• Gorillaz -- The Fall album review

    9 Abr 2011, 2:02

    -Asterisk-, April 4th, 2011

    Gorillaz frontman Damon Albarn has had his hands full for quite some time, following the release of the successful Plastic Beach. It is between touring, writing the next Gorillaz, and making sure the Gorillaz gang is staying out of trouble and giving us the updates via the virtual Gorrilaz world thorugh their website, where he releases his next collection of Gorillaz tunes - The Fall

    Without the budget of a full-length, nor the production crew of one, most if not all the songs on The Fall are Albarn centric tunes, though their not as tame as one might assume. Written while on the road, it is a side-story of an album of sorts, and not necessarily the proper follow-up to Plastic Beach. Gone are the big, anthemic, hits Gorillaz are known for, starstudded to the brim with guest appearances. In return, it's a stylish carnival of colors and vistas. One can't mistake this for a Damon Albarn album, which if he had a solo project, could easily fit in. With it's breezy guitars on Revolving Doors, hearken 90's UK alternative, which Albarn met great success fronting Blur, and nonchalantly sits in the back of the production, which one can't deny the hip Gorillaz vibe. Other obvious elements are the inclusion of a hip-hop flavored number, Albarn's signature vocal delivery, and the surprise of a guest appearance.

    Considering these factors, it's easy to count this as a new Gorillaz record. Not quite a follow-up, so we'll wait for that, but it's a fully realized record no less. The tracks are confident, and work great as a whole. This cannot be said for releases in the past. G-Sides and Laika Come Home were remixes, albeit great ones. D-Sides changed the pace with the inclusion of real B-Sides being the main focus, which some were stronger than what made the cut on Demon Days, however still didn't capture the album feel as The Fall. This record just has their Gorillaz record swagger with the Plastic Beach's beauty and substance on max for you not to call it a B-Sides fest.

    With Damon Albarn being in the spotlight, one can expect gorgeous tunes like Stop The Dams, Empire Ants, and Rhinestone Eyes, and fun tunes like Sweepstakes and Glitter Freeze, but less grandiose. Despite this, Albarn fills the missing pieces with thought-provoking lyrics and intimate music environments, so who needs hooks?

    "What's with the carnival," you may ask.

    "Revolving doors, what have I done," 2-D's first words to open up. The air is mysterious, lonesome, and bites like a confession. We're listening to The Beatles in a diner, but it's a contrast to the song before. When we reach The Parish of Space Dust, 2-D is amidst lush melodies, and he lays lyrics that read more like pure poetry. And what follows is a upbeat dancy number. Almost every song contrasts from one another, from subject matter, mood, and pace. Dub and oriental vibes on Aspen Forest, and minimalist psychedelia with lambent 2-D musings on Amarillo. It's a rollercoaster in 2-D's twisted laboratory.

    It's one of his most eclectic offerings, even after considering the past albums. I am more than happy with it. It definitely has the play value of a real record, which is incentive enough for me to wait for the next real Gorillaz album, since he's never released anything like this in between records. It's quite a gift.

    Albarn picks up the pieces, delivers, sends us to busy streets, outer space, and a manic yodeler. It rises, it falls.

    === Album Notes ===
    Title: The Fall
    Artist: Gorillaz
    Track Number: 15
    Run Time: 43:21
    Released: December 25, 2010
    Position in Chronology: 4 (sorta)
    Preceded By: Plastic Beach
    Succeeded By: N/A
    Misc. Notes: Recorded and written on the road, notably with iPad apps.
    Recommended Tracks: California & the Slipping of the Sun, HillBilly Man, The Snake In Dallas, Bobby In Phoenix
  • Underoath -- Ø album analysis

    21 Nov 2010, 8:43

    -Asterisk-, November 11th, 2010

    Underoath over the years have shown the most passionate embrace to evolution. Never once has this band settled on a single sound (other than Act of Depression into Cries of the Past) from record to record, and continuity lies in expecting the unexpected. Their dedication isn't in the need to be different, change, or find something new, but embrace the fluctuating and most personal nuances of each of its members. It's hard to consider them a hardcore band, as we've seen in recent years, because they simply don't follow the principles of one. Yes, on the surface, they do have elements musically that point to it, but in their passion to stand on their own as their own sound and image, they became an entity of their own nature. I'd like anyone to really try to define the single genre for Underoath. You'll find how difficult that would be when you begin to listen to their latest album, and then further inspect their previous albums in the process. So I'm left to say that Underoath embodies music itself, in all its purity, untamed, and without restriction or labels. Underoath is.

