Unsung Masterpieces Part 2: Failure- Fantastic Planet

The 90’s were such a great time for rock music. There had been a revolution of loud guitars, heavy bass, thundering drums and meaningful lyrics. There was also a lot of epic masterpieces that went unnoticed. One album in particular was Failure’s “Fantastic Planet.” Ken Andrews (Vocals/Guitar/Bass), Greg Edwards (Bass/Guitar/Percussion/Piano), and Kelli Scott (Drums) produced a very honest etherial album. Space-rock themes course through the album’s lyrics, as well as various indirect references to drug addiction, drug-related experiences, and prostitution. There are also lush textures that guide the listener on a seductive path throughout the listening of the album. Fantastic Planet features so many great songs that it makes it hard to pick just one stand out track. Songs such as Saturday Savior, Sergeant Politeness, Smoking Umbrellas, Pitiful, The Nurse Who Loved Me and Stuck On You are the most common. Though other songs such as Dirty Blue Balloons, Blank, Pillowhead and Daylight, compete at such a high level that it’s hard to skip any of the songs. The album was self produced by Failure and engineered by Ken Andrews at their own studio. During the touring cycle for Fantastic Planet, Troy VanLeeuwen was brought on to add more guitar to the live sound. After only 3 albums together Failure parted ways with each other. Ken Andrews went on to start the bands Year Of The Rabbit and ON, as well as become a well sought after producer/engineer. Greg Edwards formed Autolux, a very experimental yet rocking band. Kelli Scott went on to play with Veruca Salt and other bands. Troy VanLeeuwen went on to play with A Perfect Circle and now with Queens Of The Stone Age. The amount of influence Failure has had on today’s bands is very noticeable.  Failure seemed to be on to something way before “it” was time for it to come to the forefront of the masses. Luckily for everyone that has become a Failure fan over the years can rejoice. Failure are back and ready to claim their place!

 Fantastic Planet:

By: Brian Lacy

Band Of The Week: Mossbreaker
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Every week, I keep coming across great music. This week is not any different. Mossbreaker is this weeks Band Of The Week. Hailing from Los Angeles, this 4 piece has been playing together since 2010. They have released 4 track demo as well as their “Separation Anxiety” 7″ which came out in early 2013. Their influences include Nirvana, Failure, Pearl Jam, Fugazi, Hum, Neil Young, Shiner, Led Zeppelin, Black Flag, Black Sabbath, Quicksand and many more. Mossbreaker has a great knack for incorporating melody and raw feeling into their songs. The 2 songs on their 7″ really grab the listener and does what any good 7″ does. It leaves you wanting more.  From their live videos, one can tell that their songwriting ability is grand. I’m looking forward to seeing what they come out with next.
By: Brian Lacy

Cover Thursday: Deftones (The Cure)- If Only Tonight We Could Sleep

Deftones have always done some impressive covers. Their renditions of Sinatra by Helmet, Please Please Please Let Me Get What I Want by The Smiths amonst others have always been treats to their fans. Listening to the original version by The Cure, one can see where part of Chino gets his influence from vocally and musically.

By: Brian Lacy

Unsung Masterpieces Part 1: Tool- Undertow

Tool is one of the most artistic, innovative and creative bands to come out in the past 25 years. Each of their albums have left a mark with rabid fans eating up everything that they do. Tool’s catalog though short is very deep. The subject matter of lyrics and the depths that the music creates is not for the weak. You can tell the amount of time they band spent working on the songs is worth every second. Maynard’s vocal approach is undeniable his own. Many have tried to copy him but don’t come close. Adam Jones has one of the more intriguing guitar tones and styles. Danny Carey’s drumming is said to be created by seances and summoning sprits, to which is very believable especially with the odd time signatures. Originally on bass Paul D’amour created a bass tone that ripped through the songs with such ferocity that it became the driving force of quite a few songs. Now Justin Chancellor has taken that sound and progressed it to an etherial place. A lot can be said for what their masterpiece is. Some will debate that it is Aenima or Lateralus, Undertow is an unsung Masterpiece. Songs like Intolerance, Crawl Away, Bottom, Flood, and of course Sober all have such a well of emotion and insight into the inner workings of Tool. A bit of history about the album, Undertow was recorded between October and December 1992 at Sound City Studios, and at Grandmaster Recorders, Hollywood, California, by Sylvia Massy. Some of the songs featured on the album are songs that the band decided to not release on Opiate. Henry Rollins makes a guest vocal appearance on the song “Bottom.”

Take a listen again and see what you’ve missed out the first few times you listened to Undertow.

