"Some shine and some don't"

For those who have ever wondered what it would be like to venture into the mind of a schizophrenic on LSD while spontaneously combusting, have I got an album for you; Shining's "Blackjazz". Shining is a band hailing from Norway and have a sound comparible to Nine Inch Nails, Buckethead, Ministry, John Coltrane and more importantly Mike Patton's Mr. Bungle and Fantomas. It is very hard to actually categorize this type of music, this album in particular, as it is jazzy, loud, chaotic, dark and suprisingly extremely catchy. Shining's frontman, Jorgen Munkeby, used to front the progressive jazz outfit Jaga Jazzist, but broke away, obviously because he wanted a band that turned things up to 13 (that's right folks, this one goes to 13!) "Blackjazz" is a perfect title for this album as Shining has created their own genre by that name. The album kicks off with "The Madness and the Damage Done" which may scare most people away with it's 'cookie monster' growls, however it's unrelenting assault on your inner ear makes it impossible to take off the headphones as they quickly melt to your face. The next track, "Fisheye", probably has the most 'pop' feel to it as it could fit on any NIN or Filter album. You will be singing along with the chorus "1, 3, 7, 5... 1, 3, 4, 9" by the end of the song. I have NO idea what those numbers mean, nor do I think Shining do. "Exit Sun" follows in a similar vein as it pummels it's listener into wanting more. The songs builds on a quick guitar track with bombastic drums that leads to the sound of a mob chanting. The song then segways into a brutal 1 minute drum and synth instrumental closer. The next track, "HEALTER SKELTER", is a personal favorite. Instead of lyrics, Mr. Munkeby plays his barisax much like Steve Vai plays his guitar; technical and shredding. Shining have turned jazz into something a metalhead would be proud of. This album is so much more than a musical masterpiece it is the mother of all auditory mind trips. I guarantee you have never heard anything like this before. This album will most definitely be polarizing; either you love it or you misunderstand it. For those who get it, you're welcome... but thank Shining.



"Some shine and some don't" - Dick Hallorann

Rating 13

Get Yer Bone On!

On Friday, March 12th, I got the opportunity (again) to see the best funk/jazz/rock band in New Orleans, Bonerama. This trombone quartet (now trio) played at the Orpheum theatre in Sioux Falls, SD. After seeing them live in New Orleans at the world famous Tipitina's and at an outdoor music festival in Michigan, this was quite the change in venue. For those who have never been to the Orpheum in SF, it is a nice concert hall with plush seats, balcony seating and plenty of blue hairs; more on that in a moment. Bonerama was brought to Sioux Falls by the Sioux Falls Jazz and Blues Society as a part of their concert series. Upon entering the venue, one couldn't help but notice many of the spectators dressed to the nines and appeared ready for a evening of sophisticated, elegant, contemporary music. Unfortunately, Bonerama are non of those. The band was introduced by the master of ceremonies, who ended with "typically the doors close following the start of the concert, however, tonight the doors will remain open and people should feel free to frequent the concessions for drinks", one has to wonder if this was changed upon request of the band. The lights dimmed and the band took stage. Within seconds, the band was greeted by piercing whistles, frantic clapping and hollering from the balcony, specifically row 6, seats 5 through 10 (those occupied by none other than myself, my wife and our rowdy compatriots). In retrospect, I cannot help but think the septuagenarians sitting directly in front of us lost a little urine upon this greeting and throughout the concerts entirety due to our raucous escapades. Bonerama started with a slow ballad the three trombonists played in harmony. Following this, they blasted into a 7 minute tribute to The Meters. This song was brilliant and truly let the funk out! They continued to rock the house with their staple songs "Shake Your Rugalator", "Baronne", "Mr. Go" and a killer rendition of Led Zep's "Ocean." During the show, they gave props to the people in the balcony (we are going to take credit for that one). To close, Bonerama played a encore medley which included "When The Saints Go Marching In", and by that time the crowd was entirely into their trademark groove. Bonerama plays one of the best shows you will get an opportunity to see. Do yourself a favor and check them out next time you are in Nahlans. Bone up!

The Best of Times, the Worst of Times, the End Times

E Works (1-19-10) "I pushed the bed against the window today, so there'd be only one side," states Mark Oliver Everett on "Unhinged". This is only one of many poignantly morose lyrics that can be heard on the Eels recent release, "End Times". Don't get me wrong, I've always had a keen appreciation of dark and downright depressing music. However, after listening to this 40-minute opus of misery, even I needed to step outside and see the sunshine. A majority of "End Times" was recorded on a four-track, which gives the songs a characteristic grainy quality. Considering the album's content, this seems only natural. "End Times" is in some moments beautiful, other moments irreverent, and in all instances unapologetically filled with pain and regret.

