thePULSEAzari & III’s Azari & III
By Katey Khaos
If you’re like me, the sounds of blenders and AOL dial-up aren’t really doing it for you at the club anymore. I’m talking about dubstep. Sure, it’s catchy, and sure, some of the drops are killer, but after a while, the genre tends to repeat itself.
Let’s take a step backwards to the good ol’ days when house music first became popular ~ the late 80s, early 90s. Now, take the classic sound of house music and add some raver flare. I give you Azari & III.
Azari & III’s self-titled debut album gains huge approval on my end namely because they don’t try to enhance their tracks with repetitive lyrics or unrecognizable words. Instead, they stick to mostly instrumental and techno beats, showing their true talent as artists. Tracks like “Indigo” course through your veins, filling you with a euphoric feeling that can only be released by getting out on the dance floor (or your bedroom floor) and letting loose. When Azari & III do add lyrics to their tracks, like “Reckless (for Your Love),” the combination of catchy beats and smooth vocals create a sound that ~ for lack of a better term ~ is an eargasm.
The fact that these guys have strayed away from the ever-growing (and some would argue overpopulated) digital genres makes them a favorite in my book. Their unique style and nostalgic sound are sure to bring back memories for some, while giving others a chance to see what the days of original house were all about.
Be sure to pick up a copy of their debut album, dropping October 30th!
The Hollow Glow
By Alex Kantarelis
A few years ago, I had the chance to speak to Ben Carroll from the metal band Ra, who was eager to talk about his new alt-rock project called The Hollow Glow. At the time, he had an album of songs he recorded himself, in a bedroom, using a computer and 1 microphone. He handled the vocals and guitars and used electronic drums to carry the rhythm. Fast forward to 2012, and Carroll has a put together a band to complete The Hollow Glow. Bassist Tom Connors and drummer Travis Barton have joined Carroll to release their first “real” album.
The self-titled 7 track CD kicks off with an oldie, “Crazy Like You Read About,” which has new life with the band now backing Carroll. His voice stands on top of the recording and is very powerful. It’s great to hear him belting out the chorus (which is the namesake of the song).
When the drums open the next track, “Doom,” I found myself bobbing my head along to the beat right away. Carroll’s guitar playing succeeds in walking the fine line between metal and alternative. While keeping it technical and heavy, he manages to keep it mellow and bright at the same time; it’s a very difficult balance to accomplish, but The Hollow Glow manages to do it with seeming ease. This balance is evident throughout the CD, as Carroll’s lyrics talk about the supposed impending end of the world and the inevitable attack of zombies, all while mixing in themes about love and relationships.
The Hollow Glow is definitely not a band to overlook. They have a maturity in their song writing that very few bands possess these days. Fans of the Foo Fighters, the Silversun Pickups, and the Deftones should definitely check out this new album ~ as should anyone who simply likes genuinely good music.
www.thehollowglow.com, Facebook.com/thehollowglow
Twitter.com/thehollowglow
Katatonia’s Dead End Kings
By Benjamin McNeil
Katatonia should need no introduction. Dead End Kings, the band’s ninth full-length album, continues the legacy conceived by co-founders Jonas Renkse and Anders Nystrom, both Stockholm, Sweden natives, in 1991. Twenty-one years of shredding, killing it on live sets, and now touring with Opeth don’t lie: Katatonia is mammoth.
Dead End Kings, released under the Peaceville label just a few months ago, features clean vocals laced with the themes of sadness and eternal despair common to us all, intense riffs in each of the album’s eleven tracks, and the palpable chemistry and intensity that bonds together Katatonia’s members: Renkse (vocals), Nystrom (guitar), Niklas Sandin (bass), Per Erikkson (guitar), and Daniel Liljekvist (drums).
“Dead Letters,” the ninth track, is the highlight of Dead End Kings. Katatonia should not be pigeon-holed; they transcend genre, but Last.fm tags their music under Doom Metal, Progressive Metal, and Depressive Rock. These genres are not for everyone, but “Dead Letters” should gain your respect regardless of whether you’re a fan of the “face-melting” stuff or not. The riffs, heavy throughout, compliment Renkse’s chilling, melodic lyrics (“Vexation/Eternal void/My dreams/Are getting darker and darker”).
“The Parting,” track one on the album, is rhythmic ~ and even relaxing. Renkse cries, “The parting/End origin/Fade into earth,” as this biting track sets in motion the narrative of Dead End Kings and establishes Katatonia’s collective philosophy: death is guaranteed to all, and despair courses through our veins in spite of fleeting happiness. Man fades to dust.
Renkse’s vocals may hover on the edge of monotony for some listeners, but his overarching message, and Katatonia’s passion and commitment to musicianship, permeate Dead End Kings and make it a truly great album.
Katatonia is playing throughout Europe and the United Kingdom over the next few months, but a listen to Dead End Kings will not disappoint those in the States.
www.katatonia.com
www.facebook.com/katatonia
www.myspace.com/katatonia
