Reviews

By Rick Polo (Editor-in-Chief)

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Artist: Filter

Album: Crazy Eyes

Release Date: 4/8/16

Rating: 9/10

Few survivors of the industrial rock scene have remained as consistent as Filter. Since their debut in 1995, the Richard Patrick-led project have pumped out one great record after another. With the industrial scene eventually fading into the background of metal or goth-techno by the late-90s, and genre pioneers like Skinny Puppy and Nine Inch Nails taking long hiatuses, there was little representation of the golden age of industrial rock; save for Filter. Despite waxing and waning mainstream attention, the band have retained a core audience that spans the likes of alternative, industrial and heavy metal listeners.

At the core of Filter is Patrick, the one-time Nine Inch Nails guitarist who exited the band on the eve of their most commercially-successful era. He formed Filter, looking for a less synth-driven and more guitar-driven sound. Their iconic 1995 debut, Short Bus, dropped at the height of the industrial-alternative crossover, when the sound was at it’s peak popularity. The follow-up, 1999’s Title of Record, was a massive success propelled by the crossover hit, “Take A Picture.” But for much of the 00’s, addiction issues and an evolving alternative scene kept Filter out of the limelight, despite releasing the underrated gems The Amalgamut and Anthems For the Damned. In 2011, Filter came back hard with the slamming The Trouble With Angels record, boasting a return to the sound that brought Filter to fruition. 2013’s The Sun Comes Out Tonight further featured the rage and socio-political disdain that was synonymous with industrial rock. Few artists have captured the heaviness of the original industrial scene as well as alternative rock sensibilities quite like Filter.

With their latest release, Crazy Eyes, Filter dive head first into a classic industrial rock sound with pulsating synths, distorted bass lines, mechanized drums and grinding guitars, matched with a primal rage against a failing system. Tracks titles like “Pride Flag,” “The City of Blinding Riots” and “Your Bullets” quickly indicate the social commentary that’s to come, while “Nothing In My Hands” and “Welcome To the Suck (Destiny Not Luck)” tease up the anger and disdain.

Crazy Eyes opens with the classic industrial slammer, “Mother E,” a synth-heavy stomper that finds Patrick screaming the refrain; “I got my reasons and my reasons are sound,” as a wall of swelling synths build to a head-banging groove. “Nothing In My Hands” looks at the Ferguson and Michael Brown case, while capturing all of the socio-political angst the industrial scene had/has to offer. From there, the more accessible, and dare I say, poppy, “Pride Flag,” keeps in tune with the album’s feel, looking through the glass at a society spiraling into chaos.

Filter mastermind Richard Patrick, circa 2016. Photo courtesy of blabbermouth.net.

Filter mastermind Richard Patrick, circa 2016. Photo courtesy of blabbermouth.net.

Tracks such as “The City of Blinding Riots” and “Welcome To the Suck (Destiny Not Luck)” feature a more atmospheric, KMFDM/Combichrist-esque stomp, while “Take Me To Heaven” and “Head of Fire” boast a more groove-heavy bass-driven feel, with sneering hooks in the vein of NIN. “Tremors” is also write with Ministry-style mechanical percussion, circa Land of Rape and Honey.

Most of Side B on Crazy Eyes leans a little more in the rock direction, with tracks like “Kid Blue From the Short Bus, Drunk Bunk” and “Your Bullets” featuring the more classic Filter sound of heavy alt-metal, most prevalent on Title of Record. The album concludes with “Under the Tongue,” a slow-building heavy groove tracks that spirals into a wall of distortion, before descending into the acoustic comedown of “(Can’t She See) Head of Fire, Pt. 2.”

All in all, Crazy Eyes may be Filter’s strongest album since Title of Record. While the last few records clearly showcase Patrick showing his teeth and muscles, it’s few and far between they feature his ability to write really interesting songs. Crazy Eyes ebbs and flows, and although it’s consistently heavy and brooding, both sonically and lyrically, it ties together many small concepts into a central theme. Standout tracks are difficult to pinpoint, but would certainly include “Mother E,” “Welcome To the Suck (Destiny Not Luck)” “Your Bullets” and “Pride Flag.” For fans of the golden age of industrial rock, this will surely spark an interest in a scene long stagnant.

https://www.youtube.com/watch?v=CRV51e753f8

By Rick Polo (Editor-in-Chief)

VVVV Cover

Artist: Cvttvnmvvth

Album: VVVV

Release Date: 2/12/16

Rating: 9.5/10

Over the past few years, the Northeast Ohio music scene has seen an explosion of Sludge, Doom and Stoner Rock influenced acts attempting to, and often succeeding to, bring raw, gritty heavy rock back to the forefront. But none have dared further, lower, dirtier, eviler and spacier than Youngstown’s Cvttvnmvvth!

