Leonard Cohen – Songs from a Room (5/10)

1969

Folk music, like rhythm & blues and hip-hop, has influenced rock ‘n’ roll. Rock does not stand alone. And the two most influential folk stars were undoubtedly Bob Dylan and LEONARD COHEN. The latter was inducted into the Rock and Roll Hall of Fame this year. Although Songs from a Room is sandwiched by better releases, Songs of Leonard Cohen and Songs of Love and Hate, receiving the re-release from the record label was a wonderful opportunity to dive into history.

There is a lot of space in the music, sometimes a glass of water alone in a desert but sometimes glassless. But it is the way he wanted it, probably highlighting the fact that he is a poet first. His music is for lovers of words, translations of life’s shadows. And this is possibly the darkest release of his earlier career. That is incentive for me. Nevertheless, half is immediately forgettable. But some of his finest songs breathe in-between. The ‘Story of Isaac’ and ‘Partisan’ protest the violence of man. ‘Bird on a Wire’ and ‘You Know Who I Am’ are statements of self; to seek freedom and live it, knowing oneself, accepting weaknesses and bests. In that, we can all take a lesson from LEONARD COHEN.

“I am the distance you put between
all of the moments that we will be
You know who I am…”

sinning with Wicked Mike

N.I.P. – Full of Myself (7/10)

2007

N.I.P (Nothing In Particular), a grass level band from the infamous Kempton Park in South Africa, displays a uniquely, magnanimous tone in Full of Myself, a commercially applicable CD which rides high in the mainstream, rock ‘n roll circuit.

Full of Myself possesses a unique vocal that erupts from each track, shredding the tranquility of mundane teen-angst themes. N.I.P’s lyrical bilingualism (the songs interplay between English and Afrikaans) enhances their accessibility and perhaps, more importantly, exhibits the perception needed today: one of both diversity and individuality. ‘Jefferies Baai’, for instance, is sung against the comforting backdrop of sea gulls and ocean waves. The tone of the track coincides with the ebb and flow of waves reflecting the ocean’s simplistic beauty, colossal capacity for miscellany and melodious roar. It should be noted that the English tracks strike a less powerful tone than the Afrikaans ones but all the same improves N.I.P’s exposure which is evident with the debut single, ‘No More’ having already been #3 on MFM, #1 on KovsieFM and #6 on SAMP3.com.

Full of Myself does spawn off reminders of other bands but the intrinsic flow and sing-a-long capacity of every verse does proves N.I.P.’s capability to extend beyond the crowded mainstream sea of inanimate groups in the South African music industry. My only beef is with the recording quality which drifts between great and demo quality, a fact that the band promises only occurs on my prerelease copy and will be sorted with the full, 2008 release.

www.myspace.com/thebandnip

Top: ‘No More’, ‘Jefferies Baai’ and ‘Wind’ are great tracks.
Bottom: More creative lyrics needed for both English and Afrikaans tracks.
Hope: That they get rare South African cash injection so that every campus student is aware that this CD exists.

by Verushka Singh

Play It Loud compilation (7/10)

2007

True to its title, PLAY IT LOUD is a assemblage of some of South Africa’s most forceful talents. The medley of Jazz, Indie, Acoustic, Alternative, Punk and Heavy genres interplay effortlessly and detonates grenades of sonic pleasure. The following tracks have specifically produced the most delightful spasms:

Durban’s HABIT TO effortlessly collaborates between jazz, rock and pop as lead vocalist Michelle Stent’s impassioned voice surges the veins. The Alternative/Punk ABBOTS’ innovative lyrics and energetic sound harnesses a playful content to the cd. MOVIE 55’s elegant ‘Save Yourself’ is striking in its fluidity. ‘No More’, masterfully performed by N.I.P.’s cavernous Shawn Steinman, injects a moving cocktail of hurt, desperation and anger. Johannesburg’s DEITY’S MUSE provides a flawless blend of metal and alternative rock in ‘Broken Scar’ which deserves to be a classic. THIRD WORLD AWAKENING’s artistic genius is evident in ‘With This’, contrasting powerful feminine and brutal male baritone, a musical rendition of heaven and hell. SHOMON tastefully brings the compilation to a close with her creative trepidation of lyrics. A simplistic yet effective formula for the listener to focus on the poetry of her words.

