The Protomen Compose Epic Opus From Nerdy Premise (Dec. 2010)

Under The Radar

The Protomen

Originally published for the Bismarck State College Mystician back in December, 2010.

Genre: Glam Rock/Experimental/Elecrtonica

For most, video game music has never been seen as an established genre. But many avid gamers enjoy the music composed for their favorite video games. Some even purchase their official soundtracks. This trend has grown into a community of musicians creating elaborate renditions and remixes of their favorite songs. The Tennessee-based act, The Protomen, have taken the trend further, creating an elaborate rock opera based off the classic Nintendo game Megaman.

The Protomen are a concept band that combine Glam Rock, Electronica, Experimental/Progressive and various other genres. The bulk of their material is part of a multi-album rock opera loosely based on the characters and storyline of the Megaman series. The band reinterprets the game's canon, telling a dark dystopian tale with strong George Orwell and Ayn Rand influences.

The group is composed of a large, rotating line-up of friends who met while attending MTSU in Murfreesboro, Tennessee. Many were involved in the local music scene before graduating and moving to Nashville. Little is known about the group as they rarely do interviews out of character. The group performs all their shows as characters from the universe they've constructed, claiming to retell the stories they've "witnessed."

The group follows the basic rock opera formula. The lyrics serve as the lines spoken by either the narrator or characters from the story. All the instrumental interludes indicate an action scene, which is usually described in the linear notes of the album.

The story is a dark representation of Megaman's storyline. Dr. Wily isn't just a blundering mad scientist, repeatedly failing to takeover the world. Has has taken over the world and is now a Stalin like dictator in an Orwellian society. The story plays out with the protagonist Dr. Light building the robot Protoman to attack Wily's stronghold and save mankind. Unfortunately, Protoman becomes mortally wounded and the people watch from a distance as he is killed, refusing to help out of fear.

Dr. Light builds Megaman to fill the void left in his heart, creating him to be his younger "son." Upon learning of his brother's fate, Megaman vows to avenge his death and save mankind. Light protests, "They can't be saved by just one man." Meganman then runs away to assemble the troops and overthrow Wily.
The first album, The Protomen, builds off this backstory and tells the tale of Megaman attempting to free society from Wily's reign. The album's sound is very raw, being recorded using analog instead of digital equipment. The overall sound of the album is a mix of abrasive, uneven hard rock and electronica using synthesizers to emulate NES style chiptunes. The band has described the sound as "the sound of the end of the world."

Their second album, Act II: The Father of Death, was much more refined – meant to reflect the age "before the bomb dropped." The album's storyline acts as a prequel and is divided into two parts. The first tells the backstory of Thomas Light and Albert Wily and the events that led to Wily overthrowing the government. The second half observes the first years of Wily's "utopia" and the rise of Light's first progeny, a young man named Joe (a reference to Sniper Joe).

The album's style is divided between these two halves. The story of Light and Wily is told through Country and Classical Opera, with some Psychobilly thrown in. However, the track "How The World Fell Under Darkness" transitions the two, building off the classical opera motifs of the first half and into an ode to 80s Glam Metal. Reflecting the robotic utopia Wily created, the music mocks the cheesy sci-fi concept albums of the 80s, particularly Styx's "Kilroy Was here."

The band's opera is set to be in three acts. The band has announced their album to be released sometime in 2012. For now, they are on a constant touring regimen.
The group has gained a reputation for its energetic concerts. The band is known for elaborate stage decor, costumes and a variety of theatrical antics reminiscent of 70s Glam Rock acts such as David Bowie and Queen. The band is also known for doing a variety of covers, ranging from 80s acts such as Styx, Kenny Loggins and Journey to unexpected artists like Alabama.

The Protomen, sadly, tend to be seen as a novelty act. Due to this reputation and their philosophy of doing interviews in character, they're only known to a small niche of listeners. But despite how nerdy their premise may be, The Protomen prove how artistic and original video game musicians can be with a little extra effort.

