Never have I been inspired to use the words “brilliant” and “musicians” together, that is until now – or should I say once I heard “Prog”. These “brilliant musicians” that I speak of are called “The Bad Plus”, a jazz trio from the Midwest who play almost beyond my comprehension. They are far out, and not in the psychedelic way, but in the outer-space-later-years-of-Coltrane way.
“Prog” is their seventh release and is the first one that I have heard (where have I been, I know). Covering and interpreting Rock and Pop tunes is a specialty of theirs and there are plenty to look for on this CD. It is fantastic what they do with their originals too, I've never heard a 9 quite like this. They are creative with and in meters and I swear they make up their own sometimes, a secret language of musical communication. Maybe they don't always communicate with each other in meters, maybe its something us earthly folks haven't gotten to yet, maybe its in pictures or colors or impressions. They do call themselves a "Collective" ya know, humm. Well you certainly have to be together on this one.
Here are the tracks:
Everybody Wants to Rule the World – 4/4
REM cover – check out the drums on this, I think he goes some where in between Saturn and Neptune, but the piano keeps in close to earth (on this one).
Physical Cites – 5/16, 3/4, 10/8 (that’s what I got) plus their own collective meters
As opposed to the kind of cities in other dimensions that I am sure they visit.
Life on Mars – 4/4
See I told you they were from outer space – Bowie Cover, but they conveniently left out the question mark. Bowie was asking us if there was, I think the Bad Plus knows the truth there.
Mint – 4/4 + their own
(this song is annoying)
Giant – 9/8
Sedately beautiful
Thriftstore Jewelry – 4/4, 6/4, 9/8
(that’s how I counted it anyways, I think there is some collective meters in there) really cool bass groove ending
Tom Sawyer – 4/4, 7/8
Wicked cool deconstruction of this anthem – yep, the piano leaves earth a bit for this one
This Guy is In Love With You 6/8
Burt Bachrach tune
The World is the Same – 4/4
1980 World Champion – 9/8
Who knew jazz could be this fun? If you like just any old jazz, then I am not sure you will be into what The Bad Plus have to say. But, if you like to groove in new realms and if you like to hear true artists challenge your musical comprehension – then please – delve deep into these brilliant musical minds.
Keep Counting,
-Countess B
Move over Kenny G here comes Lindsey B
This is my kind of easy listening.
(Quite obviously this was a mis-categorization which I think has been remedied to Rock.)
Lindsey Boullt is a guitar player from San Francisco who has an impressive roster in attendance on this debut; Stu Hamm, Jerry Goodman (Mahavishu Orchestra), Jon Herra (Bass Player Magazine) and Mingo Lewis (Miles Davis) to name a few. “Composition” consists of ten compositions each with its unique sound. Each sound as if they were written with the history and styles of the musicians involved in mind. Lindsey has his own virtuoso style and remains diverse throughout. He is also an accomplished composer who likes to use odd meters which gets me to….…
......the obsession – here’s the tracks:
(Thank you Lindsey for your dissection.)
Page Revisited 5/4, 4/4
Chasing the Whirling Dervish 12/8
Moving Panvishnu 7/8
Calling for Peace 4/4 some 6/4, 2/4
Bravo Davo de la Torre 4/4
Aurora’s Aura 7/4, 9/4, 5/16, 9/16
Groovin’ with Stu 4/4
Taste of Hate 15/8, 9/8
Farewell 4/4
Cleopatra’s Third Eye 7/8, 4/4, 7/4, 6/4, 6/8, 9/8, 15/8, 10/8
He sure likes to keep it interesting. There is a diverse assortment of rhythms and feels on this album. I like the tasteful use of straight and mixed odd meters. I have to say, my favorite track is “Aurora’Aura”, not because of the cute name, or because of its mixed meters but it has succeeded in sounding like a resurgence of Mahavishnu Orchestra with a new guitar player. I also like “Page Revisited” and the use of the 12 string. Here comes Page that has practiced 12 hours a day and now knows 5/4. Also, the sitar playing is amazing and feels right at home on “Taste the Hate” and “Cleopatra’s Third Eye”. All of the musicians on this album are quite seasoned, proficient and have their own distinct style.
This album has succeeded in capturing the spirit of its musicians through composing and performance. It sounds as if, as Lindsey chooses his musicians, he hones in on their style/history and builds the composition around that. I wonder how much improv was going on it all sounded inspired yet pre-composed, a hard balance to achieve.
