Tuesday, 29 September 2009

Right To Asylum - Review


I woke up this morning, I was awake. Am I so obvious?- Sounds like a lyric. I thought I would catch up on some emails and stuff - so I gave a link to 'Right To Asylum' a go......as the sun began to rise above, the house began to shake.

Paul (Right To Asylum) by his own admission lists amongst his influences the heavy guitar riffing giants of the past few decades and this is exactly what you get. There are some truly wonderful instrumental moments here which are executed in a very businesslike manner. The track that pops out from the rest is 'No More Roads', which unlike the rest has a vocal on it. This track is more subtle and maybe more conventional - the vocal is extremely confident and I can't wait to hear more. Embryonic, perhaps but well worth keeping an ear on - I will be back!
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This is what they said:

Right To Asylum is a solo metal project of mine where I do all the writing and recording (with the exception of some guest vocals on the rare occasion). I'm not a drummer, nor do I own a bass, so I fill out my rhythm section with digital instruments I program. I've recently finished my first album and am currently working on figuring out what #2 should sound like.

This is a project with no intention of profit or even performance. It is a simply chance to record what is itching to come out of my own personal style when I hold a guitar. A chance to record original material for the purpose of sharing it with like-minded individuals and those not so like-minded. An expression of self, like all music should be.

Some of biggest influences on my music would be bands like Megadeth, Motorhead, Godsmack, and all things heavy. Biggest influence to start recording my own stuff was definitely seeing Dave Mustaine with his new lineup a year ago in Seoul, South Korea. Now I'm glad to be laying down my own bit of material for everyone. Hope you enjoy.

Sunday, 27 September 2009

OC Lovely - Interview


Below is an email interview with OC Lovely. All interviews are published unedited.
  • Do you think the Microsoft free download programme has been successful for you, getting your music heard and creating a new audience?
First promotional: I felt privileged to be chosen to participate in the program, not being on ReverbNation for very long also made it a big surprise there are so many great artist on ReverbNation but I was told it was done by demographic area. Did it help my exposure, definitely good and bad. First the good, I received many positive comment's from hundred's of artist that came and viewed & listened to my music which made me want to work harder at becoming a better artist. The bad part of the sponsorship some artist weren't to happy about how thing's manifested when the program began. There were artist that I corresponded with frequently before it began but thing's went silent soon there after. Some artist blocked my email's stating to me that I was spamming there personal email account's, but by research I found that I had sent out less sponsored email than any one, this started with in two day's some even dropped off my profile, but what do you say to that?
  • Which networking site do you think delivers you the best quality leads?
Networking: To this point I have to say that I'm not sold on any one at the moment, still feeling my way around trying new thing's.
  • How would you describe your music?
My Music: My life has been filled with such great music over the year's I guess it would be some what of a challenge to define. Let's start with influences, I started listening to any thing that played on the radio, being a child in the sixty's there was so so much to hear. Motown's Funk Brother's easily could be one of the greatest band's ever, had a big dose of them. But late sixty's to early seventy's came Hendrix & Stanley Clarke these to great artist came to define what music was to me, I play bass & guitar because of them. People like Herbie Mann-Santana-Louis Armstrong-The Beatles-Slave- Earth Wind & Fire- Joe Satriani-Steve Via & thee biggest influence of all PRINCE. So I guess I try to be all of them in the form of me.
  • Do you have any releases planned for the near future?
No release date's as of this time.
  • What other project are/have you been involved in?
Project's: My self & Mr. BlakSmith of Canada are trying to put something together now.
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Joe Gande - Review


You can't buy class you are born with it. Joe Gande has taken the 60's Joe Cocker(esque) style of vocal delivery, together with it's big orchestration, referenced it and made something new out of it. If I was pretentious I would be tempted to say that there is something almost Post Modernist about his songs - but that would be silly.

Read the review below by Jacky - it makes more sense.

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Joe Gande: un músico apasionado

Alguien me dijo: escucha a Joe Gande y dime qué opinas. Si me pidiera mi opinión en una palabra, le diría sin duda alguna, PASIÓN. Este intenso músico y compositor neoyorquino, le da una nueva definición a la palabra pasión en cada una de sus canciones.