Since the release of their 2013 debut, Tough Snake, Cvttvnmvvth have pummeled ear drums with their unique blend of Doom, Space/Psych, Stoner Metal and Post-Punk, with heavy atmospheres reaching as far in Goth as they do into Black Metal. Now, the power trio of gloom are set to release their next monumental output, a cassette tape titled VVVV.

Over the seven tracks that comprise VVVV, Cvttvnmvvth touch base on all the aforementioned styles, piss all over them, and write their own set of rules. The upbeat “Barf Star” opens the tape, setting the tone with a lo-fi, punk slammer of a track, leading into the heavy licks of “Strangle Game.” Along with a DIY aesthetic, the lo-fi production and heavy reverb, especially on the drums, is almost instantly reminiscent of the hey day of the tape-trading Black Metal scene of early 80s acts like Hellhammer and Bathory.

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“Plug Life” is the first track to really slow things down, right down into the dirt! Featuring some Pentagram-esque riffage, the track emphasizes Cvttvnmvvth’s ability to dig deep, while keeping the song grounded and interesting. “Subwolfer” sounds like a long-lost Black Sabbath demo, complete with drummer Kenny Halbert and bassist Eric Tharp holding down a tight, swinging groove over top some deliciously doom-y riffs and almost bluesy vocals courtesy of singer/guitarist Javier. “World Abattoir” continues this vibe before naturally segueing into the spacey, psychedelic doom the concludes VVVV.

“Sex Feast” nods to Candlemass, perhaps if Candlemass had begun in the early 70s, with a very classic doom riff filled with Space Rock flair. Finally, the album concludes on a definite highlight with “Sky Burial.” The epic eight-plus minute track soars high, really high, serving as a well indicator of how Cvttvnmvvth have developed as songwriters.

VVVV has a very genre-bending overall approach, one which says more in seven tracks than most artists do across three albums. Upon listening to VVVV, there’s no doubt that Cvttvnmvvth are both unafraid to take risks, and enjoy pushing the boundaries of which they have set. VVVV is the perfect answer to Tough Snake, the band have not only grown as songwriters, but have set the bar even higher this time around.

Cvttvnmvvth will hold an official release party for VVVV on Feb. 20 at Cedars West End along with Mississippi Gun Club for support.

 

https://www.youtube.com/watch?v=4vh93CQ7ylo&feature=youtu.be

By Rick Polo (Editor-in-Chief)

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Artist: Red Water Tragedy

Album: The Beast A Part of Me

Rating: 8.5/10

Storming out of the Akron/Kent music scene, Red Water Tragedy front a new breed riff-heavy Rock and Roll. Their particular blend of bluesy modern rock and grinding sludge, offer an equally powerful blend of soul and angst. The band take on the aesthetics of acts like Clutch and Corrosion of Conformity, with a modern twist that’s interestingly both radio-friendly and slamming heavy. On their latest output, The Beast A Part of Me, the band have clearly defined a path for which their exciting brand of heavy rock will take listeners on a relentless, wild ride.

Initially formed over a decade ago, Red Water Tragedy have undergone a handful of lineup changes and fresh starts before solidifying themselves in 2013. Now, after slaying audiences across the region with high-profile performances throughout the Akron, Cleveland, Kent and Youngstown areas, Red Water Tragedy are set to unleash their first major statement on the face on the regional scene.

The Beast A Part of Me comes out swinging with the slamming opener, “Lest You Forget.” The track immediately announces its presence, and offers a nastiness in the vein of Clutch or Red Fang, with soulful angst-ridden vocals of lead singer Paul Galloway in full effect providing a unique edge. From there, a blast of riffage hits hard via “Storm the Castle,” which to many fans, has become Red Water Tragedy’s signature song thus far. The track particularly highlights most of the band’s best qualities; tight-yet-pounding rhythms, massive riffs and searing vocals.

The tracks “Concede” and “The Struggle” both feature and Alice in Chains-esque dynamic of hard riffs and moody atmospheres. They contain a certain quality of darkness that is immediately and refreshingly reminiscent of Layne Staley in the mid-90s.

Red Water Tragedy

Red Water Tragedy

After a brief “Intermission,” Side B of The Beast A Part of Me sees the band taking their songwriting up a notch with more diverse subject matter and musical complexity. “The Reckoning” displays a tense build-up before an epic crescendo, finding Galloway screaming “Go fuck your ego,” with true conviction. Although political overtones are subtlety and tastefully weaved through the album, the following track, “False Fangs,” places them front-and-center. “Contradict and leave us in the dark,” sings Galloway, while making a strong point, and leaving just enough to the listener’s own interpretation.

Closing out the album is the ripping “Far Too Long,” featuring some flavorful wah-heavy guitar, slick bass lines and cowbell! Finally, the album concludes with “Darkness Inside,” a brooding, atmospheric and vulnerable acoustic track, that still puts high emphasis on what’s quite possible Red Water Tragedy’s true knack; moodiness.