Lindsey Boullt is quite the shredder with his own style and sometimes reminds me of Satriani and sometimes Jason Becker. He plays for the music with out sounding like he’s taking a typing test or is a MIDI program. If you dig this genre, or are in the mood for some different rhythms, then this CD comes highly recommended (www.lindseyboullt.com). Add it to your cool easy listening collection.
Countess B
This is a good album- CD – musical work.
The Dillinger Escape Plan are who they are and there is no mistaking that. Like a dietary supplement, their music is a vital necessity to my creative wellbeing. A monthly dose is usually all it takes (unless I have been unduly exposed to the mundane) to liberate bits of conformed energy trapped in the recesses of my psyche. Their expression adjusts my alpha and delta brainwaves so that I may continue unobstructed on this creative path at this time and in this way. So, I am thankful for their new release to freshen up my supply.
“Ire Works” is their third full-length release and proves to a more a little more musical in their evolution. As always I enjoy their sporadic use of meters and even the tunes in 4 are cool -
Decoding Dillinger – this is how I counted it:
Fix Your Face - 6/4, 4/4 all over the place
Lurch all – mixed + over the place + don’t have time to figure out
Black Bubblegum - 4/4, 2/4
Sick on Sunday - 4/4 underlying, some deviation
When Acting As A Particle – 6/8, 9/8, 3/8
Nong Eye Gong – 10/8, 8/8, 2/8, 4/8
We Acting As A Wave – 11/8, 6/16 (ie quarter triplets), 13/8, 9/8, 4/8
82588 - mixed
Milk Lizard – 4/4, 5/16 +
Party Smasher – 8/4, 4/4, ?/16
Dead As History - 4/4
Horse Hunter – 8/16, 10/16, 4/4, 8/8, 18/8, 6/4, 5/8, 13/8
Mouth of Ghosts - 4/4, 6/8
They are still crazy as every …… or are they? Sometimes it is hard to tell whether or not a band’s initial energy that liberated them from the creative confines of the established still continue to fuel them creatively or they in fact are trapped by the machine they have made with it. As crazy as I might sound, there is a certain “safeness” to album. Who knows what pressures will do to the creative process, there are fans and contracts to keep, but I wouldn’t know anything about that. With the original energy that brought this band about, I would expect/hope just a little more deviation from their proven success. Although they are a little more musical and steady (4/4) on this effort, but maybe I was hoping for something a little more bizarre that worked. Anyways, they still blaze across the boundaries of the bar lines (as in notation, not in the club) liberating minds across the globe. Can’t complain about that, now can I? I can only hope that they continue on and don’t get too safe in their groove.
Off the bar lines,
Countess BetZe
Please don’t make me do it, I know that it can be difficult to compose and come up with an inspired end product… then have some chump review it. All of your hard work summed up in a paragraph by someone who probably has never written anything in their life… Well I have many times… so I am just going to say it….
This album is masturbatory. I listened to it I dunno maybe six times and every time I found myself getting bored… Me… when there is odd meters going on?? blah blah blah blah that is what I heard from the guitar, like he was talking some gibberish to himself and could care less to whom he was playing to or with. I said no, I have to listen to it again to at least count it out… then I got annoyed with all the guitar scaling repeating licks over and over again. There was no obsessing going on here, just with the off button.
In all fairness, I didn’t get to hear all of the songs. At the seventh track or so it kept getting stuck in my computer which caused it to freeze up a few times. Although I did enjoy some of the tracks off of his “Reality Check” that he sent at the beginning of the year, especially his singing. He sounds a little bit like Jimi Hendrix. Darryl Dobson is quite prolific and I would love to hear more songs with his voice on it. I can see with the right arrangements the classic guitar rock type of stations and listeners would pick him up. www.solarguitars.com
Countess B
The Fallen was a four piece death metal band based in Southern California and this is their first (and only) major label release. These fine fellas go back to my Berklee days (sans bassist). I think that incarnation was called Crestfallen. Anyways, when I started this station (Odd Time Obsessed) I was in need of material and I happened to find them on MySpace. Mark Venier (guit) kindly to sent me this and their second self released CD “Tones in Which We Speak”. Glad he did, they are excellent musicians using multi-meters quite naturally. 
