11/28/2014 - A new excellent pulse on electro - Zeequil is now in review, come get it!
11/26/2014 - Oh! That wonderful sound of pop/rock/electro you're looking for? Right here with new music from Voxmirage!
11/25/2014 - You gotta hear this new mixtape from Da Butcher, absolutely wicked rhymes!
11/24/2014 - We review some highly experimental and extremely cool music from Rasplyn - come get it!
11/23/2014 - HUGE!!! Jer @ SBS reviews the final album from legendary band PINK FLOYD, The Endless River.
Zeequil – Here – Album Review
Interesting in all sonic-forms, the new album from Zeequil entitled Here is a perfect blend of electro-meets-jazz in all its darkly-melodic glory. From the moment the playfully-rubbery opening track “Rise Up” begins, the textures, tones and subtle-nature of Zeequil begin to hum along together like fine-tuned machinery.
Vocalist Lizzie Bradley carries on beautiful, melodies in such a creative way. When you listen to a track like “For Your Love,” you can really hear just how freeing this music must be for the duo of Zeequil. Combining her incredible talents with the intensely-melodic beats, sounds and instrumentals of producer-extraordinaire Mehdi El-Aquil, these two musicians pull out victory after victory in creative songwriting and true depth in sound.
Zeequil lives in the zone of droning big-beats and kick-ass effects that layer their sounds with perfect atmosphere and allow for an incredible canvas for Bradley to paint her vocals on. You could virtually go anywhere with the backing music, and she’s courageous enough to do just that. “Now You’re Mine,” is a hypnotic example of exactly what I mean…there’s a pulse & low-end rhythm to this song that would make any person that’s super-proud of their stereo system (you know the dude…) squeal with delight.
I mean…just listen to the all-star combinations in sound that innovative creator El-Aquil comes up with in middle cuts from the album “Spin Round,” and “Soul Memory!” This guy is firing on all cylinders of creativity and it really allows Bradley to roam free creatively, however she feels fits, perfectly overtop. El-Aquil goes above and beyond his own already outstanding reputation for cutting-edge sound with a perfectly mixed album on Here. Again, the beat in something like “Hip 2 Hip” is absolutely undeniable; when combined with Lizzie’s freely flowing, beautiful voice, it becomes hypnotically necessary…to like, function. I need this song in my life now, and always forevermore.
Much of the album plays along like Massive Attack did during their Protection album. Rhythmic drums and jazzy vocals were a winning recipe then, and hearing the idea presented completely anew and uniquely through Zeequil gives me hope that music as an artform is quite vibrantly alive and well. Each song is a fully explored avenue and fully-flushed out idea, performed perfectly by this artistically-inclined, harmonious musical two-piece; they might seem lengthy, but each track eases you into their sound with the same welcome as a nice hot bath to relax in…and let your mind go free.
“Waiting’s Over,” – now there’s a beautiful track through and through. Great words, great delivery…fantastic performance from Lizzie Bradley – what a unique cat she is! It’s all taking place against what I suppose would be possibly one of the more ‘stripped-down’ tracks put together by El-Aquil; the simple but subtle melody takes full hold on Bradley as she delivers a track full of purely authentic & complimentary love.
Overall, it’s been a captivating experience through and through. As the final track “Outside In” pulses along, Medhi El-Aquil again demonstrates his mix-mastery with a fantastic percussive element and just superb keyboard melodies drifting in and out. There’s no doubt in mind after the track comes to an end – to listen to Zeequil is certainly to experience Zeequil…and my experience has been incredibly enjoyable – I already can’t wait to experience Zeequil again!
- Jer @ SBS
YOUR turn! Experience the Here album from Zeequil yourself at: https://zeequil.bandcamp.com/album/here
Voxmirage – Voxmirage – Album Review
Wicked stuff. Right off the draw I’m hearing music that reminds me of elements of some fantastic pop/rock/electro bands like Snow Patrol, MGMT…even some R.E.M. thrown in here. This two-piece band is making completely exciting music with intense grooves and fantastic songwriting.
And what’s THIS? They’re from my home-away-from-home of Seattle? LOVE IT. Just an FYI for you wonderful people…Seattle is literally within concert distance here for me where we’re based out of in Abbotsford, Canada. Personally, for myself…hearing a sound like the one that’s coming from Voxmirage…I can only hope this won’t be the last time I see or hear from them here with them being so close on the map.
