. No matter how many punishments exist for it or how many lessons are planned around it, the problem still pervades the lives of children and adolescents everywhere. Celebrities of all kinds, ranging from pop musicians and rappers to actors and TV personalities, have tried to raise awareness about the issue in a multitude of different campaigns and causes. Now, true to form, the metal community has stepped up and delivered its message on the topic.

Swedish melodic death metal band Scarpoint is not widely known, having only released one full-length album, The Silence We Deserve (2007), thus far in its career. However, the group’s extensive touring résumé has connected it with some of the biggest names in its country’s sprawling metal scene, as well as other prominent figures from the surrounding region. Thus, when the band decided to record an anti-bullying song and release it as a way to raise money and awareness, it had just the right contacts to achieve the recognition it hoped for.

“Open Your Eyes” is a one-off song by Sweden United, the official name for the group assembled by Scarpoint. The members of Scarpoint are responsible for the instrumentation on the song. In addition to Scarpoint vocalist Henrik Englund, an all-star cast of Scandinavian vocalists lend their talents to the song: Jens Kidman (Meshuggah), Jimmie Strimmell (Dead by April, ex-Nightrage), Anette Olzon (Nightwish), Björn “Speed” Strid (Soilwork), Zak Tell (Clawfinger), Martin Westerstrand (Lillasyster), Tom Englund (Evergrey), and Peter Tägtgren (Hypocrisy, Pain). The song was written by Scarpoint and ex-Dead by April guitarist Pontus Hjelm, produced by Clawfinger keyboardist Jocke Skog, and mixed by production wizard Jens Bogren.

by Jacob Adams

31 Aug 2010


I sometimes fear that the concept of the live jazz performance is slowly fading. While jazz still maintains a presence in major cities, public support for America’s truly original art form is undoubtedly not at an all-time high. With rising concert costs, it is increasingly more difficult for folks of average economic means to attend gigs. These circumstances are truly unfortunate, for nothing else in the music world rivals the vitality of a live jazz set.

Common wisdom states that a recording can never quite capture the magic that happens in a club or on a concert stage. It is curious, then, that a jazz fan’s induction into the music often comes through records. Where would the jazz world be without such masterpieces as Kind of Blue, A Love Supreme, or Maiden Voyage, all albums that originated in a studio?  Capturing the energy of a live performance on record is one of today’s major artistic challenges. Given the dire economic and cultural conditions described above, it is good to know that creative and engaging live recordings are still being made. One primary example is an album called Stories and Negotiations, released in April 2010 and recorded live in Chicago’s Millennium Park in August 2008.

Mike Reed, a Chicago drummer and composer, works with an octet—drums, bass, two tenor saxes, alto sax, trumpet, and trombone—called People, Places, and Things. Reed is not only a vibrant musician, but he also presents the music of local artists he admires, as well as dedicates himself to preserving the history of Chicago’s neglected jazz musicians of the past. On his professional website, he lists some of his major musical influences, including artists as diverse as the Impressions, the Beatles, Duke Ellington, Charlie Parker, the Art Ensemble of Chicago, John Coltrane, Coleman Hawkins, and Neil Young. After just one spin through People, Places, and Things’ Stories and Negotiations, all of Reed’s influences and interests are prominently displayed.

by Ian Chant

9 Aug 2010


We’re always on the lookout for great new tracks to share with our readers, and William Brittelle’s “Sheena Easton” definitely falls under that category. It’s a cut off of Brittelle’s sophomore release, Television Landscape, which landed in stores just weeks ago. In the course of an album marked by complex orchestrations that are by turns jazzy and jarring and some frankly mind-bending arrangements, Brittelle collaborates with a slew of musicians from bands like the Long Count and Alarm Will Sound, and on “Sheena Easton,” the patently unfairly talented kids of the Brooklyn Youth Chorus. And if that’s not enough of a taste, you can get a load of the album’s opening track, “Dunes of Vermillion”, on Brittelle’s MySpace page.

by Jane Jansen Seymour

3 Aug 2010


Everest is a So Cal band made up of musical veterans that embrace a solid rock format, although for “Let Go” the group has also added some strings to the mix. It’s a lush sonic landscape with a hard-hitting rhythmic romp from a band only a few years old, yet clearly comprised of accomplished musicians.  Frontman Russell Pollard played with Sebadoh, the Watson Twins, and the Folk Implosion, just to name a few. The group was tapped by Neil Young to tour with him in 2008 and two Everest CDs were released on his label, Vapor Records. These five guys are also a fave opening act of Minus the Bear as well as My Morning Jacket.

“Let Go” is the opening track of the band’s new release, On Approach. It was actually recorded at an old chicken ranch before the group completed the process in its studio in L.A. The video for the song begins with a nice little intro of the band tuning up in a studio. After some cooing vocals the lyrics begin with a simple yet sweet concern: “May I come in / My old friend / You’re looking thin / Do you feel alright?”

by Andy Johnson

3 Aug 2010


In announcing their latest and tenth album, to be released in late September, Welsh rock veterans Manic Street Preachers described Postcards From a Young Man as “one last shot at mass communication”. Provocative as ever, the band will have meant for this fascinating choice of words to sound ominous, but after the first UK radio play of “(It’s Not War) Just the End of Love” last night, responses will be varied.

Anthemic, brief, uplifting and string-laden, the new song will not be received by the faction of the band’s fanbase that applaud only the darkest of the group’s material, and have always felt that the harrowing 1994 album The Holy Bible was a singular high point from which the group have since uniformly declined. Those fans also didn’t like and may well have forgotten some of the band’s past explorations with pure pop-rock, including a number of wonderful and accessible songs spread across past albums like Everything Must Go (1996), Know Your Enemy (2001) and especially the tenderly icy Lifeblood (2004). Another faction of fans—myself included—lapped up that material, and will be impressed with the radio gleam of the new song.

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