Truth be told, I was excited when I saw the first trailer for sci-fi Tom Cruise action movie vehicle Oblivion. It looked intriguing. Of course, a trailer really does not tell you anything about the movie itself. I was also excited by the fact that Oblivion was an original premise (based on a story co-authored by director Joe Kosinski) and perhaps was hoping that it would be as good as District 9, Moon or Inception.
Two bands will be coming together for a secret pop-up gig this April 18! It will be a night of fuzzed out intrigue! Fans are invited to solve a crossword puzzle to reveal the line-up and location of the gig. The bands will also be seeding clues with the hashtag #KODoubleBill via Twitter and Instagram leading up to event day. Solve the puzzle and find out who and where. Free Entry! For more clues, look for #KODoubleBill
My regular readers will be aware of my love of hyperbole. After all, art and music should always be bigger than life and so I am always happy to oblige in that regard. So forgive me, if this post outstrips all previous in the hyperbole department.
No other way to describe the week that will forever be known as The Steve Lillywhite Production Week! As a huge Lillywhite fan (and SGMUSO EXCO member), it was going to be an amazing experience no matter what. However, even that did not prepare me for the surreal, seemingly out-of-body experience that it ultimately turned out to be! See what I mean about hyperbole?!?
I was fortunate enough to sit in the production sessions on the 1st and last day and was thrilled not only to see the legendary Steve Lillywhite in action but to witness the four bands (Atlas, MONSTER CAT, sub:shaman and The Sam Willows) have their collective confidence boosted sky high by a man who so obviously loves good music and music people.
Everyone in the studio was buzzing thanks to Lillywhite’s infectious enthusiasm. It was impossible not to be infected with the buzz! From the bands to the producers to the crew to bystanders (like yours truly), it truly felt like S-ROCK history was unfolding before our very eyes (and ears).
As much as we ourselves believe in S-ROCK, it is re-assuring and comforting to find someone of Lillywhite’s stature to be equally (it not more) excited about the potential and possibilities of the S-ROCK scene. It is validation of our efforts in the scene and our belief in the great S-ROCK bands that toil tirelessly in our sometimes thankless nation.
Best part of all was actually getting to know Lillywhite a bit better and chatting over his experiences producing some of the more important releases of the 80s and 90s. This was aided by Lillywhite’s own humble, down to earth manner – it was impossible not to think of him as a like-minded ally and these are some of the memories I will always treasure.
You might say that Rich McCulley has been a fixture of sorts over here at Power of Pop. The good news is that McCulley is still going strong, as his official bio explains – “after six albums and twelve years of solo music making, roots rocker Rich McCulley is still finding fresh beginnings and new inspiration in life”.
Ten years ago, I had written that McCulley had – with his sophomore effort – discovered roots rock, “lining his obvious pop-rock chops with a rustic country edge” and which made McCulley’s music, worthy for “all lovers of melodic rock ‘n’ roll, country rock and everything in-between”.
This assessment rings through for The Grand Design as McCulley continues to emphasize rustic melodicism, which rings out loudly and proudly his influences viz. Elvis Costello, Gram Parsons, Marshall Crenshaw, Tom Petty, Squeeze et al.
Songs like the wistful “Let You Go”, the dynamic “The Most Beautiful Thing”, the smooth “Just Begun To Run” and the heartfelt “She’s Like a Tattoo” will please country-folk-rock lovers. Yet again, McCulley pulls off yet another loving toast to the power and beauty of Americana-based rock n’ roll. Long may he run.
Check out the video of “The Most Beautiful Thing” below.
Truth be told, I am pretty sick and tired of the ubiquitous generic contemporary hipster synth-pop sound already. Man! So yeah, right now, I am aching for sweet rock n’ roll music that features real instruments, real vocals and fucking real songs. Y’know, songs I can sing along to (intelligently) and shake to (without looking stupid).
So Mooner! A self-described powerpop band from Chicago which new EP is like balm to my electronically sated ears. This EP only has four tracks but I’d rather listen four tracks that hit the spot over an LP’s worth of meaningless drivel trying to pass itself off as 2013’s version of hip and cool. Don’t what I mean?