Notable Albums:
The Protomen (2005)
Act II: The Father of Death (2009)


Notable Tracks:
"The Will of One"
"The Stand (Man or Machine)"
"The Good Doctor"
"Keep Quiet"

Hank III's Outlaw Sound Stirs Trouble With Pop-Country Radio (Nov. 2010)

Under The Radar

Hank Williams III

Originally published for the Bismarck State College Mystician back in November, 2010.

Genre: Country/Punk/Metal

Country music has always garnered undeserved scrutiny. Is has been criticized for its association to the sub-cultures of the South and the stereotypes that typically follow. But despite criticism, country music has always been valued for its genuine earthiness. With its roots in traditional American Folk and Bluegrass, it has the power to remind us of a younger America and explore the emotional and cultural struggles of rural life.

But country music has seen a drop in authenticity lately. The 70s and 80s saw a deviation from Tradition Country music, with artists such as Billy Ray Cyrus churning out catchy pop hits like "Achey Breaky Heart." This deviation, known as Pop-Country, soon became the standard with artist like Taylor Swift littering the airwaves. Artists like George Straight try to hold onto traditional values while still appealing to mainstream audiences, but many purists see this trend as "too little, too late." On the other hand, a few new artists are flocking the underground inspired by the grandson of the forefather of outlaw country, Hank Williams III.

Shelton Hank Williams III, referred to by fans as Hank the Third, is the grandson of Country legend Hank Williams and son of Contemporary Country star, Hank Jr. Hank Williams III plays a fusion of Tradition Outlaw Country, Heavy Metal and Punk Rock.

Williams started in the mid 90s as a drummer for several heavy metal and punk bands, including former Pantera vocalist Phil Anselmo's band Super Joint Ritual. Williams eventually signed Curb Records to produce a country record after a judge ordered him to pay off overdue child support. In 1996 Williams produced Three Hanks: Men With Broken Hearts, an album where he spliced material from his grandfather with vocals from himself and his dad to appear as if the three were recording a family album together. Despite its lackluster reviews and somewhat hackneyed premise, the record was a marginal success and inspired Williams to follow in his family's footsteps.

Williams began his career as a country artist but soon found himself at the mercy of Curb Records' strict policies. The first signs of tension showed when Curb refused to produce his This Ain't Country LP and instead made him produce the more pop friendly record Risin' Outlaw, an album which Williams has expressed disdain for. In response, Williams sold T-shirts at his live shows with the words "Fuck Curb" across the front. This became one of the many controversies surrounding his live shows.

Williams' live shows are known for their "Jekyll and Hyde" format, where he plays a Traditional Country set, followed by a Hellbilly (Country and Metal) and Psychobilly (Country and Punk) set and ends with a set from his band Assjack, which combines Metalcore and Psychobilly. Controversy surfaced when Curb refused to produce any of Assjack's material. Contractual agreements also prevented Williams from producing their material with another record company. Williams eventually resorted to selling bootlegs at his live shows.

Williams eventually settled some of his differences with Curb and produced his sophomore record Lovesick, Broke and Driftin'. Despite settling disputes with Curb and discarding his T-shirt campaign, he continued to release Assjack bootlegs at his shows. His third record, Straight To Hell saw more controversy as Curb Records had to negotiate with Wal-Mart to sell an edited version of the record. Straight To Hell became one of the first major label country records to carry a parental advisory label.

Since then, Williams has produced two more records, including one within the last year titled Rebel Within. Williams is already slated to produce another record in 2011. Since Williams' underground success, other artists have followed including the Milwaukee based .357 String Band and the Madison based Goth-Country act, Those Poor Bastards.

Notable Albums:
Lovesick, Broke and Driftin' (2002)
Straight To Hell (2006)
Rebel Within (2010)


Notable Tracks:
"Straight To Hell"
"3 Shades of Black"
"Dick in Dixie"

Dead Can Dance Gives New Ethnic Twist To A Forgotten Genre (Oct. 2010)

Under The Radar

Dead Can Dance

Originally published for the Bismarck State College Mystician back in October, 2010.

