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Sutter Kain-Where I Belong review by John M. Ellison IV

When it comes down to it, every super villain is a bitter superhero. Whether it’s Dr. Doom’s animosity stemming from being scarred after a chemical miscalculation, Magneto seeing the bigotry and hatred of humans against mutants or…well, nobody knows what happened to the Joker. In this case, you have the super villain of ghetto metal, Sutter Kain. From the violent ranting of “Black Nazi”, “Cannibal Ferox” and “Slaughterhouse”, you can say that Kain’s powers include intense production and strong lyrics. In this case, “Where I Belong” highlights the more wounded side of Sutter Kain and making for an interesting story arc.

As with the previous song L.O.V.E. (Life’s Obsessive Violent Emotions) and “Loser 1-9″, “Where I Belong” has Sutter Kain explaining how he copes by immersing himself into his career to numb the pain and to avoid lamenting. Donnie Darko’s verse plays on a similar theme as Kain’s verse but in Darko’s case he uses gangsta analogies to cover up the rejection he’s experienced.

Although at first listen, the verses are a contrast to each other. But after repeated listens, both share a common thread of inner turmoil. The gruffer vocals of Sutter Kain are a counterbalance to the agitated tone of Donnie Darko. Kind of like a distant cousin of the screaming/clean vocal of post-hardcore. That shouldn’t be a surprise because “ghetto metal” is rooted in post-hardcore and metalcore. Production wise, DJ Bless’s use of “Untitled” by “Eyes Set to Kill” sets the mood for “Where I Belong.” DJ Bless’s heavy drums and signature shuffle coupled with the dulcet acoustic guitar and female vocal complement each other.

In closing, “Where I Belong” is a development that documents Sutter Kain’s evolution from super villain to lovelorn anti-hero.

Listen here

Muthawit-“Men & Women (or la Revenge de Uncle Baldy) by John M. Ellison IV

I’ve just gotten a copy of the redux of “Men & Women (or la Revenge de Uncle Baldy.) This version of the album has had a few songs removed. That’s kind of disappointing because some of my favorite songs got cut off. The album “Men & Women (or la Revenge de Uncle Baldy)” sounds like a concept album about the crumbling of a relationship between a man and a woman at first but after repeated listening to grasp onto any nuances; it’s more about how men and women interact with each other in general. From what I’ve noticed, this album really plays more like a film than an album. Every composition is like a scene rather than a song. If you had to label it genre-wise…well like most music under the UrbAlt umbrella it’s kind of difficult to do that.

I mean, overall “Men & Women (la Revenge de Uncle Baldy)” fuses so many elements that can be rooted in genres such as shoegazing, post-punk, soul, avant-garde but has blended together into what is so unique to MuthaWit Orchestra.

Here are some of my favorite “scenes” from this great movie.

Wasted (Fill My House with Salt)

This is a bluesy, jazzy rocker with fuzzed out bass that would inspire one to try to start a mosh pit…at a jazz club.

“Waiting For My…”

Another rocked out gem with Boston Fielder being the driving musical force behind this composition but with imperative work of Meryl “Miss J” Jefferson on violin and Sam Myer on trombone.

Men and Women

This sounds like a composition that plays with sound, like an orchestral jazz fusion piece written for a ballet.

In closing, if you’re not really familiar with UrbAlt, then consider this album the UrbAlt manifesto; a visual and audio hypnotic, unique experience that blurs the line between dream and reality. Look for the physical release of Muthawit’s Men & Women (la Revenge de Uncle Baldy) on June 3rd 2011.

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"Waiting for My…" by Muthawit Orchestra review by John M. Ellison IV

Hey folks, right now I’m listening to “Waiting For My…” by Muthawit Orchestra. “Waiting For My…” was featured on the first version of the “Men & Women (La Revenge de Uncle Baldy) album.” I’m not sure about the upcoming physical release, but the online version doesn’t seem to have “Waiting For My…” One of the differences that I noticed from the original release of the album and the re-release is the sonic clarity of this version in comparison to the original.

The core musician on here is Boston Fielder. Boston on here plays drums, guitar, bass, keys, percussion and is also on lead vocals. Fielder is also accompanied by the talents of Meryl “Miss J” Jefferson on violin, Sam Myer on trombone, additional guitar and bass work by Lou Rossi and Martell Ade Olusina Brown respectively and Arthur J. Fielder Jr. on background vocals. One of the highlights on “Waiting For My…” would have to be “Miss J”‘s wah violin solo and Sam Myer’s trombone playing brings a jazzy kind of sophistication to the song.