Indeed! It’s comforting and re-assuring to hear a new band take the tired-and-tested influences of Television, Elvis Costello, The Replacements and early Wilco and fashion distinctive material. Certainly, powerpop fans are totally gonna fall in love with the midtempo groove of “Shapeshifter”, the twangy goodness of “White Lines”, the knowing country-soul balladry of “Never Alone” and the new wave raunch of “Overrated”.
Despite the relative success of “Orchard Road” (with the track getting radioplay and music video being featured on national TV), my ambitions were still modest. I was happy to be able to record and release another song, whatever the platform. The guys from BigO magazine wanted me to test a MiniDisc player/recorded and to review it for the mag. So I ended up writing and recording two songs – “The High Cost of Living” and “The Offender”, the latter as yet unreleased. The song ended up being featured on BigO’s free CD, Death Valley 92328, and was played on radio again (which still amazes me, considering the lyrical content)
Chicago quintet Great Divide (Teddy Grossman – vox, guitar/Josh Teitelbaum – drums/Jeff Leibovich – keyboards/Josh Kahle – bass/Jeff Burke – guitar, vox) takes the rock and roots maxim to its logical conclusion. If a cursory listen to the band’s eponymous sophomore album suggests to you The Band, Van Morrison, Bob Dylan, Elton John, Tedeschi Trucks Band and the like, then you’d probably be better off exploring Great Divide, don’t you think? Yeah!
Funded by a successful Kickstarter campaign, Great Divide is a evocative, soulful rock n’ roll record in the old fashioned way. In other words, it is as smooth as you like, bringing together a veritable buffet of influences, spanning soul, folk, country, pop and rock with the dynamic horn section providing the proverbial icing on top.
First-rate musicianship, competent songwriting and the honey-dripping pipes of Teddy Grossman make Great Divide, essential listening for the true-blue pop-rock fans out there. How can one argue with genuine articles like the slick opener “Ain’t No Roads”, the lush “Easy Chair”, the gospel-tinged “Moorie” and the Stevie Wonder-channeling “Shine”? Simple, you don’t!
I am a people pleaser. Chronically so, in fact. Sometimes it hurts so much to realize that another human being actually hates me that I lose all rationality and respond in the wrong manner. Two wrongs don’t make a right. But in the final analysis, I’ve come to understand that you just can’t please everyone, no matter how you try.
My inherent inferiority complex and low self-esteem have been the bane of my existence but one truth I’ve learnt is that I can never control the way another person thinks or feels, I can only control my own response to this person’s opinion. Of course, there have been challenging negative experiences that have tested this principle to the hilt and whilst it has always been difficult to navigate those stormy seas, I think I arrive home, safe and sound at the end of each voyage.
The S-ROCK scene is nascent but growing. There are many players who are doing their part in their own way to improve the scene for musicians. The authorities are also involved in this process. It isn’t easy by any means – so much emotional and historical baggage to overcome but nothing worth fighting for ever comes easy. Scour through social media and you will, of course, find the ‘haters’ – folks who post potentially libelous statements against these players (yours truly, included) making accusations that are plainly inaccurate and unwarranted. Conduct a simple online search and you will discover these defamatory posts easily.
What can we do? Do we resort to legal means to protect our hard-earned reputations? Certainly, we would be legally entitled to do so but what good would that do, ultimately? Do we fight fire with fire – by posting similarly hateful statements targeted at these ‘haters’ – to name and shame them?
No, we take the higher ground – we simply ignore them. Not entirely of course – which is the whole point of this op/ed. If you’re reading this, dear ‘haters’, I would humbly ask that you would consider spending your energies in more productive activities and stop your futile personal attacks, especially if you truly love the S-ROCK scene. No good can ever come out of this course you are taking. Of course, this is a ‘free’ country and whilst you are entitled to your opinion, at least show respect to a fellow human being, if nothing else. Let’s agree to disagree but kindly stop the personal attacks. Thank you very much.
1st April to 5th April 2013 | Yellowbox Studios, 1 Ubi View, Focus One, #01-19, Singapore.