Genre: Post-Punk/Goth/Neo-Classical

The punk rock movement of the 70s left its mark on the musical community, creating a widespread of differing influences. Though the nihilistic attitude and DIY ("do-it-yourself") mentality of the the scene remained intact, the artists went on to create a much more experimental and versatile genre: Post-Punk.

Early Post-Punk groups such as Siouxsie & the Banshees and Joy Division stayed closer to the source material but emphasized complexity and melancholy melodies. The 80s, however, witnessed an evolution in the genre that split into different directions. Some artists took the sound and made it catchier and more commercially viable, creating New Wave groups such as Blondie, Talking Heads and Devo. A few groups, such as The Pixies and Sonic Youth, took a more experimental approach, branching off to the point of being nearly unclassifiable. Groups such as Bauhaus and The Cure, however, took the meloncholy tone introduced by early Post-Punk bands to extreme measures, producing either minimalistic material of a macabre nature or synth-heavy melodies of gloom and doom, creating Goth.

It's worth noting that this is the only genre to be officially classified as Goth by music analysists and commentators, despite its use by broad audiences to describe a cadre of musical artists – usually with intended negative connotations. As the genre grew and the niche among 80s culture started to bloom, one band took the style and created something unique: Dead Can Dance.

Dead Can Dance was a Post-Punk/Goth group that originated from Australia. Their first album, a self-titiled record, was already noteworthy for tis more ambient and ethereal sounds as well as their contrasting vocalists, Brendan Perry and Lisa Gerrard. Perry was noted for his distinctively haunting baritone vocals while Gerrard had showcased an expansive range from contralto to mezzo-soprano and experimented with traditional Mediterranean, Middle Eastern and Oriental vocals.

It was the band's later work that made them stand out. They slowly started experimenting with multi-ethnic folk and Neo-Classical. By the time they produced their fifth album, The Serpent's Egg, they were unclassifiable. Dead Can Dance's signature had become a mixture of Dark Etheral and ethnic folk deriving from ancient and traditional styles of various eastern ethnicities, notably the Romani and other ancient Mediterranean cultures. The influences have often been attributed to Gerrard growing up in the Greek-Turkish suburb Prahran, Australia.

Over time, the group put less emphasis on lyrics and more on instruments. Eventually, even the vocals were used more instrumentally where Gerrard often sang in idioglossia: languages Gerrard invented.

By the nineties, the group had become a duo featuring solely Perry and Gerrard. The two became so diverse in their talents they were able to produce their elaborate music without the help of the guests and collaborators who had contributed to the production of their earlier material. Unfortunately, the two drifted apart due to creative differences and split up after producing their final album, Spiritchaser, in 1996. Since their break-up, the group only reunited in 2005 and has shown no intention of reuniting again.

Although not known in the mainstream musical community, their legacy followed a similar path as New Age/Trance legends Tangerine Dream, with their music featured in musical scores of countless film and television projects. Some of the notable uses include "Sanvean" on The West Wing and "The Host of the Seraphim" for Terminator 3, The Mist and Legend of the Guardians: The Owls of Ga'Hoole.

Notable Albums:
The Serpent's Egg (1988)
Into The Labyrinth (1993)
Spiritchaser (1996)


Notable Tracks:
"The Host of the Seraphim"
"Saltarello"
"The Writing On My Father's Hand"
"Sanvean"

Pure Reason Revolution's Electronica Is Anti-Gaga (Sept. 2010)

Under The Radar

Pure Reason Revolution

Originally published for the Bismarck State College Mystician back in September, 2010.

Genre: Experimental/Progressive/Electronica

Pop music has always stirred negative feelings with some. Many have described the genre as shallow, uninventive and unintelligent. Recently, pop music has begun a transformation, albeit in a rather formulaic and trendy way. Many artists such as Rhianna and Keisha have jumped on a bandwagon started by Lady Gaga, experimenting with sounds similar to 90s Europop and Electronica.

Electronica has become something of a buzzword, used to describe a variety of styles, including the generic (but danceable) House, Techno and Industrial genres usually associated with raves. It also has been used to describe Experimental/Ambient and Trance acts such as Tangerine Dream and Enigma. But lately, the synth-oriented melodies and digitalized, bass-heavy drum-beats associated with the term have slowly crept its way into much of the instrumentation used in pop music. On the other end of the musical spectrum, the unknown Progressive Rock group Pure Reason Revolution  has emerged utilizing the same Electronica experimentation that has made these pop acts so popular.