They start it off on a ripping note, with opening track “All I Want Is You,” coming out to claim eardrums instantly with its hook-laden, indie-alternative sound. Great chorus, great harmonies….great…hmmm…what IS that anyway? Keyboards of some sort I’m sure….it’s like a cross between an organ and an accordion….whatever it is, don’t run away screaming from the thought, it works perfectly.
The second track “I Can’t Take It Anymore Than This,” is just darkly perfect. I absolutely love this song – it has an old-school feel to it….you could almost imagine this being a part of David Bowie’s catalog years ago in his “China Girl” days. Of course, through the tone, feel and creativity of Voxmirage, there’s no hint of the flatness that could creep into a Bowie song at any moment. They’ve kept up each element, keep the energy or the atmosphere going big time. This track also reminds me much of the production and feel of the album “Around The Sun,” by R.E.M.
Interestingly enough…R.E.M. alumni and frequent ‘5th member’ of their band, Ken Stringfellow, produced this very album, and it was mastered at the world-wide famous Abbey Road Studios in the UK. That fact alone will tell you a couple things about the level of dedication, commitment and quality of Voxmirage; as in, it’s certainly not just ME here supporting them today! As you hear the structure, skill and beautiful melodies of tracks like “Hold On,” and “Never Go Away;” the music of Voxmirage has slowly been taking over your brain….it’s only the fourth song, but you’re already hooked like a desperate alley junkie….you need MORE.
Personally I dig the vocals quite a bit. In songs like “She’s Going Away,” you can hear them reaching for the top shelf, bringing them up as high as they can go. The pitch & the tone are on-point…and every single time they are right there alongside an absolutely kickin’ beat and perfect production. “Want Me Too,” is much the same in terms of the vocals…right up there again in tone with a complex part that truly would be tough to pull off. As one of the slower tunes you’ll find on this self-titled disc, it still pulses with an effective slow-burn and the intensity they’ve displayed already certainly finds its way into this track as well.
“Just A Fool…” guys….GUYS….WHAT are you doing to me here? You’re exposing me big time….that’s what you’re doing…. THIS is absolute perfection in the pop/rock love song. With a gorgeous melody and perfect delivery…if you’re looking for just the right amount of emotion without going overboard…this is it. This is what SINCERE sounds like.
So….wait a minute….I had described them as pop/rock/electro before….let me amend that now that “Just For Tonight” has played through….it should apparently read: pop/rock/electro/JAZZ. I mean, where did this track come from??? Awesome. A true jazzy beat, perfect horns added into this, alongside perfect low-key drums with splashing cymbals; this is definitely the largest departure in sound for Voxmirage on this album, but again, it fully works out for them.
The stripped-down “On I Go With You,” serves as an isolated, tiny track that sets up the club-beat you’ll find in “Go Insane,” as these two musicians kick it into gear again in the start towards the finish-line. This would be the danceable aspect of the music of Voxmirage…no matter the genre they choose, you can rely on this band to supply a worthy beat strong enough to get you moving, every time.
The stomping beat of “My Favorite Sin,” combined with some truly fitting vocals, this track comes out in a swirling storm of atmosphere. A truly encapsulating and captivating performance…Voxmirage pulses along with confidence and conviction here and throughout this entire album. As they wind up with the musically astounding “I Know What Scares You,” there’s a real sense of a ‘win’ here on this self-titled effort; every song has been entertaining in their own right…the album as a whole, is cohesive and recognizably Voxmirage – I’d know this band in a heartbeat if I was to hear them again. “I Know What Scares You” becomes the perfect ending in a real blend of everything they’re doing incredibly well; great harmonies, great songwriting, great hooks and deeply committed, flawless performances. Check this out for sure – Voxmirage will show you an incredibly great time.
- Jer @ SBS
Find more about them here and support them at FB: https://www.facebook.com/VoxMirage
Da Butcher – All Hallow’s Eve – EP Review
What a wicked ride through five tracks! Da Butcher has got himself a flow much similar to one of my favorite rappers/hip-hop artists of our generation, similar to our very own member of the Vancouver-based group crew, Swollen Members – he rhymes with incredible thought and skill, just like Prev-1. It’s the tone and confidence in his delivery that easily set Da Butcher apart from the rest on this EP, All Hallow’s Eve.