SGMUSO are presenting four Singapore bands, the fantastic opportunity to record with the legendary producer Steve Lillywhite. Lillywhite will select from submissions, three bands with SGMUSO selecting one other band, to join him on Monday 1st April to record LIVE. From this recording session, Lillywhite will critique and select one band from these four, to spend the rest of the week to further record material whilst the other three bands will be able to observe some of the following 4 days of recording. There will be other potential opportunities announced for these bands at a public event called SOUNDcheck (details to follow).
Joining Lillywhite for this Production Week will be three Singapore producers who will be mentored by Lillywhite, with these producers being matched with the remaining three bands to come back to Yellowbox Studios at a later date to mentor and record one track each. These recordings will be further critiqued after completed via a video call with Lillywhite, the Singapore producer and band members present.
Bands submit by sending one song, one picture, one-page bio and a paragraph on why they should be recorded by Lillywhite Friday 15th March and closure will be end of Friday 22nd March
The Production Fee for the selected bands, is subsidised from S$6,000 by e2i, SGMUSO, WDA and Yellowbox Studios and will be $500 per band who are members of SGMUSO (the subsidy is for Singaporeans/Permanent Residents only).
This production week will give the selected Singapore bands, a chance to be around one of the top international producers in the world and help them develop their music craft. The producers present will also gain greater skills in production through the mentorship of Lillywhite. SGMUSO will be documenting throughout and posting via social media throughout the week and follow ups thereafter.
The week-long activities will culminate with a new initiative from SGMUSO called SOUNDcheck. SOUNDcheck is to develop a deeper advocacy of Singapore music by providing an update for key advocates such as media, promoters, venues, labels and other music companies. Details on SOUNDcheck to follow.
What is the latest update for EMO FASCISM, my first solo album? Well, at the moment we have final mixes for about 70% of the songs and the album should be ready by the time, I perform with The Groovy People at Artistry on July 31st. That’s the plan, anyways.
But I am getting ahead of myself. April 26th at Home Club will be the first appearance of the ALL-NEW, ALL-DIFFERENT, GROOVY PEOPLE and I am glad to announce the line-up –
PATRICK CHNG (lead guitar), RAY AZIZ (drums), NELSON TAN (bass) and BENJAMIN ANG (keyboards).
All amazing ARTISTS in their own right, I am blessed by their contributions and so far the rehearsals have been great fun! I intend to play as many gigs in support of EMO FASCISM when it is released in August 2013 and I really would appreciate all your support for this endeavor.
At the end of the day, the continuation of The Long and Winding Road of being a musician is really about fulfilling my dreams but I am also mindful of the great people who are along for the ride. So stay tuned for more information as it becomes available.
Fans of The League of Extraordinary Gentlemen will be excited to find out that creators Alan Moore and Kevin O’Neill have delivered a spin-off story not long after the end of the Century trilogy. Published jointly by Top Shelf Productions and Knockabout Comics, this is how the publishers have summarized the plot for your easy consumption —
It’s 1925, fifteen long years since Janni Dakkar first tried to escape the legacy of her dying science-pirate father, only to accept her destiny as the new Nemo, captain of the legendary Nautilus. Now, tired of her unending spree of plunder and destruction, Janni launches a grand expedition to surpass her father’s greatest failure: the exploration of Antarctica. Hot on her frozen trail are a trio of genius inventors, hired by an influential publishing tycoon to retrieve the plundered valuables of an African queen. It’s a deadly race to the bottom of the world — an uncharted land of wonder and horror where time is broken and the mountains bring madness. Jules Verne meets H.P. Lovecraft in the unforgettable final showdown, lost in the living, beating and appallingly inhuman HEART OF ICE.
As usual, Moore strings together characters from various fictional universes (in the public domain, of course) to weave his own distintive story. This time around, we find ourselves in the pulp fiction world of the 1920s, when science-adventurers captured the imagination of its reader. Moore uses his 56-page allotment economically, setting up the conflict quickly and resolving the same with a deft touch. It’s basically one big chase scene across the frozen wastes of the South Pole before both pursued and pursuers get their minds blown by the horrors torn from the pages of Lovecraft’s In The Mountains of Madness.