In closing, if you want to hear something that’s sophisticated but accessible at the same time…you would definitely want to take a listen.

Find “Waiting For My…” on Bandcamp

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Joey Ramone Tribute by John M. Ellison IV

Wow…it’s been 10 years since the passing of Ramones lead singer Joey Ramone, (real name Jeffry Ross Hyman)
In recognition, I’m posting some of my favorite solo cuts from Joey’s solo career. Not deep analysis needed, I’ll just let the music speak for itself.

“Cabbies on Crack”

“What a Wonderful World” cover

“Merry Christmas (I Don’t Want to Fight Tonight)”

Don’t Worry About Me

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Prince on Lopez Tonight! by John M. Ellison IV

Well of course I had to feature Prince’s performance on Lopez Tonight! Prince is doing a string of 21 shows at the Forum in Los Angeles,CA which starts on April 14, 2011. To promote it, Prince performed on TBS late night show Lopez Tonight. Oddly enough Lopez Tonight is filmed at Warner Bros. studios. For people that understand Prince’s tumultuous history with Warner Brothers Records…well you see what I’m getting at.

Here are some clips from the April 13, 2011 performance on Lopez Tonight

Prince-The Beautiful Ones

http://i.cdn.turner.com/tegwebapps/tbs/tbs-www/cvp/tbs_432x243_embed.swf?context=lopez_embed_offsite&videoId=248856

Prince-You’re the One for Me

http://i.cdn.turner.com/tegwebapps/tbs/tbs-www/cvp/tbs_432x243_embed.swf?context=lopez_embed_offsite&videoId=248857

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Sketch Malkus-Treacherous Cretins album

No, this isn’t “The Jester” album that I was talking about earlier this year. Actually, this is an album called “Treacherous Cretins” that I recorded when I was living out in Hanover,MD that I just put up for download on Bandcamp. “Treacherous Cretins” is an instrumental rock album with elements of funk, rock, electronica, post-punk and industrial that I recorded back in ’06-07 as a project out of the frustration for not being able to find musicians that understood what I was trying to accomplish musically and also out of the lack of interest in most popular music of the time. So, instead of complaining about the state of music it I just recorded my own album. Understand, this was recorded between ’06 and ’07. I’ve learned a few lessons from recording this album…like mixing. Enjoy.

download here

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Straight Line Stitch-"Tear Down the Sky" review by John M. Ellison IV

Just came across this band called “Straight Line Stitch” after checking out Afropunk.com. Straight Line Stitch is a metalcore band out of Tennessee that reminds me of a more accessible version of Otep minus the rap influenced vocals. Actually, lead singer Alexis Brown’s delivery kind of remind me of a female Phil Anselmo.

In this case I’m going to focus on the first track off of their 2011 release “The Fight of Our Lives” titled “Tear down the Sky.” Lyrically, my interpretation of “Tear down the Sky” is about somebody dealing with deception and having your delusions shattered. Instrumentally, the band pulls off a balance of hard hitting double kick drums, downtuned guitars but has that accessible edge so even casual music fans that are looking for something heavier but don’t want to go full “metal” just yet can enjoy. Also the slight electronica edge to sweeten the sound doesn’t hurt either.

In closing, if you’re looking for something along the lines of Otep and Pantera, you might want to check this out.

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Asshole Nation by John M. Ellison IV

*British accent* to quote famed ribald comedian “Andrew Dice Clay” “Now we take it down to street level.”
On Sunday April 3rd, 2011 I posted a status message on Facebook that said “we live in a society that condones and enables asshole behavior but the same ones who endorse this behavior complain about it being a cold, cruel world.”

“Wait, asshole behavior? With a site named ‘Ghettopunkrocker’ why are you complaining? Aren’t most punks ‘assholes’ anyway?” Nice assumption…well from my “naive” understanding, punk and is about staying true to you and not conforming to any mold. How is it counterculture or rebellious to conform and indulge in “obnoxious” behavior when apparently being self-centered and mean spirited is quite mainstream? Besides, it’s not my style to be irritating on purpose. Don’t get me wrong, nobody’s perfik and we ALL have our less than tolerable moments at times but being deliberately mean spirited and obnoxious? It just doesn’t make any sense…

“Well, how are people validating ‘asshole behavior’ as you put it?” Simple…

That snide, badly written blog that you read on more than an occasional basis and live through vicariously because you’re too cowardly to speak for yourself? You’re endorsing it by reading it.

