Distorted NoteS

New review: The Berzerker's "The Reawakening"

noreply@blogger.com ("Jack") — Sat, 08 Nov 2008 06:36:00 +0000

You can find the new, and long overdue, review for The Berzerker's "The Reawakening" album at my new "DNS" site.

Distored_NoteS

New Website... updated!

noreply@blogger.com ("Jack") — Mon, 22 Sep 2008 06:15:00 +0000

www.obscurehaven.com/distorted_notes

That's going to be the new home for "Distorted_Notes." So far, I've transferred all my previous posts and I'm going to start work on my new reviews for albums from The Berzerker, The Haunted, Amon Amarth, and a few opinions on the pros and cons of purchasing cds in an mp3 age and maybe a few thoughts on where music business is going in today's economic depression. So stay tuned, I'll continue to update this page until all the bugs and widgets have been loaded to the new "DN."

- j

new site coming soon

noreply@blogger.com ("Jack") — Fri, 19 Sep 2008 02:54:00 +0000

Slowly, but surely, I'm transfering "DN" to my new hosting and site. It will be an extension of my personal site so I'll transfer every post over and make improvements here and there. For the time being keep coming here for more posts but soon it will be at www.obscurehaven.com.

- j

Metallica - Death Magnetic

noreply@blogger.com ("Jack") — Fri, 05 Sep 2008 07:22:00 +0000

Before I begin with my review of Metallica's newest album, "Death Magnetic", let just get all the nasty, ill-willed statements out of the way so you can continue to read my review with a clear mind. So first off we know the following about the album:

1) The cover is really a cover up for one huge gaping vagina.
2) This could be St(.)Anger part duex.
3) James is now a pussy and doesn't believe in drinking, drugs, or multiple amounts of hot pussy (this according to the last video I saw where they depicted a man in his prime drinking and ending up with nameless women and feeling bad for that).
4) Lars can not drum worth a shit and is still a cocksucker.
... and lastly
5) Why the monkey crawling bassist?

O.k. now that you had a few chuckles, hehehe monkey bassist, I'll start set up for this review of what has been a highly awaited release; not because its another release by Metallica but because of the morbid curiosity to see if they could sink any lower than "St. Anger." I remembered reviewing "St. Anger" for the Ultimate Metal forums and I pretty much bashed it, not because I hated the drum sound or because the lyrics where about the most kindergarden-esc thing I've ever heard but because the album was... well... horrible on all accounts and more so. So when word came down that Metallica was recording a new album with Rick Ruben, not many people found hope in that combo, in fact the bashing began as the word "Metallica" was printed.

But, "Death Magnetic" is a different story... it is actually the complete opposite of what "St. Anger" was from a production stand point, lyrically, and from a musicianship's stand point as well. What we hear on this album is actually a "REAL" band playing, unlike in "St. Anger" where it was really just a singer/guitarist and drummer trying to find a place in the wave of current metal trends. The album actually has a VERY, and I'm not using the word lightly, power beginning with the song "That Was Your Life." The opening track is actually the "grooviest" thing I have heard from Metallica in years, maybe dating back to "Reload" or even "The Black Album." The following tracks are nothing less than Metallica covering their late 80's selves, which to some is a bad thing but to others is a good thing, where you stand is completely up to you.

What surprised me to see on the track list was "Unforgiven III", which apparently I thought was a joke but is actually a decent track. This version of the "Unforgiven" saga is probably the best predecessor to the original because of its emotional highs and lows and is probably the most "beautiful" song on the album because of its emotional honesty that the piano, strings arrangements, and structure bring. After "Unforgiven III", its full speed again, well... mid paced speed, and one thing that I noticed that note many will mention is that each song is no shorter than 7 minutes. This album is really not "radio friendly" in terms of length and I this is in part to the massive amounts of guitar solos and solo riffing sections, "The Judas Kiss" being a great example of riffing madness.

Overall, I actually enjoyed the album and this is coming from someone that was so against "St. Anger" that I completely wrote off Metallica as a band period. I can honestly say that listening to "Death Magnetic" reminds me A LOT of "... and justice and for all", something in the guitar tone or song structure was recaptured but whatever the case I can say that "Death Magnetic" is the 180 degree turn from "St. Anger" towards a good/rejuvenated band with actual spirit and lust for playing music.