These frightful conjurings are brought to life by O’Neil’s wide-eyed angular illustrations. The grizzled features of Janni’s henchmen contrasted greatly with the relative youth of the young Captain. And once the crew slips into Lovecraftian territory, O’Neil is adept at delivering horrific representations of these classic monsters as well.
Good pulp-ish fun all round in the grand LOEG tradition. Not to be missed!
“NEW YEAR, NEW PLACES, NEW FACES TO MAKE BABIES WITH”
I may secretly – unknowingly even to self – be a punk rock music fan – just a little bit, admittedly.
Originally, I had my reservations. Openly, I am not a fan of All Time Low, and long had I moved on from the mainstream, ready-made radio-friendly formulae. The concert venue added some additional icing on the cake – the last concert-going experience spent at The Coliseum, Hard Rock Hotel was for Nelly Furtado, and waiting two hours in line for a show to start could have very well tested my patience to a whole new all-time low (pun shamelessly and completely intended). I should’ve and would continue to stay the night with my guard let down, thankfully.
First thing one notices when listening to Natalie Hiong‘s new EP is the sound production — a marked improvement from her debut EP certainly. This time around, everything one hears seems more organic and more ‘human’, and it’s much easier to get into the songs itself. Natalie has also improved in the vocal department and extended her range of singing styles as well. No longer relying on the cutesy little girl vibe of her debut EP, one senses that this is a chanteuse now coming into her own.
Treading on partially wet grounds for my first concert-going experience at the west side of Singapore, The Star Performing Arts Centre served as a blooming fresh outlet for events of sorts. Despite the grandeur of the new environs, it was let down somewhat by the spectacle of snaking (really year of the snake, isn’t it?) queue lines at the ticketing counter .
Judging by the response at the Esplanade Concert Hall on Tuesday night, Ellie Goulding’s first performance in Singapore was an undisputed success.
The full house consisted of a good mix of young tweens and older hipsters, who eagerly lapped up her every word and note. Even Goulding herself repeatedly remarked at her awe and surprise with the number of people at her first show here.
Starting off the night with songs mainly from her recently released sophomore album, Halcyon, such as “Figure 8” and “My Blood”, Ellie Goulding blew us away from the very start with her beautiful voice. It was amazing to hear the entire audience sing along to the chorus of “Guns and Horses”. However, it took some time for the sound engineer to get the mixing right, as it was difficult to hear her voice over her backing track in the beginning.
Also, it appeared that she took a while to adjust to the stage, only moving around to interact with the inviting audience after taking awhile to get used to the venue.
Goulding was not fazed for too long though, and one of the most memorable segments of the concert was when she slowed things down with tracks like “I Know You Care” (she admitted it was about her father) and “Joy”. The audience was also in for a special treat as she sang a wonderful cover of Elton John’s “Your Song”.
Picking things back up with harder hitting songs “Only You” and “Salt Skin”, Goulding gamely danced in her sheer dress through these songs, eliciting more cheers from her fans. During other parts of the show, she also treated the audience to performances of “Hanging On” and “I Need Your Love”, which she wrote with Tinie Tempah and Calvin Harris respectively.
Most of all, it was impressive to see how she took her music to a whole new level with her live show. Her music sounded so much bigger, expansive, richer and complex live than on her studio albums. Moreover, her live energy was explosive, even reminiscent of Hayley Williams (of Paramore fame).
All in all, Eliie Goulding had great charm and clearly enjoyed performing, and her infectious energy in turn made it especially fun and enjoyable for all present. With “Lights” as her final euphoric song, she left everyone without a doubt that she could just very well be the reigning queen of the current crop of synth rock songstresses.
Thanks to Dan Gordon (Now/Live) for making this review possible.
Nothing quite compares to a British pop band trading in the fine legacy of Britpop and being able to make the connections between The Kinks and Blur and beyond. Instant Species has been around since 1997 and according to its official site, “we’ve made music we love, played gigs to entertain people and released records with an enormous sense of pride. It’s more than a hobby but it’s far from a career and it’s always fun. We don’t have a “plan” or “bid to be” anything other than 4 blokes playing some music we hope is half decent.”