Now…most of you already know I’m a big fan of the mixtape genre; it can be just like an amazing collage of sound, all coming together perfectly when it’s done just right, and it is here. Da Butcher, right from the drop, gets things going with “All Hollow’s.” Incredibly atmospheric, dark and full of that dark-alley feeling, this track immediately sets the pace on what quickly becomes a killer ride into hip-hop.
You can hear the dramatics and vibrancy in tracks like “Black Widow,” and “Feeding Frenzy;” well, all five tracks really. Extremely well assembled, each track comes at you with texture, skill and a real talent for songwriting. As far as hip-hop goes, this is the sound I’m looking for. Something like “Feeding Frenzy,” is the perfect sample accompanied by an absolutely slamming bass beat that really drives this track along at full speed. Add in another perfect flow from Da Butcher, and you’ve got yourself another wicked track coming at you as the EP finds the middle.
The regular EP ends with the next track “Last Breath,” which starts out with an absolutely ingenious sample…it nearly sounds like a member of The Beatles….not sure where it came from, but it’s perfectly used. The intro to this track is completely unique – and a great segue into the real heartbeat of “Last Breath.” Again, you can hear the passion and commitment in Da Butcher’s voice…and that makes ME a believer; there’s no doubt in my mind – this is the mixtape done RIGHT.
Now if you’re lucky, you’ve got yourself a copy of All Hallow’s Eve with the bonus track “L.I.F.E.” on it. This R&B-infused hip-hop beat resembles the rumbling-side of The Roots….think of their dark side, on tracks like “Don’t Say Nuthin,” and you got something pretty impressively close here. And of course, we don’t NEED two of the same songs – so being close is right where Da Butcher wants to be! With his focus, his skill and subtle nod towards some of the greats in the hip-hop genre, Da Butcher has definitely put his A-game out there with All Hallow’s Eve.
- Jer @ SBS
Check it out further at: http://www.datpiff.com/Da-Butcher-All-Hallows-Eve-Ep-mixtape.662101.html
Rasplyn – Scenes Through The Magic Eye – Album Review
Ahhh…how cool my life can be at times!
Starting a day by listening to Rasplyn’s debut experimental album is a real treat for the ear. There’s so many incredible new ideas and soundscapes here; it might still qualify as ‘experimental’ – but this album has been put together with a tremendous amount of thought and a very high level of skill.
I mean, you never know WHAT you’re in store for when someone claims to be in the experimental genre; worst case scenario, you get someone’s basement-tapes that should have stayed in the vault forever…and the best case scenario is something like we have here with Scenes Through The Magic Eye…something completely NEW.
Now, to be fair, there’s a large visual element that accompanies the music of Rasplyn – so to hear it is truly only one aspect & dimension of this project as a whole. If there’s one thing I can completely confirm – it’s that this music would absolutely SLAY everything with some awesome visuals to go with it. I think of the virtual musical mayhem that occurs around the three and a half minute mark of a track like “Priestess Of The Goddess” – just try and convince me this wouldn’t make for an absolutely amazing moment in time; and that sounds exactly like what you can expect when seeing Rasplyn live.
The songs right from the opening track “Circle Round,” find this interesting way of weaving in and out of each other…different effects and instrumentation or vocal layers…it’s all very trance-like…very dream-state… While I appreciate the uniqueness of the way this album starts, it was definitely “Priestess Of The Goddess” that secured my attention. This track is incredibly diverse within itself, and just an absolutely gorgeous assembly & structure to it; menacing at times, beautiful and serene at others.
Rasplyn is born from the creative and captivating mind of Carolyn O’Neill. Now – no joke here, she’s got herself a full-on degree in Music Composition and it is AUDIBLE. You can hear the skill and mastery, the authenticity and the courage to break new ground all over these incredibly textured soundscapes. Listen to “Treasures Drowned” and you’ll get what I mean. Listen to the way she brings in each and every sound…the amount of space…the constants…it all comes together perfectly.
If anything, I can certainly understand that this would sound similar to a soundtrack score for many out there…we all know you don’t ALL listen to experimental music – though 99% of my kick-ass readers and supporters sure do! I certainly dig on instrumental music, which largely this is, but there is some truly great vocalization happening as well. She perfectly ties into “Open Door,” with a chant-style vocal before the track breaks into this stunningly beautiful second chapter. These songs are dynamic, intensely vibrant and full of passion…full of LIFE.