    Ø is a testament that displays it exuberantly more than ever. In Underoath fashion, we already begin to notice motifs already exhibited previously: the album is 11 tracks long (as were the previous 3), and the opening track appears to be titled about the separation and beginning of a new chapter.
    On Define the Great Line, it was In Regards To Myself. On Lost in the Sound of Separation, it was Breathing In A New Mentality. This time around, the new chapter was heralded by another title of separating the ties of the past, with
    In Division.

    After unsettling glitch noises recedes, we're introduced as if we're submerged in a wall of pressure: Spencer's screams, the bands dissonant yet beautiful (dis)harmony of music, and the pounding of new drummer, Danial Davison. Here, in the first 10 seconds, we are introduced to the entire album. In the back of the all the chaos, there is a persistent howling scream/siren, that sends shivers down my spine as it creates the atmosphere for the album. The palate of sound change, expands, rises, and falls throughout, but what is consistent is a hidden terror. We've heard the dark side of Underoath, but this intensity is unheard of. The flavor of musicality in combination with their familiar-yet-foreign instrumentality is the perfect vehicle for the album's message: There's a sinister secret sheltered in everything.

    This message is repeated throughout the album, with the scream/siren on the opening track being the first. The familiar Underoath instrumentality displays this in irony. On the past two albums, they've had the same vibe and dark mood just like Ø, and all three appear to be extending a helping hand to you, picking you up out of the darkness. Ø isn't a different story, yet it is. On the past two albums, despite their dark moods, we know that everything is going to be alright. Take notice on how the closures are hand-in-hand around the campfire feeling, the feeling of redemption, belonging, victory, and that the tough times are over. This produces in overall effect of being uplifted. Ø contains songs and atmospheres in that nature, like an old friend extending their hand, but what makes it so drastically different is that every song seems to have a haunting secret behind their melodies, lyrics, structure, elements, because even if it's scary or welcoming, we forebode that this isn't leading to a pleasant conclusion, long or short-term. It's as if you're learning that this friend has all along had a dark, murderous secret.

    This is further exemplified in the structure of the songs themselves. Every song builds up (or starts off built up), and slowly they begin to break down, slowly destroying itself, decaying. We're witnessing the birth and destruction of beauty-
    the promise and the let down.

    The album art displays this irony as well. It's a untitled-left-to-be-self-titled album (ie The Beatles' White Album), so you get the idea that you're going to experience Underoath for everything they are. You do, but you also get everything they're afraid of, which isn't hinted anywhere in the lyrics, art, or song names; and the 'chosen' album name, Disambiguation, means that it's nothing other than itself, with the uncertainty that implies it's neither here nor there, just endlessly suspended in a drift from everything.