So that is my point of view so love it or hate it, music is music and if it doesn't appeal to you the so be it; the beauty of music is its subjectivity.

Jack has a podcast!

noreply@blogger.com ("Jack") — Thu, 07 Aug 2008 08:15:00 +0000

Well, I decided to try making a real podcast of stuff that I've been digging on for a while. So, while I'm still new at it, I'm gonna try and do some more podcasts of all different types of generes to really get this blog itchin. Also, I'm going to switch this, in due to, over to obscurehaven.com but for the mean time just groove on the tunes and the reviews.

Detritus - Fractured

noreply@blogger.com ("Jack") — Fri, 04 Jul 2008 07:18:00 +0000

As many can see, and according to older posts, I am a metalhead turned dubhead or dubstepper whathaveyou. So I'm always on a look out for interesting, moving, exciting electronica or dubstep. So when I found this album, "Fractured" by Detritus, I didn't know what to expect. The caption for the review said that it was a "Downtempo, ambient, and cinematic" but when I upon hearing the album, I can honestly say those tags are just a short hand for what really goes on in the album.

The album starts off very powerful with the opening song, "Desolate (5-HTP Mix)" with its almost break beat style drumming and Arabic vocals leading the song forward. The song its self is very energetic and soothing in some aspects. The following track is more industrial sounding with raging guitars, epic synths, and breakcore drumming. Now not all of the album is "breakcore-ish", tracks such as "Lethe", "Interrupted", and "Dancing on Moonbeams" are the albums most beautiful works of art. Those songs are the chillest, warmest, relaxing songs you could ever hear.

The album is concluded with two remixes, one from DJ Hidden and the other from Keef Baker, that fit very well and do their respected songs justice. This is one seriously well done album that every electronica lover needs to have in their IPOD, car, stereo, PC, whatever device that regenerates sound. This is surely a classic in the mists.

Venom - Hell

noreply@blogger.com ("Jack") — Tue, 17 Jun 2008 04:55:00 +0000

“Lay down your soul to the gods of Rock N’ Roll!” Those are the words EVERY single person remembers when hearing the title track to Venom’s sophomore release “Black Metal.” Those words have always been kind of true in terms of Venom because of them coining the now infamous term, “Black Metal.” But, when you talk about Venom you cannot help but get into the whole discussion of who started “Black Metal” whether it was Bathory, Pentagram, or even Black Sabbath (I’ve heard people use the Black Sabbath argument).

But after so many “Black Metal” bands such as Cradle of Filth, Dimmu Borgir, Emperor, Mayhem, Darkthrone, Burzum, and so on and so on, Venom as a band kind of faded away leaving the term, the image, and the attitude for the newer bands to take and make their own. Slowly, but surely, Venom had tried to stay revelant to the metal world, not the “Black Metal” world, with albums such as “Cast in Stone”, “Metal Black”, and now “Hell.” While Venom no longer really consists of the original members, Cronos being the sole leader and foundation, they have still have not let up or changed much of the ideologies that they began with.

“Hell” is very much a heavy album with very moody overtones, which at times, taps into a more “Doom Metal” emotion. At times, the album reminds me of Slayer’s “Diabolus In Musica” with the slow, droning riffs, heavy and prominent bass, and double bass drumming. The lyrics still hold true to their Ideology of doom, Armageddon, death, and anti-Christianity. In reality, very little has changed in the bands style, maybe a modernizing of playing, but this album actually fits pretty well within todays “Metal” world.

Moshpit - Follow the Loser

noreply@blogger.com ("Jack") — Mon, 16 Jun 2008 07:07:00 +0000

It's been a while since I've taken a look into the "Gabba" scene but apparently its still brewing with intensity. Although, I really find alot of "Gabba" pretty annoying and redundant (same hi hat, 909 kick, and drum pattern) every now and again I will be taken back but something "fresh" from that scene.

When I was introduced to this industrial techno band from France, I was reminded a bit of the old Berzerker records. This band, "Moshpit" uses a different variety of drum styles, from Drum and Bass to Dance to Gabba, but throw in some metal riffs and hardcore growls for good measure. The mix of different styles fuses pretty well together and works pretty well to represent the "Gabba" style. The only thing that kind of bothers me a bit is the clean vocals that are thrown in at times; with the musical direction and the clean vocals I am reminded of Orgy so much that its a bit laughable.