Here’s the obsession:
Short Fuse 4/4, 7/4
Front Toward Enemy 4/4, 6/4, 7/4
Killswitch 10/4
In Loathing 4/4
The Hopeless and The Frail 4/4
Blessings 6/4, 4/4, 10/4
Shifting Our Vision 4/4, 9/4
From Fragile to Strength 11/4, 4/4
Eleven Years 4/4, 9/8
They give Death Metal a good name. I dig their meter use that is oh so flawless and the dynamics of the acoustic guitars. For the most part, they keep within the confines of the genre but also add a higher level of musicianship to it. They were headed to being masters of the Death Metal scene and probably would have succeeded with more promo and support. In my ears, it would have been nice to hear them expand out even just a little bit of these self-inflicted parameters. Maybe a chord scale here and there, sus 9 chord, II, V, I s and put to use some of the jazz/classical/bossa nova skills that I know they have. But none the less this is a great metal album.Unfortunately they are no longer together. It’s a shame when musicians of this caliber split… and nowhere to be found in the music world. But if you happen to see this album or anything by them – get it. www.myspace.com/thefallenoriginal
Countess B
I heart fred
Fred is a fun cool jazz/rock/fusion experimental band that was around the fringes in the late 60s/early 70s. With the magic of MySpace they have been brought to me. On a lucky (for all) day in 2000, one of their 45 rpm was discovered in a German flea market by World In Sound, an indie record label and shortly after, their music catalog was re-released.
Which one is fred? Actually the band is named after peace in swedish. Are they swedish? Don’t know, but it’s the 60s/70s what do you want? Anyways, fred (no its not a typo, they don’t capitalize it) did most of their creating and recording in and around Lewisburg, PA while some of the members attended Bucknell University then later moving to a farm. What cool music came out of that! Ah, what it would’ve been like to be there with those free spirits. Peter Eggers the keyboard player and composer was nice enough to send me the dissection of meter use. Thank you Peter for being obsessed as I.
His words…..
"Notes on a Picnic" 
Track 4: “Mantra” is heavy hypnotic fusion dosed with psychedelia
7/4 verse/chorus 6/4 guitar solo + 4/4 violin solo + 7/4 piano solo
Track
6: “The Head’s the Best Part” combines lyrical jazz/rock with the sweet harmonies of the Allman Brothers.
4/4 intro + 6/4 verse/chorus with alternating 6/4 and 4/4 solos
Track
8: “Chaos in the Conservatory” is a bunch of rock ‘n’ rollers wandering around the corridors of classical music.
3/8 + 2/8 and 3/4 + 2/4 and 6/4 + 4/4 plus a section in 5/4 Track
9: “Perverseerance” ” is visionary, perverted jazz rock
11/8 verse/chorus + 6/8 transitions with solos in 11/8
"Live at the Bitter End"
Track 3: “Freefall” is a wild fusion jam
contrasting sections of 6/4 and 4/4 Track 5: “Pachanga” (7:48)
3/4 + 3/4 + 3/4 + 5/8 verse/chorus with solos in 4/4
Track 6: “Cathode Ray Fantasy” is your brain on too much TV
6/4 + 5/4 and 4/4 + 4/4 + 3/4 (different divisions of 11)
Track 8: “Mucous Music” is “Psycho” meets Funkadelic, demented rock for an imaginary horror film
4/4 guitar solo + 9/8 violin solo with 7/8 + 7/8 + 9/8 + 7/8 ensemble riffs
All of the remaining tracks are in FOUR.
Back to my words…
It's a rarity to find musicians so deeply bonded. Sometimes seasoned studio musicians can really lock with one another, or bands that have been together for years will have a bond, but there is still a formality between them. Fred takes it much deeper to a freedom that I would imagine many intuitive musicians long for. One of the coolest examples of this is heard on Perverseerance in the communication between bass and drums during the bass solo and when the guitar and violin are "trading 4s" (really 2s and 1s) in 11/8 and 6/8. This then turns into a conversation that only old friends can have. It is a phenomenon that is not really easy to explain, so have a listen. It would be cool if we all could live on a farm and create music, then I would get cabin fever and be jonesin' for a death metal show and a soy chai latte… ah the city life.
Anyways, these guys are great, top musicians with their own sound and at such an early age. I enjoyed all of the songs, especially Perverseerance, Variations and Immersions …and an obsessive favorite, one that will probably be on my fav list for at least the next decade…. “Mantra” – It is simply perfect – the theme, the meters, the dynamics, the instrumentation, the composition - perfect. I have to restrain myself not to over listen and cause song fatigue.