    The one song that gives away the secret, if you're tuned in, is Paper Lung. Throughout the album, it appears that the struggles in life, the betrayal of friendship, and the discovery of dark secrets, are made as metaphors to the ocean. Water, our life force. The ocean provides commerce, dictates lifestyles, and sustains the ecosystem of everything life. Though, on the surface it is beautiful, what can be said in the deepest darkest depths that we cannot see from the surface? Is there paradise, or hell? What was once our friend now becomes paranoia. Paper lungs is something we all have as we go on in life (the ocean, "Fight the currents!"). It's what is in the deepest darkest depths of us, and we know exactly what it is that can cause it to dissolve. So we shelter it, which is why no one can see the depths of the ocean from the surface (or everything we encounter in life). In the continuing downward spiral, the album veers from dark to bleak when Spencer's final proclamation, "Accept defeat!". The album then instantly plunges into the depths without letting you prepare with In Completion. You're sinking and sinking, the skyline behind you is slowly fading as the blue surrounds you until there is only you in your most abandoned. All your life manifests in the black of the depths, and you must bare witness to all the wrongs you have committed. Everything before now is a memory and testament that everything happened for a reason, and now you must do what it was to save yourself, which the lack of is what got you here. You must fight for you life, to resurface, to save your paper lung, and to save those you love from the same suffocating fate. But the pressure is too powerful as all that made up your life pours out of you and the water floods in, replacing everything with black. And in the albums darkest despair of slow suffocation, Spencer's last lines is the revelation of our worst fears: "Oh god, I'm emptier than you". The music begins to deteriorate, slowly fading, but crushing you in pressure. Ø is a paper lung, and we're all suffocating, in the ocean or out. When the music has completely drifted away, and life returns to our reach, that is when we discover our message of hope, a guardian, a lighthouse: Savor your breathes and fight the current! Grab the hands of your loved ones and don't leave them down alone to drown in the open ocean, the great abyss! Embrace the depths, and foster all the paper lungs out there!

    It's never too late to catch yourself . . .

    === Album Notes ===
    Title: Ø (Disambiguation)
    Artist: Underoath
    Track Number: 11
    Run Time: 38:25
    Released: November 9, 2010
    Position in Chronology: 7
    Preceded By: Lost in the Sound of Separation
    Succeeded By: N/A
    Misc. Notes: First album without Aaron Gillespie (drummer and clean vocalist), debut of Danial Davison (Ex-Norma Jean) on drums, Spencer Chamberlain selected for clean vocal leadership.
    Recommended Tracks: Really?
  • My top 10

    18 Ago 2007, 19:58

    Just noted a few of my favourite artists at the moment. They are not in any specific order either.

    1.Tegan and Sara
    a.First song: Walking with a Ghost
    b.Favourite song: I Can't Take It
    c.Recently in love: Like O, Like H

    2.Iron & Wine
    a.First song: Flightless American Bird
    b.Favourite song: ?
    c.Recently in love: Naked as We Came

    3.Daft Punk
    a.First song: One More Time
    b.Favourite song: ?
    c.Recently in love: Mothership Reconnection

    4.Drake Bell
    a.First song: Found A Way
    b.Favourite song: It's Only Time Suite
    c.Recently in love: Out There

    a.First song: Hi Friend
    b.Favourite song: Strobe
    c.Recently in love: Sofi Needs a Ladder

    a.First song: It's Dangerous Business Walking Out Your Front Door
    b.Favourite song: Returning Empty Handed
    c.Recently in love: Who Will Guard the Guardians?

    a.First song: Radio Ballet
    b.Favourite song: An Accidental Memory in the Case of Death
    c.Recently in love: New Animals From the Air

    8.My Chemical Romance
    a.First song: I'm Not Okay
    b.Favourite song: ?
    c.Recently in love: Summer

    9.Crystal Castles
    a.First song: Alice Practice
    b.Favourite song: ?
    c.Recently in love: Reckless

    10.The Beatles
    a.First song: With A Little Help From My Friends
    b.Favourite song: ?
    c.Recently in love: Real Love
  • As Tall As Lions -- Lafcadio album review

    17 Ago 2007, 18:11

    -Asterisk-, June 28th, 2007

    What if you woke up one day and felt like listening to your local top 50 on your radio? You'll tune into a few of your favourite radio stations, and all you hear for the next few hours is Natasha Bedingfield, Christina Aguilera, Justin Timberlake, and Kelly Clarkson. Why is it that most musical enthusiest gravitate to the underground scene. I'm not saying that the previosly noted artists don't know how to make music,
    but the common people should try and force the underground scene into the picture, because despite most of them do get the warm critical reception, some don't get the exposure and listening time they deserve. What if it is the underground scene that will take over the mainstream scene, would that be strange? And for As Tall As Lions, they need a TON more mainstream popularity than they are given, and have all the material to achieve it.