Just listen to the atmosphere she creates through a track like “Temple Moon.” The bells and synth combo here…slight percussion…MAN – WHAT AN ENVIRONMENT SHE CREATES IN MY BRAIN! The wind sounds….the horns….there is absolutely nothing to NOT marvel and wonder at here; musically, this is everything going right, right, RIGHT. And building up to its intense & worthy finale…this track is a well-oiled machine and just rolls along perfectly with its dark, melodic intensity, all the way through.
“Among The Stars” made me throw my headphones on, just to see what the full effect would be like rather than the ol’ stereo. AWESOME. The stuttered drum pattern is complex and awesome to get the brain around, the vocal effects and samples are just absolutely off-the-wall, but again, if this isn’t an example of experimental music done at its 100% best and most unique, I just don’t know what is.
The album winds up at the seventh and final track, a remix of “Priestess Of The Goddess (Ephemeral Mists Mix)” which nearly recalls another instrumental band I know and love very much, which is Tortoise. Their beautiful tones and ideas would be about the closest thing I could come up with for you all as a ‘sounds-like’ for Carolyn’s work as Rasplyn. Incidentally…this remix is so damn good, it’s a complete toss-up as to liking this, or the original more. They both stand out, they’re both unique from each other as Rasplyn keeps you guessing right up until the final moments of Scenes Through The Magic Eye.
Absolutely worth your time; the album Scenes Through The Magic Eye from Rasplyn, coming to us all from the experimental (and obviously pretty damn cool) label, Mythical Records, will be out officially on November 30th, 2014.
- Jer @ SBS
Pink Floyd – The Endless River – Album Review
Reunions and re-releases aplenty in our world today…and in 99% of those cases I’d usually advise some caution…but of course, 99% of those bands are NOT Pink Floyd. Welcome back to your favorite, flawless band – they haven’t dropped an inch in creativity, tone or execution. And while many of these songs come to us from the B-sides and writing sessions of their massively well-received album The Division Bell, every track on this album is completely all-new to all of us; if you’re still looking for a reason to turn up your volume in 2014 – Pink Floyd have certainly just laid one on us.
There are a couple things you’ll need to know here before we continue. First and foremost – this is IT; this is ALL we get – this is the FINAL Pink Floyd album according to David Gilmour and his crew. Following the death of their immaculate keyboard player Rick Wright, this album serves to highlight much of his contributions to the band. While his posthumous work dominates and creates much of the swirling atmospheric texture you’ll hear on The Endless River, it left most of this album untouched by vocals…and my ‘peers’ in music-journalism scratching their heads for the right things to say.
And I don’t mind being the first to tell you – they’ve missed the mark entirely. We live in a sad, sad world of music-reviewers that can’t digest music without words to spell out how they’re supposed to feel about the song; they’ve called it unimaginative, boring, meandering, self-indulgent…and they couldn’t be more wrong. For all their publicized battles – Pink Floyd has ALWAYS been a band deeply shrouded by mystery and the unclear; and if you were to ask this particular music-reviewer, there couldn’t have been a more appropriate send off for one of the world’s most important and influential bands.
And so, yeah, SO WHAT if it starts in the absolutely quiet? The average ear might not even hear a thing for the first fifteen seconds of the album…hell, maybe there IS just space at the beginning…consider that a reprieve from Pink Floyd before taking you into their universe completely for the next 65 minutes. But as the opening track “Things Left Unsaid,” opens with a vocal sample & tranquil atmosphere – it’s impossible to deny that chill down the spine just nearly two minutes in as the song begins to gain ground with all its Pinkified-beauty. Simple, perfectly-played guitar against the atmosphere. “Things Left Unsaid,” could just as easily double as a title for the entire history of Pink Floyd – for you haters out there, I say you’re simply lucky this didn’t span out to be the ONLY song on this album.