Con una voz potente que llama la atención por su intensidad y garra para arrancar las notas de sus cuerdas vocales, resulta angustiantemente indescriptible pero imprime en sus notas toneladas de sensaciones intensas que provocan dejar de lado lo que sea que se esté haciendo, para adentrarse en su mundo de sonidos y armonías.

Joe Gande funde en sus canciones el intenso sentimiento del blues con la pasión del rock, creando así un sonido único, electrizante, enajenante y perturbadoramente orgánico, fresco; desafiando todo modo de hacer música rock, a pesar de que tiene un aroma ligero a rock antiguo.

Muestra además, su sensibilidad, pues expresa con evidente honestidad, su amor por la vida. Escucharlo, te arrastra inevitablemente a sumergirte en un mundo místico de fuerza y pasión, a través del cuál puedes disfrutar de un caudal interminable de sensaciones intensas filtrándose a tus sentidos.

Review by Jacky


Translation:

Someone told me: Listen to Joe Gande and tell me what you think. If I were asked my opinion in one word, I would say without a doubt, PASSION. This intense musician and composer from New York, gives new definition to the word passion in each of his songs.

The strong voice is striking in its intensity, it claws, plucking the notes of his vocal cords, but it is distressing beyond description, causing intense feelings inside, whatever you are doing, you enter into its world of sounds and harmonies.

Joe Gande melts in his songs the intense feeling of the blues with the passion of rock, creating a unique sound, electrifying, disturbingly alien and organic, fresh; challenging the way to make
rock music, although it still has a light fragrance of old rock. Also showing sensitivity, expressed with apparent honesty, his love life; listen, immerse yourself in a mystical world of strength and passion, through which you can enjoy an endless flow of intense feelings percolating your senses.

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Saturday, 26 September 2009

This Window's Newsletter 26 September

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We have uploaded a new track onto our ReverbNation player Again (Please have a listen and let us know what you think!)

Here are few of the latest interview pages we have done on SystemCulture.org. There are some great interviews and words of wisdom here...have a look at Don Campau, this chap has done more for independent music than most of us put together.

The website SystemCulture.org is dedicated to reviewing and interviewing artists. We want to ask you some questions; contact us if you want to participate - keep emailing us with your details and we will keep promoting your music.

Thanks for your support,

This Window



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PRESS CLIPPINGS

"The story continues..." — BBC online

"So, how good is it? It is exceptionally good and you can’t bank on these songs being on the next album..." — Mick Mercer

"THIS WINDOW dürfte zu einer der exzentrischsten und vielleicht auch ideologischsten CassetTenbands Englands..." — Uwe Wolfrum / Matthais Lang, Epitaph


Rick Frost - A Conversation.

Below is an email conversation with Rick Frost. (Published unedited.)

Please forgive the incredibly long stretch of time between contacts. My studio went completely down (as in virus ravaged). Lost three computers completely (blue wall of death); one was left fairly non-functional and one recuperated. The killer was all the software that got lost!

I was very close to finishing up my next CD (15 Souls In My Pocket) when the Computer Storm hit. Now, I am very slowly replacing everything.

With regard to your questions, I think it is funny how location effects perception. Your vision of smoky bars and blondes in tight jeans was absolutely the correct one for a number of years.. But, that was primarily back in the 80’s when I still played covers and was gigging at a lot of biker bars and Pig Roasts.

In the 90’s, when I went primarily solo doing nothing but politically oriented originals my following changed dramatically. It was a very vibrant mix of street people and college students. Made for a very interesting mix.

Ironically, you see me as sounding distinctly American. I played a gig this summer at the Pataconkin Chester, CT. A vacation boating town and I was hired to play the reception at a wedding of this British couple who thought that I reminded then of the old working class British Bands that would play working class pubs all night. So, I guess the perception is really shaped by the experiences of the listener.

The last album I released, Something Special (which you made reference to in your questions) was a real eye-opener for me. The CD did very well. What surprised me the most was the diversity of the listening audience. Where as my music is primarily looked on as the political rantings of a Socialist frustrated by the excesses of neo-capitalism. I found a lot of non-political fans were more than willing to take the message with the beat without a problem.. Also, in the 1990’s I was writing songs on the excesses of Capitalism, Homelessness, World Hunger, a distribution system of necessary goods that are crucial to the obtainment of any form of quality life standard – and people would say I was a “naysayer”; a” communist”; another negative socialist whacko who should move out of the U.S. These same people, today, I believe now see the hidden agenda of hypocrisy behind the U.S. right wing and supposed “centrist” message of the 80’s and 90’s. Actually, 5 songs from my first CD, Frost & Sherman Live @ the Stony Creek Puppet House, which was released in 2000, went to the Top of the Charts this year. The two that drew the most attention were Democracy and Homeless Joe. I think that these songs rebounded so strongly because the problems they deal with have gotten worse – not better. The world just chose to ride out the latter generation of the 20th Century with blinders on.