    If you thought that The Mars Volta was over the top, ATAL is possibly ambitious as TMV, if not, more. Coming straight out of Long Island, this solid four piece is
    lead by vocalist/guitarist/lyricist Daniel Nigero. Nigero brings the party as his high school friends guitarist Saen Fitzgerald, bassist Julio Tavarez and drummer Cliff Sarcona join the mix. The outcome? One of the most provocative sounds your ears will sustain.
    No one has grasped me as much as TMV did, and I was underestimating ATAL's abilities when I first got interested into listening to them. It only took one track, and I was already sunk into deep sleep, dreaming of what the hell Lafcadio meant. Though I was already satisfied, track after track just made my smile bigger, and bigger.

    If Lafcadio could be put as one word, I would say paradise. Tranquil, soothing, passionate and enough explosions present to get your foot tapping. Lafcadio is the perfect blend of soft, harmonic vocals played along up-tempo music, down-tempo, or even both. What exactly could you call this sound? Hell, I don't even know. At first it appeared like alternative rock, then jazz fusion and indie, then experimental came into the picture and I just got lost finding it's meaning.

    The cd begins quiet, night-silent. You could sense the smoke in the back, and a car in the distance. Before you could put yourself in the setting, Fitzgerald manipulates the mood with an intricate guitar melody, cymbals get picked up and then Tavarez and Sarcona drops from the mist along with Fitzgerald and the song begins. And when it gets to the point when you don't think it's going to get any softer, the band instantly calms, and Nigero enters innocently. ("Break Blossom")

    Do you remember the times when you were little, and you were just overjoyed with jubilence, and love? Don't you miss those days? It won't be hard to revisit those times while listening to Lafcadio. With songs of hope, love, joy, beauty and fright, you'll feel the memories rush back. Yet some songs are far more mature than you'd expect, and probably too mature for some younger fans to comprehend, but it's still awesome how they can grasp an adult audience as much as a teen one, because they play with the right ingredients and hooks to appeal to both.

    The thing that makes me wonder is how does Nigero have such simple lyrics and standard vocabulary, yet still present himself as lyrically competent? The rhythm is so catchy and unforgettable, you'll be screaming "I watch the changes through your eyes, like a movie of my life," and trying your best to harmonize with the back up vocals of "96 Heartbeats" "Woah-woahoo-woahoo-woah!". Under Nigero's writing, are a more profound meanings just disguised as common words, as we'd might expect.

    You'll be jamming with ATAL non-stop and uncontrollably, like some sort of sickness, but it's healthy, so who can complain? Act a fool in your car listening to "A Ghost In Drag", have everyone stare in confusion when they see you dance with your iPod listening to "If I'm Not Out Burning Bridges, I'm Lighting Matches" or annoy the person in the adjacent cubicle from humming "Silhouettes/Silhouetting" obnoxiously loud. Wherever the setting may be, ATAL can fit in perfectly.

    Then, there would be softer tracks ("Acrobat", "Why We Cry At Movies", "Blowing Out A Wish", "Goodnight, Noises, Everywhere"), but I would like to refer to them as intermissions. Only because the fast paced tracks out number the peaceful ones, and are great paces changers when you need to catch your breath. But the mixing works great. The whole album flows smoothly like a progressive rock band album, but they're not prog. You can hear the little transitions between songs, even if a upbeat song concludes into a slower one. Though the cd moves along perfectly, it doesn't mean in doesn't contain any flaws. After several spins in your head, you come accustomed to the transitions, which makes playing this album on shuffle a problem. You'll listen to one whole song, and as the song comes near the end, you already know exactly what song is next, your anticipations is building, and then it just shoots right into another song, and you're left disappointed. Though it's not too bad of a feeling, it will occur as a slight rhythmical problem to some participants.