Overall, the album is pretty solid and enjoyable. Its something new to my ears and, for the metalhead inside, its refreshing to hear because it has the attitude and abrasiveness that you find in metal. The band recently signed to Industrial Strength Records, which is own by Lenny Dee who is a master of the Gabba scene, and they have, since the release of "Follow the Loser", released an Ep on that label that makes their "Gabba" side stand out a bit more than on "Follow." Sadly, you won't be seeing this band states side or any where else beside Europe, especially France, but with any hope, you never know.

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Star of Ash - The Thread

noreply@blogger.com ("Jack") — Wed, 04 Jun 2008 07:34:00 +0000

When I first heard of "Star of Ash" it was during my phase of finding any and all different kinds of black metal. That search lead me to discover "Peccatum" and "Source of Tides" and for a while thought they were the greatest thing up until I heard "iter.viator." The album was Heidi Solberg Tveitan (aka Ihriel from Peccatum and wife to Emperor's Ihsahn) first and probably the most impressive album I've ever heard. The "iter.viator" album featured a mixture of electronica, ambient, classical, jazz, and even a bit of goth industrial to flesh it out.

For her newest album, "The Thread", Heidi seperated herself away from the goth industrial feel to a more classical and at times "folkish" style. You can really hear a lot more heart and emotion coming through in this album than the previous release which makes this one a bit more personal to the listener. The style is less electronic as well but this again is due to theme being that personal it seems to Heidi.

Of course, her past grants her access to some of the greatest musicians in all of the industry. The album features some special guest appearances from Garm (aka Trickster G) from Ulver to Markus Reuter to Kenji Siratori. Each track has great flow, almost like a poem, that ends in a very somber note; one of the greatest highlights of the album is the song "Crossing Over" that features a Garm on vocals.

This truly a work of art in terms of music. Each song portrays beauty, sadness, and soul in a way that will touch your soul.

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Who said techno can't be brutal?

noreply@blogger.com ("Jack") — Thu, 24 Apr 2008 02:22:00 +0000

I just got back from driving around LA listening to what some may call a "blasphemy to the metal scene". It's funny to think that the most dedicated "Metal Heads" will toss aside a genre that is based off of "Metal" but at the same time retaining its unique and fascinating features. This genre that I speak of has no hyphen placed along side the word "metal"; the easiest way of describing the genre is to simply spell it out each component that makes this specific genre stand out, at times even brighter than any metal genre.

It was about 6 years ago and I was still discovering my way through all the different metal styles that began presenting themselves to me. At the time, I was very much into Black Metal and finding my way through Death Metal into Grindcore and my friend sent me an mp3 of a song called "Reality" by a band called "The Berzerker". He told that it was the freshest and most chaotic thing he has ever heard and when I heard the track I couldn't believe my ears. I had to listen to the track a couple times over because I couldn't believe a drummer could snare and bass pedal that fast. I was floored when I learned that "The Berzerker" was using a drum machine and effects to create a noisy, distorted sound for the drum kit. Soon after that, I started to find his older material that consisted of a more "Dance" oriented feel but with ripping guitars and growls that could slaughter any typical Death Metal band in half.

For years now, I've held The Berzerker's older albums as some of the best examples of how, with creativity, metal can be extended beyond the usual punk, industrial, and grindcore genres. About a month ago, I stumbled across a project called, "Drumcorps" which was comprised of Breakcore, Drum n' Bass, and Hardcore-Metal. It was created by a single person, Aaron Spectre. Apperently, he has a great love of electronica, death metal, funk, and jazz. But on the "Drumcorps" project, he takes his love for grindcore, hardcore, and electronica and fuses them together to make a sound that, on more than one occasion, brutalizes harder than any grindcore song I've ever heard.

I could say exactly the same thing for Bong-Ra and his "Full Metal Racket" album but when I heard that album, I heard more originality in terms of taking his own vision of metal into his own hands. The difference between the Drumcorps album "Grist" and Bong-Ra's "Full Metal Racket" might be that "Grist" is samples based and "Full Metal Racket" sounds actually played to some extent. Hearing albums like these give me a small preview to what metal might evolve into later on down the line' the days of a metal band consisting of guitars, drums, and bass might start to dwindle down to a mic, a guitar, and a sampler.

