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Mike Park – North Hangook Falling

Quite frankly, Mike Park is the man. Do not take that statement lightly.

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I cheated. That’s right, I cheated and I am owning up to it. Under normal circumstances I would not have done it. Under normal circumstances I would have listened to the album before reading the lyrics or the press release. Although, I have, on occasion, read the press release and lyrics as I listened to the album. Yet, I did not do either for this CD. For this I will present my case: I respect and admire Mike Park. Hell, I want to BE Mike Park. The fabulous records he has helped distribute amongst us, the unique and value-bound label he runs, and the noble causes he has established and continues to support are all enviable and should be applauded. Quite frankly, Mike Park is the man. Do not take that statement lightly.

So how does one approach a record constructed by “the man”? Perhaps, one immediately plays the album upon receiving it with such enthusiasm that Richard Simmons would take note. Or perhaps one dawdles for fear that this album may in fact ruin the musician’s reputation as “the man” in her/his mind. Obviously, I chose the latter approach. I waited and waited. Then I caved; I read the literature and waited some more. I wanted to be given an idea/a hint as to whether I should expect to be disappointed or pacified. It was for the sake of my vision of Mike Park. So that’s why I did it, judge me however you please.

As for my findings: 

The album is quite the treat. I will not lie and call it brilliant, but it is indeed a solid effort from “the man.” It kicks off nicely with “Is It Safe for Me to Go Outside?” The ever so brief instrumental intro to the song sets the tone for the rest of the album. It’s a great tone, a chill tone, perhaps even a somber tone. While it is rather consistent through the album, the tracks differ enough to keep one interesting and satisfied. Great for those moods where all you want to do is lay down and think or relax. Starting the album off with a song that hints to the political theme of the album stressed by the press release is somewhat deceiving. While one may be able to put her or his own political twist regarding any country to the majority of the songs, none can really be considered political anthems for a generation. Quite frankly, I like it that way. It gives the audience more of a person feel, something to better to relate to. 

Unlike some musicians, Park successfully found his vocal range and stuck to his guns. His sing-along melodies provide the listener with a good half hour of sweet, almost political, goodness. It seems as if this man can do no wrong.

(Sub City Records)

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The Ritualists – Painted People

The Ritualists play some determined, strong-willed music

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ritualists

After listening to Painted People by The Ritualists, I was very surprised to learn that this is their debut album. This band shows a maturity in their music that I would not expect from a first album and provides inspirational sounding tracks with ‘reach for the stars’ type of guitar riffs. I hear a modern version of U2 in The Ritualists, along with an influence of Radiohead. Their songs are full, wholehearted post-punk hooks with a lead singer that has a sizeable range.

“Rattles” opens the album, and it’s the type of song that shows their audience that they are here to stay. It has a great build-up of excitement and intensity. The band explains that this song is “A combination of dark, deep-pocketed verses juxtaposed with big, flashy choruses is a key element to tracks”.

Ice Flower” and “Worthiest One” welcomes an electronic wave to the album and showcases just how impressive lead singer Christian Dryden’s range is. His ability to hit those high notes with such conviction puts my falsetto abilities to shame. “Worthiest One” brings this sort of nostalgic feeling- it’s a rock ballad with a floaty guitar riff.

“She’s The Sun” is a great follow-on from “Worthiest One” as it transfers the mood upwards and directs the music into more of a hypnotic vision, which conveys “the band’s inner Sixties Love Child”. “I’m With The Painted People” has a really relatable background to the song. Dryden felt a larger than life inspiration from people like David Bowie and Simon Le Bon, these artists felt like soulmates, which can be lonely at times. It wasn’t until he ventured out into the clubs of the lower east side of New York which helped him feel comfortable to express his creative vision freely. The song is all about finding like-minded people.

There are hooks galore and catchy choruses in pretty much every song. “With this record, I’ve specifically tried to be anthemic,” admits Dryden. “I’ve always loved going to shows, where immediately after the performance, and even on the ensuing days after, you just can’t help but remember and sing the songs you’ve just heard. It’s almost like a higher form of communication.” The Ritualists play some determined, strong-willed music and Painted People shows hints of variations with different genres explored throughout. They sound motivated and in return have produced motivating music for their listeners.

(Out Of Line Music)

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The Decline – Flash Gordon Ramsay Street

What The Decline get absolutely spot-on is their clinical, unrelenting brand of skate punk

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The Decline

It’s possible that since punk broke through to the mainstream in the mid to late ’90s, listeners outside of Australia think Frenzal Rhomb are the only band to have come from the lucky country. It’s true that during the rise of that Epitaph and Fat Wreck sound, Frenzal Rhomb became the namesake of the genre from Australia. However, Australian punks know that their history stretches long before the release of Survival of the Fattest. From the legendary sounds of The Saints to the rock n’ roll infused punk of Radio Birdman, Australia’s punk rock history is not only rich but very much precedes the genre’s mainstream explosion.

Frenzal Rhomb were another chapter in punk down under and for many, they opened a lot of doors. If not at the very least, proved that there were fertile grounds for new bands to emerge across the vast land. Western Australia’s The Decline formed in 2005 and quickly showed their talent for writing up-tempo melodicore that shred as much as it soared. From their 2010 debut, I’m Not Gonna Lie To You, it was clear that the band were equal parts snotty, urgent, funny, and melodic. Like the Frenzal Rhomb formula, they’ve got all of it in spades with a mean streak of Australianness that is both endearing and extremely relatable. Their latest album is no different.

From the title alone you can tell you’re in for a shedload of fun, and while it’s easy to think that Flash Gordon Ramsay Street is just goofy humor, it’s actually got a lot of pointed commentary too. From the animal-supportin’, veggie-lovin’, attack on meatlovers and meatheads (“Brovine”), to the real-estate market questioning “Smashed Avo”, there’s plenty of current talking points that The Decline run through. Sure, you also get vegan buffalo wing recipes (surprisingly, not the song titled “Bullet With Buffalo Wings”) and a love for The Legend of Zelda, but who says you can’t sing about Marxist theories while talking about your love for Nintendo?

What The Decline get absolutely spot-on is their clinical, unrelenting brand of skate punk; taking plenty of cues from the best of the NOFX / No Fun At All up-tempo, hardcore-derived brand of punk. The hooks on Flash Gordon Ramsey Street are as infectious as horny teens on spring break, highlighted by the endless harmonies on songs like the terrific “It Was Always You” and the call and response male-female vocal attack of “Verge Collection”. Brevity is also key, as the majority of the songs here never overstay their welcome with the longest clocking in at just 3:15 (the wistful closing of “Josh”).

Flash Gordon Ramsey Street is concise, to-the-point, and a furious medley of skate punk urgency that is relevant to young adult life as punks in Australia. Great production values to boot mean you can’t go wrong here.

(Pee Records / Thousand Islands Records / Disconnect Disconnect Records / Bearded Punk Records)

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