    If you are able to snag a japanese copy of the album**, you'll be rewarded greatly with their bonus track "Deep Sleeper". By far one of the most beautiful tracks from them. Journey through the dreams of Nigero as he meets a walrus, a girl with a body of a country side, and hearing flowers speak where the ocean kissed the land. Yes, it's true. If Nigero's sweet vocals don't put you into blissful slumber, the band's back up vocals just might. They'll be parts you'll find yourself surrounded with Nigero's voice echoing, him doing duel vocals with the chorus and a re-run of a previous verse, and while this is going on, the back up vocals are still howling soft joy. Tavarez is a bassist who deserves credit for the lines he makes, and how his subtlety can steal the show too. In "Deep Sleeper", he takes the show away as it ends. Listen deeply in other songs to catch the brilliance of Tavarez's playing, but in Deep Sleeper, it's prominently noticeable.

    As beautiful and genius as Lafcadio is, I'm afraid to inform that Lafcadio has no mainstream success that I could find. No music videos or air time. They might not have a massive fan base, but the ones who are fans are very committed. Why hasn't ATAL got any light with their heavy hitting "96 Heartbeats", "If I'm Not Out...", "Ghost In A Drag", while others instantly shone? It still baffles me today. If you ever want to escape from your local top 50, and listen to something extraordinarily pleasing, ATAL won't let you down.

    === Album Notes ===
    Title: Lafcadio
    Artist: As Tall As Lions
    Track Number: 11
    Run Time: 43:51
    Released: May 8, 2004
    Position in Chronology: 1
    Preceded By: Blood & Aphorisms
    Succeeded By: As Tall As Lions
    Misc. Notes: It is uncertain to me if there is an album made solely for the Japanese country, but according to their myspace and purevolume accounts, Deep Sleeper is a Japanese bonus track, so one may infer there is..
    Recommended Tracks: The Acrobat, 96 Heartbeats, Why We Cry At Movies
  • My third concert: A Multi-Sensory Aesthetic Experience.

    17 Ago 2007, 1:33

    Thu 9 Aug – Dear and the Headlights, Mae, As Tall as Lions

    So if you couldn't tell from the headline, I attended a concert the entrance of this month with one of my best buds, Aistin. I was pretty stoked about going because one of my favourite bands were going, As Tall As Lions. Though they weren't headlining, I was still content with seeing them. This show was wrapped around indie alternative artists, so I was expecting to hear bands that sound comparing to As Tall As Lions. I knew that Mae was headlining and the band Dear and the Headlights were performing as well. I never heard of them before, so I thought it would be a cool experience by hearing them for the first time. When Aistin and I arrived, the line wasn't really long. We thought we were tardy because we could here noises inside. The line wasn't moving at all so we were getting a little frightened that we showed up too late and didn't get to see the show. The anticipation was killing me and I was ready to shoot somebody if the line didn't move. I have a ton of patience, but I didn't want to miss anything simultaneously. Then I noticed the playing times flyer and I discovered that the doors didn't open until 8pm, not 7pm, which was noted on our tickets. After having that relief, I was able to restrained myself from my impatience. Just a few minutes before 8, the line began to dwindle at the front. It was moving. We eventually got in after exchanging our tickets for two big X's on our hands. We looked around inside and noticed a few things. The merch table, two bars, the second floor balcony, and of course, the stage. After we familiarized ourselves with the setting, we chose a spot to view the show. We actually got about 2 feet away from the barricade, so it was a spectacular spot. Approximately 30 minutes after the doors opened, the first band finished setting up, the lights dimmed and the show began.

    Captain Kid
    I never heard of this band and I also wasn't aware that they were performing. I haven't done my research on them yet, but judging by the way the crowd reacted, I think they are a local band. They said about two or three words small words and then they exploded. I was impressed after the first twenty seconds. They were some kind of alternative pop band. But not too poppy.. It's hard to explain. I felt they were a bit emo too with talks of "Your words pierce my skin". It could of been figuratively and etc., but it can be perceived in many different ways. After the first song they introduced themselves. They were cool, funny and also shared candy ha ha. The guitarist threw a bag of some sort of candy at a kid in the crowd named Elliot. I suppose they are friends, and the guitarist insisted that he shared with everyone ha ha. The lead singer looked alot like Aistin. He had the Spencer Chamberlain head bang and poses like Craig Owens. The drummer was probably the coolest looking kid over there though. He appeared to be an 80's drummer locked in the present. He had crazy hair and rocked out with passion. I glared around and I notice about two people singing, so this band isn't probably well known just yet, but I liked them. They got me moving, and some other people too. I'm looking forward to hearing them again sometime soon.