I appreciate these artists and the label that brought them back to life. These CDs are a must for your Prog/Rock/Fushion - Back in the Day collection. www.myspace.com/fredworldinsound www.fredteam.com
Countess B
Randy Graves is a didjeridu player, composer and teacher. He has a series of instructional CDs for the didjeridu which range from meditative, mixed up to straight ahead. Now, you don’t have to be a didjeridu player/student to learn from this CD. He breaks down the compound meters first slow, fast then with just sticks. Before a couple of the exercises, he will play a sample from his recorded work so you can get a "real life" feel.
The tracks are as follows:
1 Introduction
1-5 12/8 (3+3+2+2+2)
6-9 10-8 (3+3+2+2)
10-13 7/8 (3+2+2)
14-17 5/8 (3+2)
18-21 5/8 (2+3)
22-25 7/8 (2+2+3)
26-29 9/8 (2+2+2+3)
30-33 11/8 (2+2+3+2+2)
34-37 13/8 (3+3+3+2+2)
38-41 22/8 (3+3+2+2 + 3+3+2+2+2)
These exercises can help you really feel these particular compound patterns of each meter. Once you get the feel of these patterns, then it is easier to experiment with in that comfort. Plus it is neat just hearing a droning instrument playing these patterns. Now I can drone out to 13 instead of 4, very important.
Anybody who teaches odd meters on the didjeridu is way cool in my book. His solo work and former band “Diginus” are worth checking out. He likes to use odd meters and from what I have heard the instrumentation is worth investigating and the writing is capturing.
So if you are looking for some more ways to practice your compound meters, here is a different approach that might take you in a new creative direction.
Check him out on www.gingerroot.com
Keeping it ODD,
-Countess B
Michael Karwowski is an accomplished Classical, Jazz Fusion and Rock composer from Pittsburg, who mainly composes in odd meters and can play a mean Chapman stick. Now how cool is that? He graduated from Berklee (the same year I did) with a degree in Composition and if that wasn’t enough he went on to get a Masters in Composition from the Carnegie Mellon University. Check out his unique approach to harmonic movement, harmony/melody relationships, and polymeters which is sure to leave you wanting more.
Here are some samples of his compositions that will be featured on Odd Time Obsessed internet radio and more to come. And as if polymeters and Chapman Stick weren’t cool enough he’s got a piece all in 13! I’m diggin’!
Michael gives us the breakdown:
"Three Vignettes" composed by Michael Karwowski performed by "Of Birth and Death"
1.Lincoln Place - starts out in 4/4, the main idea is two measures broken into 3+3+3+3+4 eighth notes. There are short sections where the meter is 5/4, 9/8, and an occasional 3/4.
2. Is this all there is? - was created using a 9/8, 7/8 platform for the main idea. Each section has a dedicated pattern of time signatures.
3. Friday@5:00 - has the following setup for the A section. 6/8 + 4/4 + 3/4 + 4/4 + 4/4 + 3/4 + 3/4 + (5/8x4) + 3/4 + (5/8x3) = 89 eighth notes I call the ensemble
"The Day the Leaves Scattered From the Trees" A quintet for winds and string (Flt. Ob. Cl. Vla. and Cel).
13/8 divided into into a permutating 3+3+2+2+3.
For more information on Michael follow these links:
www.sonicgarden.com/artists/michael_karwowski
www.myspace.com/ofbirthanddeath
Forever Odd,
-B
It's always nice to be polite when asking for someone’s soul.
King is still up to his old tricks on this 13th studio effort – an epic tale with all the familiar ingredients: going to, talking to, wanting to go to, being pulled to the other side, shadows, apparitions, am I dreaming?, THEM, black, bloody, galloping drums, flawless recording/playing, requisite guitar solos, signature guitar harmonies, bass you can’t hear and of course the unmistakable vocal range of King himself.
For better or worse I will always be a devoted KD fan (which is still an unsettling mystery to people who know me). So much so, that I was him for about 3 Halloweens, didn’t get the make up quite right, but it worked. No matter what he does musically (within reason) I will always follow him. It was “Conspiracy” that won my ears so many years ago, then I heard “THEM” and “Abigail” and there was no turning back.
KD (referring to the main writers Kim Bendix Petersen & Andy LaRocque) does not really delve into the oddtime realm, but there are a few nuggets here and there in their discography. This album, I am excited to state, has their first song with mixed meters in it. So very cool… Check it out…..