Growing up a "metal head", I would look down upon a genre that didn't have its own people actually playing their parts on the song. But, once you get a chance to see how these artists create just the sound alone, its amazing to think that most people could actually not take them serious because the amount of time in creating a minute of music is very time consuming. You also have to give these artists a lot of credit due to the level of creativity for presenting these songs in the way they created them; did you ever think you could hear a song with samples of a man talking about how he enjoys the act of necrophilia in front of a crowd? Genres like these, artists like these are the ones pushing envelopes and pushing traditionalists down and leaving them in their dust.

Cryptopsy - The Unspoken King

noreply@blogger.com ("Jack") — Sun, 20 Apr 2008 03:40:00 +0000

"Who are Cryptopsy trying to appeal to here? This is easily the most bizarre case of 'selloutitis' I've ever witnessed..." - MA review #1

"If you must listen to this album, borrow or steal it. Do not encourage or fund this shitty band." - MA review #2

"The poor attempt at deathcore isn't really the main problem, though. I'm sure most readers were familiar with Flo's terrible attempts at justifying this album, explaining something along the lines of 'no one has ever put such an open minded mix of FEELING into extreme metal', or some sort of crap along those lines anyway. Well, I guess the reason why no one has is that the end result sounds like shite..." - MA review #3

"We all knew we were doomed when Lord Worm left Cryptopsy again. Flo Mounier must really be on something, because he hired a singer from one of the millions of unoriginal metalcore bands. This singer comes from 3 Mile Scream, which basically explains enough when it comes to predictions on the vocalist. They also recruited a keyboardist, but why did they? I can barely hear any keyboards at all. Oh, I get it, it's all for show because the keyboardist is a female. It doesn't matter if she's as talented as Mozart or a braindead monkey, it's completely useless." - MA review #4

What you see above are just some of the opinions for Cryptopsy's newest album, "The Unspoken King". I really didn't want to jump to any conclusions, although its very easy to do so with the announcement of the new singer, keyboardist, and two unflattering demo leaks, but I've been a fan of the band for a number of years and as music lover, sometimes the harshest reviews can be one sided and with that people miss out on some great songs. But, when it comes to Cryptopsy, as a metal fan, you can expect a few things right of the bat. Flo Mounier (drums) is always expected to create some of the wildest, most complicated drum patterns in all of the death metal, and that could be heard in their previous album "Once Was Not", but in this album it seems he took more than a day off; the same could be said for the rest of band as well.

The usual formula for Cryptopsy is technicality, brutality, and speed but it seems that upon hiring Matt McGachy (vocals) the musicianship downgraded to closely fit McGachy's vocal style. McGachy does have a nice vocal range in that he can hit highs, mids, and lows but the pattern in which he is more focused on is the typical American Hardcore style, that stop-n-go, chugg chugg chugg pattern, and if you know Cryptopsy's style, and know their most prolific album "None So Vile", then this new style would not sit kindly with a fan of that era or even the Mike DiSalvo era. Matt McGachy also incorporated the clean vocal style, not once but many times, in this album and to hear that in conjunction with the name "Cryptopsy" is very much so an oxymoron. But given the attempt a chance, it would have worked if, and only if, it wasn't done under the Cryptopsy name.

As for the musicianship, the entire album is completely mixed up and indecisive. At times, you hear "cryptopsy" peeking through and for the rest of the time you hear a completely different band entirely. This is what leads the listener down a very unfavorable road because you are literally fighting your emotions to either love or hate certain sections and pieces that, if extended, re-written, or re-arranged, could make the song memorable. I'll be honest, the entire album is very forgettable because even though there are small hooks and a few nice riffs, the entire album is unfocused and self defeating. If you give this album change, you could find, at best, two songs that could be considered "singles" but the rest of the album is just a very painful to listen to and I wouldn't recommend it to anyone in the metal community, for that matter even the hardcore community.

I think its pretty sad that Flo has derailed his own band by simply not starting a new side project to express his new found musical influences. I could see this music working to some degree under a different and by also removing any and all parts that resemble "Cryptopsy". The only thing that the album needs is focus, direction, and time, and by time I mean time for Matt McGachy to develop his vocal range, for new keyboardist Maggy Durand to find herself and not hide underneath the mix, also a few piano lessons wouldn't hurt, and for Flo to come to a conclusion that the drummer doesn't need to be overly complex and technically. I agree that sometimes simple is better and well Cryptopsy has never been a simple band but I think a vacation from the name/image would be best for Flo and anyone else that has been through all the turmoil of the recent years.