Pure Reason Revolution is a relatively obscure British group, whose origins date back to 1997. Originally known as The Sunset Sound, the band encountered a number of line-up and name changes until they solidified somewhere between 2000 and 2003. The group started out as Progressive/Space Rock with strong Pink Floyd influences. The name of the band's first single, "Bright Ambassadors of Morning," is a line off the Pink Floyd song "Echoes."

After releasing their first full-length album, The Dark Third, the group went on tour with British and Israeli group Blackfield (a side project of Aviv Geffen and Porcupine Tree's Steven Wilson), which caused the group to gain attention in the UK. After their first major tour, they returned to the studio to record their second album and decided to make a major musical departure just as their career began to blossom.

What resulted was Amor Vincit Omnia. Lyrically and structurally, the sound was still very progressive and complex, but the overall sound had vastly changed. The subtle use of synthesizers and mellotrons – which created their signature space rock sound – was traded in for more elaborate synth-lines and bass-heavy rhythms. Their sound became less comparable to Pink Floyd and more so to Daft Punk.

Despite its shocking change in sound, the band garnered much acclaim. Though blasted by prog purists, many critics saw the sound as highly original, charming and slightly ironic given the current trend among pop artists. Unlike the pop scene which has showed similar influences, Amor Vincit Omnia showed a great deal of depth in its lyrics and overall concept.

The album name is believed to be a reference to the Caravaggio panting of the same name. Although the band has never officially confirmed whether or not the album was conceptual, the lyrics and overall structure shows a strong, cohesive conceptual base. Several of the songs bleed into each other and contain recurring melodies and lyrical passages and share a theme reinforced by the album, which is Latin for "love Conquers All."

Though their style tends to be very polarizing, pure Reason revolution's sound needs to be experienced by the musical community. Although the group hasn't attracted as much popularity as it should, the band continues to create music and expand its fan base. The group has been working on their next album "Hammer and Anvil" which is set to release Oct. 18 this year.

Notable Albums:
The Dark Third (2006)
Amor Vincit Omnia (2009)


Notable Tracks:
"The Gloaming"
"Deus Ex Machina"
"Les Malheurs"
"Goshen's Remains"
"The Bright Ambassadors of Morning"

Under The Radar: Opeth (April 2008)

Originally published for the Bismarck State College Mystician back in April, 2008

Genre: Melodic Death Metal/Progressive Metal/Swedish Folk

No underground music style has the reputation that Death Metal has - Swedish Death Metal, no less. It's seen by most as one of the most brutal and over-the-top form of metal out there. The genre has also earned the misconception of being incredibly easy - just bang on a loud, distorted guitar while screaming and growling in a microphone (which is not the case). But before anyone decides to shun all Swedish metal, they should take a gander at the progressive metal act Opeth.

With an unexpected twist of musical progression, Opeth pulls in the heaviest of metal heads with their brutal vocals, heavy but intricate guitar usage then brings the listeners to tears as their songs segue into soothing Swedish folk and jazz. Lead singer Mikael Åkerfeldt is capable of some of the deepest growls and howls and yet is able to sing some of the softest, clean vocals.

The bands has experimented by combining the old tradition of Swedish folk with the new tradition of black metal. Many of their songs follow a complex structure, combining multiple movements that jump from loud, guitar opuses to light, acoustic folk as heard in tracks such as "Ghost of Perdition." While shorter, simpler pieced like "Benighted" can be heard from time to time, most of their work ranges from seven to twelve minutes long.

The band started in 1990. They got their name from the Wilbur Smith book "The Sunbird," in which Opeth is the name of a town on the moon. Initially, they were a straight-forward black/death metal band. Witch each album, the band's work has become more diverse. The band has had many line-up changes, but Åkerfeldt has remained the driving member behind the band.