The tracks:
The Dead – 4/4
Never Ending Hill 4/4, 5/4 (about 6 bars)
Is Anybody Here? 3/4, 6/8, 12/8, 10/8, 4/4
Shapes Of Black – 6/8, 4/4
Black of Night - 4/4
Mirror Mirror - 4/4
The Cellar – 4/4
Pictures in Red – 4/4
Give Me Your Soul -4/4
The Floating Head -4/4
Cold As Ice – (No not a Foreigner Cover) 4/4
Shapes of Black – 12/8, 4/4
The Girl In the Bloody Dress – Kinda Punkish 4/4
Moving On – 4/4
This album offers a little more depth to their tried and true dimension. They get creative with some odd rhythms, riffs and sounds. One thing is for sure, they have not sold out and are extremely true to their form. I would almost venture to say they are stuck in a rut. Mind you I enjoy this rut, but it would nice to hear another dimension of KD. Maybe a Romanian Minor or Chinese Mongolian scale, or how about singing between his range, some growls, some syncopated vocal riffs, or vocal harmonies – to go just a little bit out of their comfort zone is, that too much to ask?
All this aside, this is Odd Time history being made, even if I am the only one who is that completely obsessive to acknowledge it – KD now has a mixed meter song! Am I dreaming? No. But I have a dream and its in 13/8. When the day comes and its finally time to go to the other side, the other side of the dollar that is. When my bank account gets to the 8 digits, I am going to commission KD to write a song in 13/8 (my fav) with breaks in 9/8 & 5/4, with a Bhairavi Raga scale and a three bar bass solo that I can hear and no 4/4 allowed. What else could a girl want? Not just a regular Diamond, but a ....
So…. King Diamond Rocks and they are still rockin’ in the same way… so have a go at their tried and true KD grooves, but don’t give your soul away, even if they are polite.
http://www.covenworldwide.com/
Countess B
Published by: Music Minus One
Its time to –
Improve your Big Band 70s style odd time skills with the Hank Levy Towson State College Jazz Ensemble
Music Minus One is a teaching concept that is designed to be applied directly to real musical situations. Incase you are not familiar with this concept, the first step is to learn the music by playing along with the full recording, then on the next CD, your part is silenced and you take the stage. In this case, I am not sure of how many musicians find themselves faced with odd time charts in a big band/ensemble situations, although I wish there were more. But, for the rest of us, this manual has the potential to help you feel the particular grooves and maybe in a way that you haven’t before.
This manual was first published in 1975 and re-released w/CDs in 2001 preserved with the funky 70s 2-color state university band ensemble feel. It is available for alto sax, trumpet, piano or bass and contains 2 CDs and 24 pages of notated (bass) parts (no no no tab here, this is serious jazz) of six compositions, 5 in odd time, and one in cut time. All of the pieces are composed by Hank Levy and performed by the Towson State University Ensemble, where he was a Professor. Compositions in odd time is a trademark of his and he is the author of “A Time Revolution”, a textbook about the exotic meter concept.
Here are the tracks:
Bob City Revisited – 7/4
Poopsie’s Penthouse - 11/4
A Quiet Friday – 5/4
Pete Is A Four-Letter Word - 7/2
Bread & Watrous – Cut Time - fast Samba
(4/4 cut in half - ? that’s not ODD)
Stillness Runs Deep – 11/4
It was cool to play along with these compositions even after being reluctant at first, due to the school like feeling. I had the most fun with the bass solo in “Pete Is A Four Letter Word”. But, it is still a mystery to me, with all the meters to pick from, why they chose to include cut time – it certainly didn’t feel like odd time.
As for educational value, the meters are a basic start to getting the feels into your groove memory. They safely stick to one meter per song and keep in the quarter (half) note groove. Even if you are quite proficient in playing in odd times, this has the possible potential to get you out of a creative rut if you happen to be in one. Also it is beneficial, when your part drops out, to hear loud and clear any mishaps or un-grooving going on that’s nobody’s fault but…. This will further prepare you for real life odd time playing with real players. So, if you feel like hearing what you might sound like in 11/4, 5/4 etc and/or sharpening your big band quarter note odd time feels and/or coming at your creativity from another direction give it a try. These tracks won’t make you meshuggah but have you safely on your way to odd-dom.
Your Oddness,
Countess B
You can learn from Viktor…
What’s a Bouzouki? a Tamboura? a Tambouritz Prim???? how can use them to create a cool fusion of Rock, Blues and Macedonian music? how can you mix baroque & jazz? make 5-8, 7-8, 9/4, 9/8, 11/8 all sound so natural? write a piece in 7/8 with swapping patterns of 2+2+3 & 3+2+2? Well have a listen to Viktor and all will be revealed.