Undertow:

By: Brian Lacy

2 For Tuesday: Stone Temple Pilots- Deep Cuts

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It’s such a shame that drugs and ego got in the way of Stone Temple Pilots. Scott Weiland had the ability to put beautiful melodies together with well thought out personal lyrics. The DeLeo brothers and Eric Kretz crafted such intriguing songs to create such a wonderful package. Here are 2 examples of STP at their best. Instead of the usual hits, these choices  are a couple deep cuts that really showcase STP.

Kitchenware & Candybars : from Purple

Where The River Goes: from Core

By: Brian Lacy

Band Of The Week: Open Hand

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Open Hand, formed in 1998, and has been a highly underrated yet powerful band throughout their career. Their influences are scattered through the genres of rock though most can be found in the  post – hardcore music of the late nineties. Over time, Open Hand has  constantly combined genres and grew musically. Both their albums “The Dream” (2000 / Trustkill Records) and “You and Me” (2005 / Trustkill Records… co-produced by Open Hand & Paul Malinowski of Shiner) made serious impacts in the underground scenes. Extensive touring turned the rest of the world on to their live experience. It looked as though Open Hand were poised to break through. The group released “Honey” in 2010 on Anodyne Records after years on Trustkill Records. The record was co-produced by Open Hand & Hum frontman Matt Talbot, incorporated new styles and arrangements. Due to the label folding during Honey’s release, proper touring was put on hold. The band during this time  went from being a 7-piece, complete with back-up singers and keyboards, to a commanding power trio. As this new 3 piece, Open Hand released a 10 minute track titled “Mark of the Demon” in 2011 that encapsulates what has become of Open Hand. Now in 2014 sees the band ready to unleash new songs . Currently in pre-production is the long awaited follow-up to “Honey” The band are gearing up to release their upcoming album titled “Weirdo”

I’ve had the opportunity to see them live recently and Open Hand packs one hell of a punch. The new songs are great and translate wonderfully live. As a 3 piece they really have a full lush sound that blends perfectly into one another.

https://www.facebook.com/OpenHandRocks

http://www.reverbnation.com/openhand

Open Hand is:

Justin Isham – vocals, guitar
Erik Valentine – bass, vocals
Ethan Novak – drums, vocals

Hard Night:

The Hand:

The Kaleidoscope:

By: Brian Lacy

2 For Tuesday and Underrated and Influential: Dredg

Bug Eyes:

Sanzen:

Dredg are one of the most intriguing artistic bands that have come out in the last 15 years. Formed in the bay area in the mid 90’s, they found success as an independent band when they released their debut Leitmotif (their first concept record) in 1998. Shortly there after in 2001 Interscope records came calling and signed the band. El Cielo was released in 2002. The album was another concept record which was based upon sleep paralysis, a piece by Salvador Dali and was recorded mainly at Skywalker Ranch. Songs such as Sanzen, Same Ol Road, Triangle, and Sorry But It’s Over, really open your mind to a strange insightfulness. During that time Dredg toured with bands such as Deftones, Sparta, Glassjaw and Onesidezero. Their follow up Catch Without Arms was released  in 2005 and was produced by Terry Date (producer of Deftones, Pantera and many others). This album again had a concept about positives and negatives. Catch Without Arms featured some amazing songs that take you on a journey of heaviness and melody, all the while showcasing the tightness of the band. The songs Bug Eyes, Ode To The Sun, The Tanbark Is Hot Lava, and Jamais Vu really encapsulate the vibe of the concept. Not long after the cycle was complete, Dredg began working on their next album The Pariah, The Parrot, The Delusion another concept record based on an essay by Salman Rushdie. This record saw Dredg leave the major label machine of Interscope records. This record featured a more interstellar vibe all the while still rocking. Featuring the tracks Pariah, Lightswitch, Information, Savior and I Don’t Know all showcase why Dredg have never compromised their true nature of being artists. After a break Dredg returned to the studio to work on Chuckles and Mr. Squeezy. This album was a departure from their previous efforts and focused more on an electronic tinge. Dan The Automator was behind the boards for this one, and it shows. There are quite a few standouts on this album such as Another Tribe, Down Without A Fight and The Though Of Losing You. All in all Dredg has always stuck to their guns and stuck with their artistic integrity. The members also are quite remarkable, Gavin Hayes has a silky smooth voice that caresses the lyrics and melodies. Dino Campanella plays the drums with such force it’s almost like he has a dozen arms when he plays. Mark Engles has such a clean guitar tone that really compliments the songs beautifully. Drew Roulette drives the rhythm home with his mighty touch of the bass.

Dredg has influenced quite a few newer bands over the last 5 years. They are also a band that should’ve been a lot bigger than they are, if only the label they were on marketed them properly.

Here is a full show from 2007:

By: Brian Lacy