Your next two questions are, in my mind kind of married to one another. Do I play a lot live? The answer is “not really”. Your next question has to do with the impact of the Internet on my music? And, a large part of my choosing to not play live has to do with the Internet. I can reach 20 times the amount of people for a fraction of the cost of playing live by using the Internet.

For an artist such as myself, who gives close to 85% of all my profits to charity this is a tremendous plus. It’s an even bigger plus for all the extra children that get fed by savings of that amount. It fills me with a real sense of joy to know that I can feed 1000 people as opposed to putting the money in the pocket of some overweight greedy promoter. The feedback has been wonderful. People want to live in a world that is kind, fair, equitable in its distribution. The filthy rich have always and still do make up a very small part of the global population. The Internet has been a Godsend in terms of exposing these creeps for what and who they really are. I think people feel so much more empowered than ever before!

Your final question, “What’s next?” Well, Peter, honestly more of the same on a larger and grander scale. I believe artists, musicians and the intelligent masses are going to use the Internet to educate and then redistribute needed resources to a degree never imagined. I think we are presented with the opportunity to prove our real self-worth with regards to how we treat our fellow human beings over the next 20 years and I’m very optimistic.
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Wednesday, 23 September 2009

Don Campau - Interview

Below is an email interview with Don Campau. All interviews are published unedited.
  • You have begun a massive project - cataloging and writing about the early days of 'Mail Art'', "DIY Recording" and the "Cassette Culture" scenes of the 1970's, 80's, 90's and beyond, would you give us a little insight into the project and explain a little about what you are doing?
For years I have been thinking about my role in cassette culture/underground music. How could I contribute my experiences to the history of this narrow but important do-it-yourself movement? Finally it came to me. Instead of trying to do some kind of comprehensive history of this scene I could only give my experiences and my perspective. Of course I have enlisted other people to help me and chip in with their thoughts and that has been revealing and interesting to me. This is not about me, but it is mainly from my viewpoint.
  • How do you think Internet networks compare with the postal networks of back then? (ref. MySpace et al.)
The biggest difference to me is immediacy and effort. Then,I had to write a letter, post it and wait for a response and maybe get a tape in trade.This could take days, weeks or months. This became second nature to me though and part of my schedule then. It also made me consider my responses perhaps a bit more. And, as everyone knows, it is efficient, easy and immediate now. Thats a good thing I'd say although sometimes I wonder if the spirit is the same. It seems more superficial somehow to me and less of a community.Maybe thats just me.
  • You are a recording artist in your own right, when did you begin recording and what equipment did you use?
I began recording collage material in the late 60s fiddling with the family's open reel tape deck.Household sounds and broadcasts off the radio. Then, my first musical group started recording our own bizarre avant garde offerings in about 1969. Our group was called The Roots Of Madness and we did an actual LP in 1971. That was also done on an open reel, two track recorder. We were inspired by Capt Beefheart,. The Fugs, Stockhausen and Albert Ayler.
  • You also host a (fantastic) radio show ("No Pigeonholes") how did you get started in this?
I started in non commercial radio in 1971. My friend, Geoff Alexander, had a radio show even when in high school and he brought me in for an interview and I became intrigued by this type of freeform expression. Soon afterward, Lorenzo W. Milam, bought this station ( KTAO in Los Gatos CA) and became a lifelong mentor influencing me ( and many others) with his vast knowledge of literature, music and personal relations. My KTAO experience ran from 1971-4 ( the station was sold), continued for a very short time at KUSP in Santa Cruz ( I was fired for being too esoteric) and then in 1978 my show at KKUP in Cupertino began. For a few years I did a program of avant garde, punk, jazz and ethnic music. Then in 1985 when I got enough home tapes, I started the "No Pigeonholes" format which continues today.
  • Do you think the future of the Independent Artist is assured or do you think the best times have gone?
Well, I think "independent" means something different today. In the 70s and 80s it meant totally underground and almost unobtainable. One had to search it out at libraries, record stores and through rare mentions in small publications. There really was no such thing as independent rock bands then. Of course the landscape has changed dramatically now. Almost everyone calls themselves independent now. The distinction seems to be the fact that almost no band gets signed to a major label anymore. And major labels themselves are dinosaurs on the brink of extinction. I think Facebook, MySpace and all the other social networking sites have been a godsend for artists. It is easy to connect now. However, I have seen a trend of what I call "one way" communication these days. For example, I get quite a few emails now ( many times sent to dozens of other people) of "here's my mp3s, play them on your show, no time to ask you how you are ( my words here)". I can understand people trying to spread the word of their art but how about at least a small dose of civility and caring toward others?
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My favorite online resource: The Living Archive of Underground  by Don Campau