Viktor Mastoridis is a creative Balkan Folk Fusion (with Rock & Blues) multi-instrumentalist that is based in London. He is a prolific writer that has 9 albums under his belt ranging from Children’s Music to World Prog Fusion. He likes to write in odd time, play traditional Balkan and modern rock instruments and fuse a variety of genres. He sent me two of his albums; Bridges (Mostovi) & Restless (Vol 2 World of Music Quatrology) and here is the oddness breakdown:
Bridges (Mostovi):
He is certainly a diverse writer that makes odd seem even. My favorites are “Dawn” because it sounds Opeth-esque (due to the use of minor classical chords) & “Near East” even though it’s in 4/4 its interesting because blends dance beats with eastern scales and accordion sounds (now if it was in odd time that would be way cool, say maybe 13/8 hint hint). The mix of Baroque & Jazz was quite creative too, definitely brought me back to my musical schoolin’. Also, many of the tracks on Bridges have great old world charm that brings me to the scenes of the Spagetti Westerns with southeastern European costumes.
So, if you want to learn more about Balkan Fusion sounds, hear exotic instrumentation and odd meters and/or just want some interesting new music, then check out Viktor’s music site: www.meditera.co.uk He also has a free song of the week to offer. Very Cool.
Naturally ODD,
-BetZe
Jim where did our love go wrong?
Whats he doing? I know what he’s doing, he’s breakin’ my heart.
Before I dramatically go on:
O.S.I. stands for Office of Strategic Influence which consists of Jim Matheos (Fates Warning, Solo work) on guitars, keyboards, programming and Kevin Moore (Chroma Key, Porcupine Tree) on vocals, keyboards and programming. Free is OSI’s second release with special guests Mike Portney (Dream Theater) on drums and Joey Vera (Fates Warning, Armored Saint, Anthrax ) on bass. Free is their second release, with Office of Strategic Influence being their first.
Okay back to the drama:
Jim Matheos is one of my most treasured writers/musicians. It was his force that got me started on this odd time path back in the late 80s. I was in love with this music and it was my mission to be able to write like this. The first Fates Warning show I ever saw was in Boston and Jim and his manager helped sneak me in because I was too young. How cool of them to help this distraught stranger. Ever since then, I have seen every one of their shows that I have known about and almost everything he’s written I’ve resonated with (sans solo). I heard him write 4/4 before mainly during his solo efforts– but this “Free” is just a little bit too much for me to handle.
Sure You Will 4/4
Free 4/4
Go 4/4
All Gone Now 3/8, 5/8, 11/8, 6/8
Home Was Good 4/4
Bigger Wave 4/4, 11/8, 5/8
Kicking 4/4
Better 4/4, 7/8
Simple Life 4/4
Once 2/4
Our Town 6/8
There is simply too many FOURs in this equation. Okay I think there is about 7 mins worth of odd time here (yes I did count it) which in turn makes it about 14% (OCD ya you know me) in odd meters. Jim please come back to your oddness, this is where you belong.
Okay deep breath… at least he didn’t go way off the deep end and start involving himself with sunshine, rainbows, smilely hearts, that I couldn’t take. The whole feeling of the album is perfectly reflected in the cover: the isolation of conformity, creative desolation and more than a bit of hopelessness. There are a lot of cool musical ideas and sounds here but its just not the same when its in four. I like the bass on "Sure You Will" and "Free". “Once” has some interesting poly-rhythms and moods. “Free” and “Kicking” are rockin’ as far as 4/4 songs go and of course my favorites were “All Gone Now” and “Better” – now we’re talking.
Anyways, back to Jim and this meter situation. Its sounds like he is trying to be something his is not – and that’s a 4/4 man. It just doesn’t suit him at all and takes from his magic. Now he’s Plain Jane Jim, not Magical Matheos. Please don’t tell me he is trying to appeal to a larger audience – I will forever be in denial of that if its true. It is a musical album, but Mr. Matheos’s signature is barely there.
Okay, enough of me selfishly holding on to someone’s expression (my new name: Loco B). Its healthy to experiment that is when you get to the gems.
If you don’t have any OSI, go get the first one "Office of Strategic Influence" then hope he comes back to his senses for the third one. www.osiband.com
Loco B
(Countess B)
So, I finally acquired this CD and just as I thought… its way cool.
What I really dig about Prong is his (Tommy Victor) unique/simple guitar voicings (particularly use of fourths and sus2), chord progressions, song structure, style/energy of the vocals – just his pure raw essence and of course most of all – that unmistakable industrial/metal/Victor groove. Power of the Damager showcases it all.