Their seventh album, Damnation, saw a drastic change as their work followed a more progressive rock style and contained only clean vocals. The album was their biggest commercial success*. However, the the band's most recent album, Ghost Reveries, returned to using death metal vocals - however, saw more clean vocal usage in their heavier tracks such as "Harlequin Forest."

While still relatively unknown in the mainstream metal sects, the band has garnered a major following across the globe as well as praise among rock critics for their diverse style. The band is going strong despite a few line-up changes after their last album. A new album has been announced to appear sometime around May this year and promises to be another great piece of metal majesty.

Notable Albums:
Ghost Reveries (2005)
Damnation (2003)
Still Life (1999)


Notable Tracks:
"In My Time of Need"
"Harlequin Forest"
"Ghost of Perdition"
"Benighted"

Under The Radar: Sigur Rós (Feb. 2008)

Originally published for the Bismarck State College Mystician back in February, 2008.

 

Genre: Experimental/Ambient

Much of today's music tries to be fast, loud and belligerent. And at times, it grows tiring and begins to all sound the same. It's time like these that may drive listeners to find something new and innovative. In the loud and occasionally bothersome world of mainstream music, some may try to find innovation in a more somber and occasionally psychedelic music forum. This is how some have come to discover the hidden Icelandic gem Sigur Rós.

Many have tried to classify Sigur Rós, sometimes inventing genre names. Dream Pop, Post-Rock and Experimental-Ambient are some of the words that have been used to describe them. The band came out out a late 80s, early 90s musical scene known around the UK as "shoe-gazer," a term to describe certain alternative and experiential groups who would stand perfectly still as they played their instruments while keeping their head to the floor as if they were gazing at their shoes.

Despite their various classifications, the group's music is a mellow mix of psychedelic noise and ethereal, ambient sound manipulation. This combination mixed with lead singer Jónsi Birgisson's falsetto voice creates a soothing and trippy musical experience. One innovative technique in sound manipulation that the band has become known for is Birgisson playing electric guitar with a cello bow followed with a unique mix of reverberation, creating a fluidic sound.

The group formed in 1994, starting with members Jónsi Birgisson (vocals, guitar), Georg Hólm (bass), and Ágúst Ævar Gunnarsson (drums). The group named themselves after Birgisson's little sister, Sigurrós, meaning "victory rose."

They released their first album Von in 1997. Keyboardist Kjartan Sveinsson joined up a year later, soon releasing a remixed version of the album titled Von brigði. Sveinsson would come to contribute much in terms of orchestral and string arrangement in their work.

Their second album Ágætis byrjun won them critical acclaim internationally. They soon developed a cult following and were getting much support from the music community, including UK favorites Radiohead and other bands such as Metallica. Many of their songs have been seen in movies such as Vanilla Sky and The Life Aquatic with Steve Zissou.

Many of their albums since have grown more experimental, like their 2005 release Takk, adding more rock into their formula. The band continues to experiment and find new innovations as they recently announced a new album planned for release sometime in late 2008.

Notable Albums:
Von (1997)
Ágætis byrjun (1999)
Takk (2005)


Notable Tracks:
"Sæglópur"
"Glósóli"
"Starálfur"
"Njósnavélin"

Under The Radar: A Tribe Called Quest (Nov. 2007)

Originally published for the Bismarck State College Mystician back in November, 2007.

Genre: Indie Rap/Hip-Hop

These days, rap bridges into mainstream music through a repertoire of collective gimmicks. Rappers rely on bells and whistles such as spouting off catch phrases, repeating unoriginal choruses, "borrowing" lyrics and samples from previous songs. Go back 10 years or so, one would that the rap and hip-hop scene was very different. Alongside mainstream rappers like 2pac, Biggie and Ice Cube – who all showed impressive skills – there was a growing underground scene focused on more positive lyrical themes. One such group was A Tribe Called Quest.

Back in the 90s, A Tribe Called Quest emerged out of a growing underground scene. Tribe had originated from a collective group of rappers known as the Native Tongues Posse. These were artists focused around positive themes and more earthly beats and melodies. Among them were veterans such as De Le Soul and Jungle Brothers. They revolutionized the idea of sampling jazz and funk into their music. Their open forum of musical experimentation paved the way for the Instrumental Rap genre and its pioneers such as Mos Def.