    Dear and the Headlights
    I've done some research on this band prior to the show and I was intrigued by my foundings. I then decided that I didn't want to hear them before the show so that I could get a mind blowing first impression, or a dreadful one. The band began to set up and what really caught my eyes were tambourines. I never really saw that in a band. Another thing that surprised me is that they use an electric acoustic for a main instrument too. Then band soon stepped out and I analyzed them as they picked up their instruments. The lead singer looked like the Brian from Silversun Pickups but with longer hair and a beard. He picked up the electric acoustic. Then some guy with a short puffy afro grabs a guitar, a slim and smooth looking man grabs bass and then the lights dim and I couldn't see who grabbed what, but I know there was another guitarist and a drummer. The whole list of visible instruments I could see were two guitars, one bass, one electric acoustic, one drum set and two tambourines. They started without an introduction, so Aistin and I didn't know who exactly was playing, but we predicted it was Dear and the Headlights. At this I was caught up in the moment and all I previously read about Dear and the Headlights and Mae have strayed from my mind. I didn't know what to expect and who was playing. Then the silence is shattered by an energetic opening riff on the acoustic and is accompanied quickly with the rest of the band. Boy, this was very impressive. Honestly, I was wearing a huge smile. I really, really, absolutely enjoyed their sound. It was some kind of indie alternative, but with their very own flavor that I can't even put my finger on what the hell it was. It was riveting, peaceful, mellow and just so darn upbeat at the same time that you didn't know whether to sway with the rhythm or sing along as best as you can and contemplate the meaning of the lyrics, either way I was happy and dare I say it; I was captivated already. After their first song Aistin turned to me and said "So do you like 'em?" and I reply "Yeah! They're awesome.". They had so much chemistry as well. They would rock out, but walk softly and smoothly amongst one another. It almost looked like the guitars were having sex. I don't see how they could move around with out paying attention to each other on the small stage and focus on the song and not run into each other. These guys are very talented too. Several times the guitarist or the bassist would jump onto the keyboard or the tambourines. They could play just about the whole array of instruments they had at their disposal. The lead singer and the afro guy are quite the artists.. They get so involved with the music as if they are being possessed. The lead singer would stomp his feet to the drums and shake and convulse his body intensely synchronized until the point where it looked like he was ready to pass out. The afro guy was one of a kind though. He played the guitar like it was possessing his soul, he would hit his guitar on the keyboard keys, he would flail the tambourine wildly with his body, he would stand on a chair like a crazy man while playing the keyboard and he would get so crazy that he'd fall over the chair and still try his best to play. Maybe he was just crazy ha ha. During one of the breaks before playing another song he said a little joke saying that he didn't feel good because he got sun burnt earlier after applying sun screen of SPF 8. What really got to crowd jumping is that in some songs there would be a mellow break down, passionate vocals and smooth keyboard melodies and synths played. And then when you suspect it's going to progress softer and conclude, it explodes back to the chorus and catches you by surprise. But it wasn't aggressive or too loud at all. It was perfectly balanced and you could just fall in love and not want the moment to end. When they ended, the crowd applauded loudly. Only two performances in, and I'm already glad that I came. Fifteen dollars was well worth the show thus far.