He has still got it and he can groove like no other. Prong is still Tommy Victor and in this latest incarnation of mates - ummm, they do the trick. I still admire his creativity in staying true to his core yet not afraid to explore some other sounds. For example, on “3rd Option” he used a sound that I haven’t heard Prong use before. It woke up an underground metal sound memory for me from the 80s. Which immediately brought me right back to the “Channel” in Boston, where I saw every possible metal show in the late 80s/early 90s. Anyways, this guitar harmony/lick sounds “Iced Earth-y” and a bit like “Sanctuary” (old Nevermore incarnation) which was cool to hear Prong-style. Also throughout the CD you can hear punk and speed metal – early Metallica style. And even his voice starts to sound on some songs a bit “kiddish”, sort of like Perry Ferrell. The only thing that bugged me just a weeeee bit is the guitar bending (not sure of the exact technical term) in almost EVERY song. A little bit that goes a long way, went too far.
Anyways, he’s not afraid to experiment. Not in a circuit bending, Faust or lets try a samba way, but in his own, grounded way that is subtle and works. This sort of freedom has gotten him to 7/8 and I don’t think that it is because he has been listening to the Venetian Snares either. I think that it came about from the evolution of his internal groove clock – which I hope will keep on that path. But for now, 2 out of 12 isn’t bad, but keep going!
The Banishment – Time….. creeping…closer to the end 4/4, 5/4
(me fav song on CD)
Bad Fall – 7/8, 4/4
(Can you believe this? I think this is the first time he delves into the eighth note signatures keep going, keep going, keep going, I wanna hear some 9s and 13s next time!)
Well of course these two nuggets are going to be on the playlist…. Coming soon.
Time… creeping,
Countess BetZe
You gotta pick up the Broken Peace…
because its… Unconditional
Prong performed on Sunday night at the Whisky Club
Prong is the Industrial Metal Hardcore band on its 5th studio album (I think)
The Venue
Okay let me just get this out of the way… The “famous” Whisky really needs to get over itself. I haven’t been there in a while and they have completed some renovations and boy are you gonna pay for that. Seven dollars for a cup of beer, thirteen for a mixed drink and one hundred dollar min just to sit in a booth… What? to see some crappy bands that had to pay $250-300 to play for 35 mins? Its venues like these that really know how to kill a good time, let alone good music. Some place not so pretentiously Nazi, such as a underground industrial warehouse would have been much more fitting. But I am only here for PRONG ! They did not have to pay to play… cash that is … they have already paid their price…. years of being under-rated.
The Band
Prong is Tommy Victor. With many different line ups, he is the common denominator. Tommy Victor is a pioneer who has successfully invented a genre. He is a style – I haven’t heard anyone quite like him, they can try but no cigar my dear. As far as guitar players go, he is in my top five. By using unconventional intervals (lots of 4ths), chord progressions and song structures along with grooving hardcore rhythms he proves to be one of the most creative guitarists around. You can tell his creativity has not been washed by conventional means (music school, wannabeism, too many lessons and shoulds). He is a true raw artist, this is his soul. He has no choice but to create and play this music.
The Show
They played for a good 90 mins that covered much of their new album along with the requisite classics – Broken Peace, Unconditional, Whose Fist is it Anyways?, Beg To Differ, Snap Your Fingers Snap Your Neck, Prove You Wrong… They sounded great throughout, tight and together. I would have never guessed that the bass player, Monte Pittman was Madonna’s teacher and guitarist, talk about switching gears. He kinda looks like he would be in Kyuss. He was good, although it erks me when guitarist double like that, don’t know why. The drummer, Aaron Rossi was just a little “bouncy” for me. His kit was just a little too small for some reason and I don’t think it would hurt him to hit the woodshed a bit. But he did the trick. About 5/8ths through the show Tommy asked how the drinks where here… are they expensive… is that why no one is buying us them? (yes, $11+ for a shot) So someone bought them Jager – Tommy said “Finally” and his voice immediately grew some more balls. I wanted to buy him the whole bottle – what would he sound like then?
Anyways, it was a great show and I am glad that I went despite the sucky venue. It was good to see them again. The last (and only other) I saw them in SF around 2003 – with a completely different line up and look (Hawaiian shirt, dirty blond hair) after his hiatus (ie. incubation, darkness) from music. I have been digging Prong since the early 90s and their songs have helped me pick up the Broken Peaces along the way. But what does all of this have to do with odd time? Well, some of their songs are in odd time – mostly 4/4, 5/4, 6/4, 7/4 type of groove. Damager has some – once I get it I will write a diddy. It is in alignment with their style – I doubt that Mr. Victor sets out to write a song in 7/8, but writes what the song dictates.