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Nasum - Doombringer

noreply@blogger.com ("Jack") — Sat, 12 Apr 2008 02:19:00 +0000

I looking around for info on Nasum a while back and saw a quote praising and hating the band. I was relatively new to the band so I couldn't really understand why the love/hate sediment but upon hearing "Human 2.0" I could understand why. Nasum had it all, ferocious energy, angst, groove, power, and an intensity that is, to this day, unmatched by any other death metal, grindcore, or crust punk band. The lose of Mieszko Talarczyk in the 2004 Thailand tsunami disaster ended the band but the legacy left behind by this band is legendary. This is evident in the "Grand Finale" compilation, that was compiled and slaved over by Anders Jakobsson, which featured every single Nasum ep, compilation tracks, and unreleased session tracks from each album.

Nasum was today's most influential band and had made such an impact in the extreme metal scene in such a short time. They toured all over the world, toured with numerous bands that they influenced and bands that influenced them. Their most memorable tour was with Napalm Death, they both toured Europe and Japan but the show in Osaka, Japan was a special one, one could even say magical. In the linear notes for "Doombringer", Anders talks about how their sound tech was recording that show via his little mini disc player from the soundboard. Nasum was always been able to capture their intensity in the studio but for some reason when it comes to recording their live set, something just never came out right.

"Doombringer" is Nasum's final release and the last documentation of a great band. I personally never got to see Nasum live and till this day I kick myself in the ass for not taking the opportunity to see them, but this record is a prime representation of what Nasum offered their fans live; extreme sonic brutality. Mieszko's tortured vocals come across clean and Anders' drums cut through to create sonic noise. This is almost the perfect "Best of" album with every song being a fan favorite and unrelenting from the very start.

So why is Nasum hated? Well... their songs are short and to the point, unrelenting, chaotic, and almost perfect. It's sad to think that Nasum is no more, even though Anders started Coldworker and is a decent predicesor to Nasum but the legend of Nasum will always be there, in the extreme metal scene, in the spirit of the bands they influenced, and also in the bands that influenced them. Rest in Piece, Nasum.

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In Flames - A Sense of Purpose

noreply@blogger.com ("Jack") — Tue, 25 Mar 2008 07:31:00 +0000

The Swedish metal band that many love to hate is back with a new album entitled, "A Sense of Purpose." It's really to think that depending on which long hair you talk to, you get very mixed reviews ranging from subtitle praise to down right disgust; from what I gather the stem of hatred comes from simple progression in their sound. But for those that actually like the band, and have continued to follow the band through their musical changes, this album is really a step up from their previous album, "Come Clarity." Unlike "Come Clarity", this album is more spaced out in emotions with songs such as "The Chosen Pessimist" and "Alias." The album still features In Flames signature style but the newest thing featured this time around is Anders Fridén attempt at a more clean vocal. With songs such as "Disconnected" and "The Chosen Pessimist", emotion seems to be the focus of the album; this can be attributed to Anders' clean vocal in verses and choruses.

Aside from emotion, In Flames still focuses the usual energy and intensity that they are known for. "I am the highway" and "Sober and Irrevelant" are stand out tracks that provide the perfect intense "groove" to push the album forward to its conclusion. The album's single, "The Mirror's Truth", is a perfect track to start the album because it sets up the pace, the song starts slow and then blasts into full drive in a blink of an eye.

"A Sense of Purpose" is actually one of In Flames' better "post-death metal" albums and for those that actually give In Flames a decent chance will find themselves enjoying the new little features that they chose to throw in this time around. The album has several standout tracks, personally, I think the most memorable track is the epic "The Chosen Pessimist", that will play very nicely when In Flames begins to incorporate them to their live sets. The time for In Flames isn't over yet because the energy and emotion they have come to be known for is still present and stronger than ever.

Cavalera Conspiracy - Inflikted

noreply@blogger.com ("Jack") — Wed, 30 Jan 2008 04:48:00 +0000

I remember the roar of the crowd when Sepultura would start to play "Roots, Blood Roots" and "Territory", but it wasn't a Sepultura united, it was divided. I remember the energy around me in the pits when Soufly would bust into "Attitude" and "Beneath the Remains", but again... it was from a divided stance that those four songs would be played. It has been years, more than a decade, that Sepultura divided into two camps. The cheers for a reunion still go on till this day but some camps refuse its consideration but others chose to just spawn off and create a new deity; thus "Cavalera Conspirary" was born.