For those looking for the classic mastery of Pink Floyd – you truly have to listen no further than track #2, when “It’s What We Do,” kicks in. This contains that signature heavy melodic and space-like groove that PF literally made famous over the years. TRY and find me another – there is NO OTHER Pink Floyd; while we all might want to throw that into our influence section on our social media (Cause it’s STILL true, no matter WHO you are…) – I still don’t believe I’ve heard a single band or artist come close to the clarity, tone, sound and songwriting of this legendary band. “It’s What We Do,” shows that real bluesy aspect of Gilmour’s immaculate guitar playing; this is a man that can make those strings TALK – so again, I BEG of my peers to actually listen to what’s going on here…no words are necessary.
There’s an isolated feeling that can only come with the ending of a career, and the death of a dear friend - and it’s all over this album. Tranquil moments, led by the keyboards of Rick Wright like the ones found in the short & sweet “Ebb And Flow” really go a long way to help you appreciate that despite the years of chaos in this history of this band – when it came time to make the music, they always found a different gear entirely. It’s relaxed, but aggressive and all at the same time – check out the following track “Sum” to get a feel for what I mean here…you can’t imagine Pink Floyd ever really bursting into a sweat, but regardless, putting this much of your genuine heart & soul into something like this would leave you physically AND mentally exhausted by the end of the day. “Sum” feels nearly like a nod towards that…a track of sonic adventure through the musical landscape of which Pink Floyd have roamed so freely…right to the final breakdown, and into “Skins.”
Again – to address my ‘peers’ for a moment….I just want to make sure I’ve got this straight….you’re telling me you somehow all actually LISTENED to this album and came to the conclusion that there’s nothing NEW to be offered here? Why? Cause the songs were written long ago? If timeline is their only measurement tool…we’re in a worse state than I had previously thought… LISTEN to “Skins,” and the thunder than Pink Floyd is bringing into the mix here! For me, as a fan of the entire Pink Floyd catalog no matter which era you want to reference in their history – I can safely say I’ve never heard them quite hit the tribal beats as well as they have here, in what is TRULY one of the MOST diverse tracks you’ll find in their catalog from their overall sound.
“Unsung” is righteously awesome. Gilmour plays screeching and vibrant guitar tones over a oulsing atmosphere in this extremely short interlude…but as a guy that could listen to this guitarist sit down and play all the right notes all freakin day long – what can I say other than that I was personally extremely happy to see cuts like this make their final album, when many might overlook these gems completely. And then what? They’d never have been heard? That concept is beyond me.
As it blends into the beginning of “Anisina” you’ll probably notice one really significant factor…that uncanny ability for Pink Floyd to make a cohesive album that still contains a tremendous amount of diversity in sound. Though each piece manages to find its way to perfectly compliment the songs around it, the changes in sound happen so effortlessly that you drift through ambient, rock, synth and ballad sounds without straining your eardrums for a single moment in time. “Anisina” is one of the more ‘upbeat’ songs on The Endless River…and while I do appreciate it as much as the rest…I’m a bigger fan of when Pink Floyd finds themselves venturing into the unknown of the ‘Dark’ side…
With that being said – here’s comes my favorite point on the album so far, the ingenious combination of “The Lost Art Of Conversation,” and “On Noodle Street” back to back. These two tracks work incredibly well together, both short cuts, but MAN do they fit well together! The piano-led, slow pulse of “The Lost Art Of Conversation,” is a heartbreaker without any words and left to your own imagination. There’s so much of the theme of communicatory breakdown over the body of work of Pink Floyd…you can’t help but somewhat feel badly for them despite all their success. Their failure to communicate as a band of individuals has always been incredibly well documented sonically, through their music. As “On Noodle Street,” carries on immediately where “The Lost Art Of Conversation” ends, the bass takes on the lead and supplies a steady, impactful groove…it’s distant…way out there in the space again…and a complete stand-out track that really comes out strong, and as perfect as you could ask for.
“Night Light,” is a track that I can hear would divide a few of us out there. With its innovative mix, a lot of those signature emotion-filled Gilmour guitar notes come way, way up in the mix. It’s melodic, beautiful and personally I love hearing these notes bend and resonate the way they do. Against Rick Wright’s perfect backdrop, it seems like Gilmour has never been able to do anything wrong…what a shame in the sense that we’ll never hear these two be able to play together again, but what a gift to have this final album.