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This Darker Entity - Interview

Below is an email interview with This Darker Entity. All interviews are published unedited.
  • Your tracks appear to be heavy (analogue) synth sounds, how would you describe your music?
ANSWER 1- I'm coming from a thrash/death metal background of 80's bands as POSSESSED, CELTIC FROST, among others,so what always I do, I have them in mind.This Darker entity hunting *the spirit of innovation* and I'll explain why? All recordings I've made created on a 1994 pc with windows 98 on it,a microphone that cost 3 dollars in a pc store and a second hand Yamaha SW60 sound card i bought 30 dollars from a friend,and I download the drivers from the net. As you can see this is a miracle of its own,by creating whole songs with such a poor equipment. Other than that I'm not studied musician I don't know notes or musical terms, just creating by *ear* hearing the sounds and record piece by piece. If you ask me what DO RE MI FA SO LA SI DO is, I'll tell you is a pizza or spaghetti....So I call my music ELECTRIC DOOM SYNTHESIS, and this last one is borrowed by BEHERIT/Finland!
  • Where would you say your influences come from?
ANSWER 2=I'm influenced by everyone.Mostly the bands I mentioned,plus the whole 80's Pop bands,but its not obvious.The 89 I *meet* the band I hated Most!!! Depeche Mode!! When I heard Blue Dress,Enjoy The silence, I didn't wanted to play death metal drums anymore.That was it!!!Now i cant live without the Mode's.I'm pretty influenced by them but surely its not obvious.Is not fair to copy, but get influenced.For example if you see around the world there's to many bands playing Like Depeche mode,same sound,same M.L.Gore vocals,and they say are inspired by them.That s wrong.Its not an influence its a copy.They should call them selves tribute DM bands than inspired by them.I'm pretty influenced by Salvador Dali and Pink Floyd,S.P.K......
  • On your Myspace page you have listed some live shows in 2010, how important is playing live to you?
ANSWER 3. The shows are mentioned is more private Whiskey/parties than a live shows in a club!!! 17-1 and 5-5- is my little daughters name day and birthday,and 20-2 and 25-3 is mine.There'll be industrial party for sure!!!
...but,not, there's not gonna be any live open show.
  • You have also been advertising for a female vocalist, have you found one yet?
ANSWER 4=I was looking for male of female voices only For my covers,not my own songs. I found a couple of females,the one was so far, the second studied,and was as beautiful as Adriana Sklenarikova, and I didn't wanted another devil and agony in my head!!!!!! Nowadays I've found a couple of people to sing some 80s covers I've done!!! The most weird thing that happened,is that I live on an island 80.000 of people and I'm the only one that plays extreme music.Just one.All others,plus my friends are into PLACEBO, BOB MARLEY, PETER TOSH and old stuff...I found people outside the island and they re coming soon!
  • You have releases going right back to 1986 are there any new ones planned for the near future?
ANSWER 5= I have no future plans, but i have some dreams. I need label to re-release the DESOLATION 7"(my ist band)which was released in only 666 copies in 86 in Germany, The release of the unreleased *This Darker Entity* -*United colors of Nothing/a gathering nocturnal II* 7"EP.Also ive done about 10 covers including, A-HA,VISAGE,BRONSKI BEAT, MADONNA, PRINCE, GENESIS, DEPECHE MODE, BLACK SABBATH,some of them are finished-some are not,to get heard by as much people as possible.Even if nothing's happen, I'm pretty satisfied,happy and feel blessed that I've made what I wanted.
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