"Cavalera Conspiracy" is the newest spawn from original Sepultura founder, and Soulfly creator, Max Cavalera but this time he isn't alone on his venture. He has reunited with his little brother, Igor Cavalera, to form a monster that can only come from the special bond that both these brothers have for one another. The special bond, or magic if you wish, that these two have is what fed the energy and excitement into Sepultura. For years, fans across the world have been waiting for those components to return to the name that many heavy metal fans hold dear. Alas, it only returns in a form that chooses to show its creator's bond than an old deity that many hold fond memories of.

From the first track to the last track, what the listener gets is a sonic barrage of distorted guitars, heavy and groovy melodies, and that special "energy" that these two brothers output. The first track tracks of the "inflikted" album shows the Cavalera brothers heading towards a more modern metal approach, don't think metalcore or anything of that nature, but still has that fusion of the old "Sepultura" ways. But that's only for the opening tracks, once you get into the real meat and bones of the album, you are treated to variations of styles such as hardcore, punk, and at times even a little Morbid Angel-esque style of Death Metal; this can be heard in the track "Dark Ark". The thing that surprises me about this album is that there really are little to no "stops" or slow moments. For example, the track "Hex" is a straight up, in your face punk, thrash jam that is unrelenting from beginning to end. And then the following track, which features Richie Cavalera, is a total mosh song with a power groove that sticks with you and actually makes you wish that the song didn't end.

This is a really great album for those that wish the current Sepultura would return to the old "Chaos" days and for those that wish Soulfly would return to the old Sepultura ways. but this is really a special album because it, in reality, is a record that displays the love and specialness that Igor and Max hold for one another. In some interviews, Max has said that this record happened only because he and Igor settled their family rifts first; the music came second. So this is really an album rooted in family love and not one just for the sake of making a heavy, fast, or thrashy album. This is one for themselves and not anyone else. So I highly recommend that if you love Sepultura, Soulfly, or just plain out want to hear a great Metal, Thrash album then this the album to get.

La Mar Enfortuna - Convivencia

noreply@blogger.com ("Jack") — Sat, 26 Jan 2008 09:29:00 +0000

La Mar Enfortuna, this is a beautiful group that features "Elysian Fields" singer Jennifer Charles and her husband, and band mate, Oren Bloedow. This is their follow up to their 2001 self titled debut. This album, compared to their self titled, is more melodic and, at times, dark. The songs are still sung in Ladino, which is a Judeo-Spanish language primarily spoken among Sephardic Jewish communities around Spain and Europe. This album is, at its root, jazz oriented but mixed with different mixtures of Spanish and traditional Jewish rhythm.

Some of the tracks that stand out the most is the track "El Eliyahu" with its almost trance-inducing rhythm and group singing that leaves you singing the chorus, even though you may not get the words correctly. Another standout track is "Dhen Me Toumbaris", with it's dark little chimes and almost classic spy film feel; in reality it reminds more of something you would hear coming out of an old 1970's French mystery film but you get my hint. And the most stand out track on "Convivencia" is "Aman Minush". This is where Jennifer Charles' talent is really shown. Her highs and lows on this track are mesmerizing that it leaves the listener completely in love with her alone. The track, itself, is very catchy but so perfectly suited with that traditional Jewish music touch. But, as I mentioned, this track completely shines due to Jennifer Charles' vocal talent.

La Mar Enfortuna's "Convivencia" is really one of those albums that when you hear it for the first time, you will not stop listening to it. Its beautiful, its dark, its sensuous, and very groovy. This album was released kind of late in 2007 but easily stands out as one of the best albums released in 2007. I highly recommend that you give this album a chance by previewing the aforementioned tracks and then pick up the album. You will NOT be disappointed.

Welcome to "Distorted NoteS"

noreply@blogger.com ("Jack") — Sat, 26 Jan 2008 09:26:00 +0000

I was sitting around one cold night, actually last night, and thought to myself, "why don't I do a blog of all the great music that I get a chance to hear?" So with that simple idea, I have started this blog that, I can hope, will expose you wonderful readers to exciting new and amazing music that is all around us but rarely find in stores or hear on the radio. So welcome and enjoy the site!