“Allons-Y” = Pink Floyd at their most familiar. This track could have very well fit onto The Dark Side Of The Moon, nevermind The Division Bell. Classic theatrics of PF here all throughout in one of the most up-tempo tracks you’ll find on this hazy-dream of an album. Before I was kicked out of French-class once and for all, I still managed to retain about 5 or 6 partial phrases….”Allons-Y” was one of them…as far as I understand it, it means something like “Let’s Go,” in English…a perfect title for this moving track. After a brief excursion into the organ-laden, ominous –sounding “Autumn ’68,” you end up in the second half of “Allons-Y (2)” which sends you right back into the intensity of the first half. Again, you have to admire not only the writing and playing of the songs, but the production and the entire layout of this album as a whole. The insane talent they’ve always had for drifting and melding track into track…”Allons-Y (2)” starts with a completely subtle intro carrying on from “Autumn ‘68” before launching into one of the most vibrant guitar solos and structures you’ll hear on The Endless River.
Hmmm. I wonder if ‘Ooooooos’ and ‘Ahhhhhhhhs’ count for those out there that desperately NEED some vocals…if so, MAN is “Talkin Hawkin’” the track for YOU! All BS aside, this track is pure brilliance. A clear reference to their own past work, as well as of course Steven Hawking and their shared views of space & time…you get a ‘speak & spell’-style robotic voice delivering you some wordage…important information here for sure as it all completely ties into the history of their band.
As “Calling” begins into its swirling, somewhat devastated atmosphere…I can’t help but imagine what other reviewers were thinking when they pushed play on The Endless River….were they expecting an up-tempo pop-rock album for some reason? Pink Floyd goes Emo perhaps? Like, C’MON - aside from the lack of vocals – this is all Pink Floyd at their very focused best, creating an album that has real emotional depth through tone & sentiment, playing and assembly. Were the vocals of Barrett, Waters or Gilmour ever the REAL draw of the music of Pink Floyd ANYWAY? I really don’t think so. They’ve always fit…but it’s never been the lynchpin.
“Eyes To Pearls,” is another quick departure in sound from PF as they dive into a HUGE sound filled with blank-space. This is a band that has always completely understood that the space in between notes is just as crucial as the notes being played…and the result here again in “Eyes To Pearls,” is that the mood, tone and feel matching every aspect of the song perfectly. Again, so many of these songs serve to perfectly set-up the next one coming, and this is no exception; as they play on into “Surfacing,” they stumble into a real gem here. A little bit on the lighter-side, excellent rhythm and lead guitars really working well with the baseline vocals harmonies…still no words, but they certainly help tie it all in together in that perfect Pink Floyd way that only they can make happen.
Now, unless you’ve got the bonus edition of the album, your experience with The Endless River will stop at this next track, “Louder Than Words,” where Pink Floyd, and Gilmour finally let the vocals rip. Even I’ll admit, it’s fantastic to listen to – I’m certainly not going to mock it for simply having vocals – they come through as excellent as they always have…melodically intuitive and with the familiar rasp/whisper you know and love. And as far as send offs go…it’s about as perfect an ending as you could ask for. If the instrumental beginnings of this album confounded you…they spell it all out for you here in this final track…again, this is a track that encompasses the entire legacy of the journey of Pink Floyd. For a band that has nearly seemed hell-bent on convincing us of their own inability to communicate…I sure seem to at least feel like I’ve never missed a message in their music…it all comes through crystal-clearly from lyrics to music, every time.
If anything…I might have maybe should have stopped at this point myself, as the assembly is perfect. As much as I appreciate the three bonus tracks of “TBS9,” “TBS14,” and “Nervana,” if I was listening to The Endless River as a whole entity, I would have wanted each of these tracks to occur earlier within the album, but as they’re bonus tracks…you can’t really fault the songs for feeling slightly out of place in comparison to the mighty assembly contained within The Endless River. Each of these three tracks really do extremely well to present the ‘jam’ aspect of Pink Floyd…we forget that, just because their tracks come out like the immaculate conception itself, that they all still have to start somewhere. These three tracks, especially the latter two, “TBS14,” and “Nervana,” really help you appreciate that this band was legendary for about a million reasons; and they could truly do it all. As these jam-style tracks carry out the final sounds I’ll hear from Pink Floyd…it was almost like they took it back to the very beginning at the very end, giving you a glimpse into the very magic that made them.