A Tribe Called Quest sampled anything and everything and were known for obscure, yet oddly developed musical structure. Their lyrical style originally evolved from old school free-styling, incorporating many topical themes and upbeat positive imagery. While it evolved from traditional hip-hop of the 80s, the sound was considered unique at the time. Rap had recently taken a harder turn, with new acts such as Ice Cube focusing on misogyny, drugs and gang violence. Tribe's take on the hip-hop scene is said to have influenced many acts such as modern indie-rappers Little Brother and Slum Village, as well as more secular acts like Black Eyed Peas and Kanye West.

It was in 1990 that Tribe released their first full-length album, People's Instinctive Travels and the Paths of Rhythm. The record got a great response from critics; however, it went unnoticed by most mainstream listeners at the time. Their single off the record "Can I Kick It" would finally get the group a little bit of well deserved attention.

After the group put out their next album, The Low End Theory, they became known for focusing on social themes such as racism. gang violence and date rape. Over the years, the group was enthralled with afrocentric issues and the controversies stemming out of secular rap. They grew especially concerned over the rivalry of east-coast and west-coast rappers.

Tribe called it quits in 1998 after releasing their fifth album, The Love Movement. The break-up was partly attributed to group member Phife Dawg's growing reluctance for the music. In an interview for the website Listd (www.listd.net) Phife said, "I started feelin' like I didn't fit in anymore . . . music felt like a job."

The group reunited in 2006 and held several sold out concerts. The group has yet to announce any possible upcoming reunions.

Latest Album:
The Love Movement

Notable Tracks:
"Can I Kick It?"
"Scenario"
"Buggin' Out"
"Jazz(We've Got)"

Under The Radar: Dredg (Sept. 2007)

Originally published for the Bismarck State College Mystician back in September, 2007.

 

Genre: Progressive/Alternative/Ambient

Dredg is a progressive alternative band from California with a strong cult following but is virtually unknown in mainstream media. Many have tried to classify them, some comparing their sound to Tool or Deftones but fail as their unique sound defies any comparison.
The band's early work was influenced by early nu metal, but since their record debut with Leitmotif back in 1999, they've developed a sound all their own.

Since then, Dredg has been steadily changing, remaining ever evolving. The band's focus has been on experimentation and eclectic, ambient melodies and is known for many innovations – implementing "noise-making" techniques to create a variety of atmospheric effects.

One of the most well known examples is lead singer Gavin Hayes' use of a slide guitar – particularly in the song "The Canyon Behind Her." In this piece, Hayes slides a screwdriver across his guitar strings, harmonizing with the song's melody to create an atmospheric soundscape that almost sounds computer-driven.

With each album, their sound has expanded and changed, all the while keeping an underlying theme to their music. Their albums are conceptual and explore complex, abstract and philosophical themes. The band appears to be influenced by surrealism and has often created surrealist-inspired artwork (usually done by either Hayes or bassist Drew Roulette) alongside their music and is usually implemented into their album's cover art and linear notes.

Their album El Cielo was influenced by surrealist painter Salvador Dali and his painting Dream Caused by the Flight of a Bumblebee Around a Pomegranate One Second Before Awakening. The album was focused around sleep paralysis, a disorder Dali's wife suffered from. Band members had also interpreted the aforementioned painting to be a literal representation of the disorder. The band received letters from people who have suffered from sleep paralysis and had them describe the bizarre dreams and hallucinations that accompanied their condition. These dreams were used for the basis of many of their songs.

In their newest album, Catch Without Arms, Dredg's music has become less complex and focuses more on melody than the experimentation seen in El Cielo. Their themes, however, remain as abstract as ever. The album as explores aesthetic realism, focusing on duality and presents the contrasts seen in an array of arguments.

Notable Albums:
Leitmotif
El Cielo
Catch Without Arms

Notable Tracks:
"The Canyon Behind Her"
"Whoa Is Me"
"Ode To The Sun"
"Planting Seeds"