The mean spirited comments on whatever social network you’re on, you’re endorsing it by reposting whatever insults like a self-hating lemming.

“Isn’t ‘being an asshole’ a defense mechanism?” Yes and no. Since it’s a “cold and cruel world,” it’s a natural instinct to defend your well being. But, if you’re just starting something at random just to start something or defending your point of view when you’re clearly in error, exactly what does that do? There’s a difference between as my punk friend’s eloquently put it “fucking shit up” and throwing a tantrum.

“Well, obviously you’ve said a few objectionable things so how can you say anything on anyone being an asshole?” Yes, I probably have and I’ll do it again too *mad scientist fist shake and maniacal laughter* But seriously, my intention is to use dry wit to point out the preposterous, I don’t aim to be mean spirited for cheap shock value…I’d rather go for priceless honesty.

In closing, if you’re tired of it being a “cold world,” don’t forget that you’re old enough to reach the thermostat now. Also, yes I misspelled “perfect” on purpose!

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Nirvana-Nevermind review by John M. Ellison IV (repost)

To commemorate the passing of Nirvana front man Kurt Cobain, I decided to re-post my review on their breakthrough album “Nevermind.”

In an era where you could more weaves and hair spray on the pop charts than a Compton salon, the mutated mix of glam rock and heavy metal known as hair metal and synth pop reigned supreme until the early 90′s, specifically 1991. In this case, on September 24th 1991, two things happened, I turned seven years old and Nirvana released “Nevermind.”

Seriously, nobody expected a band from the Pacific Northwest who was inspired by a mixture of Iced Earth, The Pixies, The Beatles, The Ramones, Iggy and the Stooges, Bad Brains, Killing Joke and R.E.M. to actually a year later knock over Michael Jackson’s Dangerous album as the number one album on the billboard charts? Originally, the label expected Nervermind to barely get to Gold. But, Nevermind has gone Diamond, meaning it’s sold over 10 million copies.

With Nevermind, every song is a classic but, they’re three that stand out to me.

“Smells like Teen Spirit”

Just know that somewhere right now there’s some 12 year old that got their first guitar. More than likely, one of the songs they’re learning is probably “Smells Like Teen Spirit.” It’s a simple twangy 4 chord power chord intro (that progression being F5–B?5–A?5–D?5) that goes into a dynamic shift that’s reminiscent of The Pixies. In fact, in a January 1994 Rolling Stone interview, Nirvana frontman Kurt Cobain revealed that “Smells like Teen Spirit” was an attempt to write a song in the style of the Pixies, a band he greatly admired. Here’s the quote:

“I was trying to write the ultimate pop song. I was basically trying to rip off the Pixies. I have to admit it. When I heard the Pixies for the first time, I connected with that band so heavily that I should have been in that band— or at least a Pixies cover band. We used their sense of dynamics, being soft and quiet and then loud and hard.”

“Territorial Pissings”

The intro sticks with me badly singing the Youngbloods “Get Together” as a jab to the optimism of the flower child era of the 60′s and 70′s that blasts into something that sounds like the bridge between Iggy and the Stooges “Search and Destroy” and just breaks down into pure adrenaline.

“Breed”

When I first heard this, I thought it sounded like the bridge between Iggy Pop and The Beatles. Like Territorial Pissings, this is a hard driving, yet more melodic tune that captures this earnest and sensitive side in the vocal delivery.

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Was Black Flag a Free Jazz Band in Disguise? by John M. Ellison IV

Listening to the semi-instrumental and instrumental EPs “Family Man” and “The Process of Weeding Out” respectively, I’m noticing a strong undercurrent of free jazz/avant-garde jazz from Black Flag. No, this isn’t a sequel of the “One Drop” article per se; just consider this kind of a quick nod to the previous articles though.

In this case, I’m going to focus on one of my favorite Black Flag songs, “Screw the Law.”
With “Screw the Law,” I noticed that this has a main theme on bass that’s played by Kira Rosseler for 22 seconds before Ginn doubles up on guitar and continues to solo throughout the song. Greg Ginn has stated that he’s more influenced by horn players than other guitarists in his technique. This makes sense, because the timbre of distorted guitar can be similar to the brass timbre of saxophone, trumpet etc. Actually, as I’m writing this, I just realize that Ginn’s approach is kind of similar to first wave free jazz guitarist Sonny Sharrock when you think about it.

In closing, on albums like “The Process of Weeding Out,” just think of it as a classic hardcore punk album that can potentially introduce punks to a side of their musical heritage that some of them probably weren’t aware existed.

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