I know this review has been lengthy…and thank you for sticking with me through this entire rant & rave. A band this ingratiated into our very musical fabric for now and for all-time deserves as epic send off, and despite what those other reviewers are telling you out there, Pink Floyd gave us their own epic finale here with The Endless River – the very least we could do was get to the heart of this album in full, and say THANK YOU Pink Floyd, for the new incredible music, and for the entire catalog of life-defining music they’ve created along the way.
- Jer @ SBS
Find more info on Pink Floyd by simply turning around and looking….I’m sure there’s SOMETHING Pink Floyd related within only 10 feet of you now…but just in case…go here: http://www.pinkfloyd.com
Imaginator – Imaginator – EP Review
This new three song set from Imaginator is brutally heavy and built to destroy everything that can’t handle ‘loud’ in its path. It makes me stop and pause, reflect on how far I’ve personally come in music-reviewing for just a second…five years ago, this might have been ‘too much’ for me, too aggressive sounding, too much going on….well….maybe…
…but not anymore…
Personally right now I am loving the way the instant attack begins from Imaginator right away in the opening track “Cliff Diver.” With its stuttered timing, flawless playing and immaculate crunch – this track right away both sets the tone, as well as truly proves the work has completely been put into this new EP. The vocals come at you full force…and dare I say, even include some gorgeous melodies.
You’ll get an even better example of the Imaginator ability to combine the light and the dark elements of sound as “God Mode” continues the EP. Very intense vocals on this track, and an extremely well written and challenging song to make, the drums are absolutely thundering away on the kick pedal, driving this song along while the harmonies echo along in behind. Great atmosphere in this song, extremely all-encompassing.
At the end of the three track EP, is the title-track and also the namesake of the band, “Imaginator.” This nearly nine minute epic, pulses and switches through incredible timing signatures and really has been put together in a careful way despite all its extreme complexities. The vocals are right there and in your face once again, aggressive as all-hell breaking loose…but as angry sounding as they might be to your ears, there’s no denying that they fit completely perfectly here. Right around the five minute mark, this track just tracks an incredible turn towards the epic and this track really takes on yet another life in that final 3-4 minutes.
It’s impossible to deny the extreme amount of hard work and commitment put in here, but even harder would be to take anything away from Imaginator at all; if you’re into metal – there’s no reason you shouldn’t dig what Imaginator has come up with on this extraordinarily heavy and extremely well put together self-titled effort.
- Jer @ SBS
Have a listen yourself! Here’s Imaginator at Bandcamp! https://imaginator.bandcamp.com/
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Affordable, quality recording and jam space has come to the Fraser Valley. While the big time studios remain out of reach for the average person, sleepingbagstudios offers a professional environment that is completely within the reach of anyone who has ever had a dream of hearing themselves recorded. Our studio fees will always guarantee you a live real time recording of your entire session from your band for you to keep, review, cut, edit - whatever YOU like. We can also produce, edit, mix, master your material into suitable demo material to shop to the major labels – and we can help you package yourself right to sell your band in the best possible way.
From jam time to studio recording, sleepingbagstudios offers you an environment where the average person won’t feel the pressures of “other people” being around. With your time you also receive as much or as little dedication from our two studio operators as you like. If you just want to jam and practice and be left alone, or you want the expert’s advice, you have those options and every one in between. We cater to aspiring artists everywhere, anyone that has ever thought they could do it, but just don’t know how. We’re here to help, because we genuinely want to see the talent of our great province get the attention they so rightly deserve.
YOU pick your level of involvement. Hey, we’re all musician’s right? If you want a day here and there to rehearse for an hour, we have flexible schedules. Or if it’s time to get serious and record that album, we offer day rates and week packages. The in-house instrument rental selection is large enough for you to show up empty handed, or you can bring your own gear. Again, at Sleeping Bag -it’s whatever YOU like!
And YOU might like a lot of things!
We can take your band to that next level through our many different services available.
It’s time for YOU to do what YOU always knew YOU could. We have the atmosphere, the quality and the dedication it takes to help YOU with that first step to becoming successful. Our studio operators have the experience YOU need to get a quality recording – the talent comes from YOU. Not only will you find our rates extremely competitive but you’ll never find people that are more excited to help you make your music and help you live your dreams than all of us here at SBS.
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Our Mission Statement:
To inspire and encourage the independent music community until it over-takes the mainstream.