PLAY IT LOUD’s soft and rough textures make it accessible to any audience. Thus it is a tour de force, displaying each artist’s best elements whether it be phenomenal solos, intrinsic, breathtaking lyrics or complete individuality and creativity.

Favourite tracks: N.I.P. & THIRD WORLD AWAKENING
Will it sell: To eclectics, definitely. Single genre minds may battle.

by Verushka Singh

Ozzy Osbourne – Black Rain (7/10)

2007

When Grandaddy Ozzy’s 9th solo release, Black Rain, became his biggest American debut (has sold approx. half a million units there so far), my first impression was a cynical observation of the power of reality TV and public gullibility. But after one listen my subjectivity was cleaned. This cannot, and should not, be compared to classic Oz. It mostly ranges from industrial to adult contemporary, carrying sufficient bite to be judged alone.

‘I Don’t Wanna Stop’ could be of Powerman 5000 or Rob Zombie it’s so catchy. The title track, with it’s criticism of war, is the first deserving an underline. Eerie menace exudes with the criticism, “We’ve [USA] crossed too many borders.” ‘The Almighty Dollar’ begins with an Eighties Pop beat that unexpectedly, gets beaten by a strong drum sound that’s soon, strangely yet delightfully, kept stride with keyboards that eventually taper into a darkened mood reminiscent of atmospheric prog bands. ‘Here For You’ drips way too sweet to be taken seriously but the remaining tracks are consistent.

Sometimes the producer’s (Kevin Churko) polish is over the top but distorted vocals and synthesizers add enough ambience to make up for it. And since his writing credit is on every song, a lot of appreciation is probably due him. Zakk Wylde is a foundation and roof, applying thick riffs and climbing with solos. Ozzy’s voice is the best in a long time, high notes skipped but the baritone strong and steady. Ozzy is back!

sinning with Wicked Mike

Inersha – The One Day Always Missed (6/10)

2007

INERSHA’s The One Day Always Missed executes an energetic flair for melody. This quartet of Cavan (Bass), Kerran (Drums), Fred (vocals) and Collin/Sean (guitars) has been together since December 2004. At first listen, one may misinterpret their aggressiveness tone as negativity towards the obstacles life generally casts our way. However, after lyrical inspection, the positive attributes of contemplation and strength come to the fore along with the goal for self-fulfillment through conscious appreciation for one’s own existence.

The title track is an opus of edgy lyrics, seeping with intellect and esoteric nuances. The song is specifically designed to integrate the past in relation to the future all the while providing an arcane sense of hope through the deliberation of experience. ‘Hold Me Down’ produces instrumental echoes of racing heartbeats that result in the musical interpretation of being alive. ‘My Addiction’ is a good example of symmetry between melody and pure, head banging ecstasy. It’s razor-edged ultimatums, desperation and agony certainly gets the pulse racing.

Overall INERSHA’s debut finds commonality with the emotions of everyday humans, injects adrenalin, and sets fire to their souls. The downside is that not enough songs seek individuality.

Favourite tracks: ‘Wait in Motion’ and ‘The One Day Always Missed’
What’s missing: Variety abandoned near the end.

by Verushka Singh

Streetlight Manifesto – Somewhere in the Between (7/10)

2007

Trombone, trumpet and sax fly with guitars and drums. Ska meets emo and swing so successfully that STREETLIGHT MANIFESTO is bound to appeal to a broad market whilst retaining all integrity.

Melodies abound, especially with ‘Down, Down, Down to Mephisto’s Café’ and ‘Somewhere in the Between’. Also vying for best track is ‘The Receiving End of It All’ with it’s addressing of friendship and love. The quirkiness, genre bending ‘Would You Impressed?’ can only be answered with “Yes!” Whilst some tracks sound similar and would become monotonous if played too much, all of them are a testimony to excellent arrangement and musicianship. Vocals are warm and appealing in an everyman way. Lyrics aren’t consistent but sometimes carry a lot of fire. Topics range from love and death to questioning the powers that be.

They’re not a changed-my-life kind of band but they’re a helluva lot of fun and a must for fans of Sublime, The Mighty Mighty Bosstones and The Rudimentals.

sinning with Wicked Mike