    As Tall As Lions
    The band that I was waiting for. My heart jumped when I saw them enter the stage during set up. I knew these guys like to go all out when I saw them in their tuxes and sandals. By now the floor in front of the stage is getting a little packed. I couldn't take it at this point. I was just to excited I wanted them to play. I only knew of them for about 6 months, but they quickly made it up to one of my favourite bands and I know just about all the lyrics to every song from all three of their cds. I nudge Aistin and give him a grin, I know the anticipation is eating at him too. They were teasing us.. I heard them play some parts from Stab City on the drums and keyboard. A little bit after they finished setting up and then did sound check for a few minutes. Then they just took us by surprised and began playing without notice. At first Aistin and I were puzzled. We couldn't tell song they were playing, but then we soon realized that it was just an improvisational jam, a good one at that. It lasted for about a minute and then they ran into a huddle and they all swapped into their proper instruments and instantly began playing Be Here Now. The crowd roared and I sang my heart out. By the second chorus everyone was singing "I'm on the cross. Truth or a lie? Which could be worse?", but after that I felt that my voice was alone. One of their best performance was when they played Stab City. I forced Aistin to sing. It was so mellow and peaceful. A euphoric atmosphere was created and maintained this spiritual structure the whole song. I couldn't feel any better until I heard the part when the keyboardist grabbed his trumpet and played. It was just an amazing song and just more amazing when it's played live. They played most of their good songs like 96 Heartbeats, Stab City, Song For Luna, A Soft Hum and Love Love Love... These guys just blew me away. I was so happy and I was enjoying every second of it. I was trapped in a world where I want to sing and dance and lose my voice and have no worries about making a fool of myself. As Nigero said in his own words "This next song is for anyone who is out there who just wants to dance.." and they played A Soft Hum, and that's exactly what I did. I grooved and sung and I heard Aistin sing too. Then then gave the crowd to choose their last song between Ghost of York and Maybe I'm Just Tired. I was ecstatic to hear that they were willing to play my favourite song, Maybe I'm Just Tired. But to my demise Aistin yells out Ghost of York, and so they play it. I was pretty upset, but I still like that song alot too. Even though Aistin did that, I don't hold anything against his decision. Maybe I didn't reinforce the fact that Maybe I'm.. is my favourite song, so he probably forgot, but it's fine because I brought him along to the concert, so it was up to me to let him enjoy the experience as much as possible. So since he got what he wanted and enjoyed it, I enjoy it as much as well. After singing with every ounce of my soul losing my voice, they had to depart.

    These guys were the headliners and from the excitement from the crowd, the most popular one. They departed fon tour for some fun to promote their latest album, Singularity. Some people were already applauding and they haven't even started. I know we were going to witness something big when they were setting up. They placed screens all over the stage so they can use the video projector. We were in for a treat, well we had a feast that night getting to have 4 bands play for us, but this set up made it seem like we had much more to come. And we did. I took a slight gander at the set list and they got to play 12 songs. The members took the stage shortly and the crowd was going bananas. They attacked us with a wall of rhythm. It was extreme. It was different. It was astonishing. What else would I expect when the band name is derived from fellow band mate's psychology theory that he is working on called Multi-Sensory Aesthetic Experience. And that's exactly what it was. There were colors, lights, passionate vocals, energetic riffs and melodic and techno tunes from the keyboard, but all coexisting perfectly. It's as if you couldn't take in everything at once, but your mind refused and you were forced to be swept away with the sound wave. If you were like Aistin and I, people getting a first impression, then you'd be pleased because they gave a very strong first impression. We didn't even feel alone at some songs because they were very easy to pick up and sing. So we could look like we were die hard fans already, but really weren't. Judging by the amount of people screaming and singing, for a band I haven't heard of before, they have a really solid fan base here amongst the mid-teen and adult crowd. They didn't really offer many breaks. It was song after song marathon, but it was just the right mixture. Some fast and then some soft so we didn't get too tired. I really loved on how some songs would have jamming, and no words. Just shear beauty for 2-3 minutes at a time. Before their last song, the lead singer was on the stage alone with an acoustic and played a track which really pleased the crowd. Then one by one the other members came up and started playing lightly along with him. Then they just jolted right into their final song. The song slowed down near the end, and picked up once again for about another twenty seconds and then concluded. I was awe struck and I really loved them and the whole concert.

    Right after it ended we walked out, tired, at 12am. We definitely got our money's worth, maybe we didn't deserve as much as we received there. 4 awesome bands for 4 hours. It was just an dazzling experience.



    lol Accidentally went through the washer.
    All bad photos courtesy of I (Alexis Monsivaiz), and Aistin Juliana. 8)