Everett, most often known as "E", leads off with a song aptly titled "The Beginning", a lyrically uplifting tune being told in hindsight by a sad, reflective narrator. E's raw, smoky voice coupled with a delicate guitar melody make this the most compelling track on the album, and may remind some listeners of a favorite of mine, "Gone for Good" by Morphine. Next is "Gone Man", an up-tempo bluesy rocker telling of a man coming to the realization that his self-defeating behavior is subconsciously pushing away his lover, as if his "true-self" has wanted to be alone all along. "Paradise Blues" is a resentful ditty in which there's an analogy comparing a heartbreaking woman to a suicide bomber, accompanied by a steady bar-room beat. The sadness continues with "Unhinged", a scathing condemnation of a past love, a love who has apparently become the antithesis of a woman who was once cherished. One last track to check out is "Little-Bird", a lovely Dylan-esque tune that is both soul-bearing and simple.

The Eels are at their best on "End Times" with the quiet, contemplative ballads that highlight E's soulful voice. Their faster-pace offerings are also catchy, though a tad bit depressing. Those who enjoy Elliott Smith's catalogue will likely dig this album, as the unbridled emotion contained in "End Times" rivals the works of the late singer-songwriter. And if exercising the demons of past relationships gone wrong is your thing, then this CD will be right up your alley. Just do me one favor, though, and don't save it for a rainy day...this disc is dark enough on its own.

Rating: 3.5 out of 5

The Hazards of Love

Following in the footsteps of Tommy (The Who), The Rise and Fall of Ziggy Stardust and the Spiders from Mars (David Bowie), The Wall (Pink Floyd), and Boulevard of Broken Dreams (Green Day), the Decemberists' 5th studio album, the Hazards of Love, is a rock opera (coincidentally released on the same day as Crack the Skye by Mastodon, another rock opera). Hazards of Love is the story of a love affair between a young woman named Margaret and a shape-shifting beast named William, the misfortunes they undergo during their relationship, and the tragic end that befalls their forbidden romance.

The challenge with a rock opera, at least for the listener, is hearing only one continuing story over the course of an album, oftentimes with a congruous musical theme from beginning to end. Thus, if an artist is unable to capture the listener's ear with the first few tracks and the main hooks, they run the risk of the listener losing interest long before the conclusion. Thankfully, in the case of Hazards of Love, my curiosity was peaked enough from the initial song to keep me attentive throughout the entirety of the CD.

The 1st track, appropriately titled "Prelude", sets the tone with spooky synthesizers in the style of Phantom of the Opera. Track 2, "The Prettiest Whistles Won't Wrestle the Thistles Undone", opens the story of Margaret and William with moody acoustic guitar and vocals remiscent of Automatic for the People-era R.E.M. or Death Cab for Cutie. This is followed by "A Bower Scene", the short but edgy tale of Margaret conceiving William's child, which is paralleled by sweetly-soft guitar picking alternating with stomping rock chords. "Won't Want for Love" consists of guest-vocalist Becky Stark (Lavender Diamond) decrying the wonders of infatuation with her nymph-like vocals, and lead-singer Colin Meloy echoing those sentiments with punching declarations of "Can you hear me love?". Another notable track is "Wanting Comes in Waves/Repaid", a bluezy back and forth duet between Meloy and Shara Worden (My Perfect Diamond), emphasized by Worden's sultry vocals, which are temptingly reminiscent of Grace Slick. Also of note is "The Rake's Song" an angry, morbid soliloquy telling of the hope created by a new marriage, the loss of a wife in childbirth, the killing off of the remaining children, and the resulting freedom from the whole mess. Though disturbing in content and a little difficult to digest, "The Rake's Song" is clearly the best "rock" track on the album. Hazards of Love concludes with "The Drowned", beautifully detailing the final spirited reunion of Margaret and William before they meet their watery grave.

Upon my first distracted listen to this disc, Hazards of Love came off as rather redundant and somewhat whiny. However, after three more spins in conjunction with a careful inspection of the lyrics, I was surprised at how catchy it became. This album is a gentle roller-coaster of musical story telling, and is definitely worth a listen. And if you've never listened to the Decemberists before, this would be a worthy place to start.

Rating: 3.5 out of 5