More than “half-decent” I’d say — This Rome… is the quartet’s new album (#8) and it is chock full of catchy tunes, spiky rhythms and an edgy pop smart attitude. It’s clear from songs like the languid “Rise of the Idiot”, the bouncy “Simple Repetition”, the chirpy title track and the garage-y “I Need A Little Help” that the band writes and records the kind of music it loves without any thought about trends. Essential for fans of classic British pop music.
No frills melodic rock n’ roll is the only item on the Hot Nun agenda and why the hell not? With a bio that declares that rock is not dead, Jeff Shelton (guitars, vocals, bass) and Braden McGraw (drums) keep things simple and straightforward on this eponymous debut. With eight songs that celebrate “The Spirit of ’76”, the album is aimed directly at classic rock n roll lovers and fans of Cheap Trick, KISS, T. Rex and Glam-era Bowie. Rollicking numbers like “Who Do You Love” and “Fight Fight Fight” will get adrenaline pumping easy enough. No denying the sheer power of this uncanny album, with the faithful rendition of Bowie’s “Queen Bitch” the perfect touchstone of what Hot Nun is all about.
It is a good time to be involved in the S-ROCK scene. Interest in the scene is definitely growing as the media gives it attention it properly deserves. More releases, more gigs, more open mikes, more bands, more venues…more, more, more! In the last two weeks, I managed to witness two launches – first, by Another Sunday Afternoon and last Friday, by Obedient Wives Club. These bands are very different in terms of musical approach and execution but share the same passion, talent and ability to touch and thrill true-blue music lovers. Also worth considering – the fledging outfits that opened viz Victoria Street and Rocketswan, interestingly enough, both female-fronted! Exciting times, indeed.
Six years in the making, the sophomore effort of The Great Spy Experiment arrives with the band a completely different entity to what it was when I first met Saiful, Fandy, Song, Khai and Mag in the rehearsals for Singapore Day in 2007. Interim period has seen marriages, children and daily challenges with the ubiquitous work-life balance. Factor in the creative musical need of recording artists and things no doubt become complicated.
“Dare” is the first track to be made public from the Emo Fascism recording sessions which took place mainly in September last year at Patrick Chng’s excellent home studio. The album will consist of ten tracks (with two bonus tracks on the CD) and for the most part I wrote, sang, performed and produced the lot with Patrick engineering, mixing and mastering the recording. Only one other musician played on Emo Fascism (“Dare” to be specific) and I am proud to say that it was none other than Daniel Sassoon.
Daniel has of course, in the past, been closely involved with legendary S-ROCK bands like Livonia and Electrico. Of late, Daniel has been leading the instrumental rock outfit – In Each Hand A Cutlass – and is renowned for his talent and skill on the guitar. Sometime back, I had finally recorded a proper demo of “Dare” (which has been kicking around for decades – I shit you not) and sent it to Daniel for feedback. What I got was an offer to contribute guitar ideas to the track and I jumped – didn’t need to asked twice! So earlier this year, Daniel laid down his amazing guitar lines (and a mind-blowing solo) for “Dare” in a fecund three-hour session at Thom’s Loft.
And now you can hear the results! I am particularly proud of the final product and I am so excited to be able to share the first fruits of our labours with you all. If you liked what you heard, I hope you will share the links on your respective social media platforms and spread the word around! That would be so cool and greatly appreciated! Remember – Emo Fascism is due for release in August 2013.
The French rock n’ roll band known as Fuzzy Vox behaves as if no new music was made after 1969! This myopic vision provides incredible focus as this five-track EP amply demonstrates. The music here is simple yet powerful, straight-forward and visceral. If push came to shove, probably the most accurate reference point would be the first Stooges album. Sure, one could also point to the influences of the mod greats (The Who) and blues-rock legends (The Rolling Stones) but there’s a basic garage-punk energy that suggests Iggy and his band of freaks held greater sway. In the modern context, The Hives come to mind immediately and every other garage-punk revivalist you would care to mention. The scintillating cover of Jerry Lee Lewis’ “Great Balls of Fire” provides a clarity of purpose, translated well on the meaty title track, the beaty “Same Old Story”, the big “I’ll Be Gone” and the bouncy “Hurricane”. Pure & easy.
Listen to “I’d Be Gone” and the rest of the EP at Soundcloud.