If you are looking for something different, heavy, original… you can’t go wrong with Prong.
Countess B
www.oddtimeobsessed.com
Erratik Electronica, Intelligent Dance Music, Sonic Experimentia
Ryan is a prolific composer, writer, film maker from Dulth, MN. He likes to use a mix of odd meters that will really throw off the E crowd. Check out the aural oddness from this creative composer.
http://www.erratikproductions.com/
http://www.ryan-rapsys.com/
http://www.youtube.com/ryanrapsys
Skerzi
1. Prelude (4/4, 3/4, 4/4)
2. Pseudocyo (constantly changing - uses 4/4, 5/4, 9/8, 3/4, 11/8, 7/8, 3/8 (etc.)
3. Interlude I - mostly free
4. Maelstrom (gradually goes from 4/4, to 3/4, to 5/8)
5. Interlude II - mostly free
6. Wrecksuite-01mvt (mostly 4/4, but some parts in 3/8, 11/8)
7. Interlude III - mostly free
8. I. dev.one (4/4, 12/8, 6/8, 5/8)
9. II. dev.two (4/4, 3/4, 5/4, 5/8, 6/8, 2/4)
10. Interlude IV - mostly free
11. Chao-eight (changing frantically and randomly between 3/4, 7/8, 4/4,9/8, 7/8, 11/8, 6/8, 7/16, 5/8, 2/8, 5/16, etc...)
12. Interlude V - mostly free
13. Prairie-ghost (older version - new mix on The-Novus-Arcadia) (5/8)
14. Interlude VI - mostly free
15. Breethe (mostly 4/4, but with several polyrhythms)
16. Postlude (4/4, 3/4, 5/8)
The-Novus-Arcadia
1. Aperture (mostly 4/4, with a rhythmic modulation)
2. Dyad (4/4)
3. Playing-by-the-Freeway (mostly 4/4)
4. Intermezzo I (free time)
5. Birchy (mostly 4/4)
6. Prairie-ghost (new version - 5/8)
7. Novus-arcadia (6/8)
8. Intermezzo II (free time)
9. Rain-drop (mostly 4/4)
10. Aldergames (mostly 4/4 i think?)
11. Flap-flux (4/4, 5/8, 3/4 alternating throughout)
12. Alighting (mostly free time)
I love this Intelligent Dance Music - will it catch on here in Hollywood... maybe with Esquared or something....
Thanks Ryan for your ODDNESS,
-BetZe
My question is – When is this album going to become a movie – full length?
This album f-in’ rocks.
(makes your chops kinda feel like tidbits)
When I picture these guys, I see five warriors on white horses blazing through the sky, much like the knight of swords in the tarot. And ya know what?, they are warriors and seers, of the modern day sort. There are many changes going on here on Earth and I think that they are picking up on this. Most of us are not paying attention, but here comes Symphony X getting us to in one way or other. What better way than through chops and meters. I am listening….
Okay, with the esoterics, this is an amazing album and it really does sound like a soundtrack in many of its parts. Some one has got to make this into a film.
Oculus Ex Inferni – 4/4, 2/4 - very syncopated
Set the World on Fire – 4/4, 7/4, 9/4, 14/4
Domination – 4/4, 7/4, 5/4
Serpent’s Kiss – 11/8, 4/4, 12/8, 9/8
Paradise Lost – 13/8, 6/8, 12/8
Eve of Seduction – 4/4, 15/8, 12/8, 10/8
The Walls of Babylon – 4/4, 6/4, 8/8, 6/8, 14/8, 7/4
Seven – 4/4, (7/8 +6/8), 7/4, 8/4, (7/8 + 8/8)
The Sacrifice – 7/8, 8/8, 4/4, 3/8, 6/8
Revelation – 3/4, 5/4, 4/4, (5/8 + 13/8), (13/8 + 14/8)
Well that was fun to figure out. I can imagine trying to write it. HA.
It looks like they have covered most of the quarter and eight meters on this album and they manage to do it ever so naturally. There are so many cool parts in these songs, its just filled with parts to rewind and say to yourself or who ever is listening.. “what was that?”, “cool, I wish I thought of that”, “yeah, yeah, I can play that too, just gotta freshen up my chops”, “man these guys are bad ass” …. And on and on.. Check out these masters, I think this is their best effort yet.
A MUST FOR YOU.
Keep counting,
-BetZe
updated 1/31/09
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