All in all, The Beast A Part of Me serves as a great introduction to what Red Water Tragedy is all about. There’s power, angst, soul, groove, heaviness, moodiness and well-formulated songs. The production quality is very high, leaving just enough grit for the average Sludge/Stoner Rock fan to enjoy, but just enough polish for a radio-friendly audience to grab. That is no easy feat, as some acts who walk the line of underground and mass acceptance run the risk of insincerity. Luckily, this is not the case for Red Water Tragedy, as each individual track stands out in one unique way or another. The Beast A Part of Me is perfect for fans of regional acts like Resinaut, Mississippi Gun Club and Rule of Two, or national acts such as Clutch, Red Fang, Floodgate or Alice in Chains.

https://www.youtube.com/watch?v=TAjP0RWGzpA

https://www.youtube.com/watch?v=DIHVeDuzAn4

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Aspiring Actress Slashes Her Way To the Big Time

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By Rick Polo (Editor-in-Chief)

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Artist: K808

Album: Runaways

Release Date: 12/12/15

Rating: 9.5/10

Youth. Reckless abandon. Free spirit. The best days of your life…

This is exactly the summation of Runaways,’ the second release from art-pop singer/songwriter/producer K808. A soundtrack to the days of young adulthood; on the cusp of life but not having everything figured out, and not necessarily being concerned with it either. Runaways is a perfect example of a coming-of-age tale of young millennial love; a fun and upbeat banger with a deep complexity and sharp wit beneath the bubbly surface.

K808, formerly know as the indie-pop songstress Katianne Timko, has undergone quite the transformation over the last two years. After making quite a name for herself on the regional Indie scene, Timko took a huge risk. Rather than continuing on her already successful musical course, she completely reinvented her image and her art, fully becoming and embracing K808, a forward-thinking “pop” artist, with emphasis on the artist.

For her new EP, Runaways, K808 took on the role as songwriter, composer and producer, to impressive results. The production quality is top notch, with beats and hooks for days. Each of the six tracks all loaded with superb club-ready bangers, commanding dance floor dominance. The EP is bright and fun, with a sense of both self-awareness and artistic wit of veteran songwriter, which is exactly who K808 is. Her new sound does not feel like a gimmick or a cash-in, but a very interesting artistic risk, one of which contains a heavy dose of heart and soul.

Runaways kicks off with the slamming “Young + Hungry.” The track’s lines “Play me like vinyl babe, I want you like an autograph, I want to run away and you’re the one who makes me laugh,” and “My heart is beating still, we’re millennials and we’re never satisfied. We’re young and we’re hungry and we’re having the time of our lives,” perfectly sum up what the EP and K808 are representing.

“The Dark Side,” featuring rapper GRIZZLY, was the first single released some months back. The Track boasts yet another banger, with strong songwriting from both K808 and GRIZZLY for an interesting crossover appeal. “Pool House” is a fun track and perhaps the poppiest number, not far from modern Katy Perry or Taylor Swift. From there, the complexity begins to rise with one of the EP’s sharpest tracks, “Sleeping With the Enemy.” K808 sings ” I like my love delusional,” is the post-hook of the song, indicating the true naivety and complications of young love in an ever-evolving society.

Closing tracks, “Valentine (Ready, Set, Go)” and “H20” offer more huge hooks and powerful words from a young woman who is quickly coming into her own, but still has the youthful abandon on her side.

All in all, Runaways marks a very pivotal point for K808, both as a musician and songwriter. She has stepped out from behind the shadow of her acoustic guitar and ventured into an entire new world of musical discovery. Her knack for a song melody, huge hook, and superb production techniques are impossible to ignore. Key tracks include “Young + Hungry” and “Sleeping With the Enemy.”

And Runaways is a rare and beautiful occasion where an artist goes pop without selling out, but marking an even bigger and bolder statement. As a songwriter, K808 is continually expanding her horizons. Whether its love songs, or heartbreak, or a fun-in-the-sun track like “Pool House,” her approach is one of maturity and experience, with a strong artistic sense behind all of it. Runaways is artistic evolution, and it’s exciting to see what direction K808 will take next.

Runaways will be available on iTunes on Dec. 18.

A place for all ears and minds; The Raw Alternative showcases the counterculture in literature, arts and music at their very best. In this publication, we will present you the best underground art from local to international scenes.

-Rick Polo (Editor-in-Chief)

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Aspiring Actress Slashes Her Way To the Big Time

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Ms. Rose

By Rick Polo (Editor-in-Chief)

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Artist: Alex Hall’s Figurehead

Album: Alex Hall’s Figurehead (EP)

Release Date: 6/2/15

Rating: 9/10

Lengthy jams. Infectious grooves. Soaring vocals. Wailing guitars…

It’s not easy to capture all of these elements at one time, in one place. For many, it takes years and years of honing one’s craft before such a bold attempt can not only be made, but mastered. Not to mention carrying the lofty tag of “Progressive Jam.”

However, Youngstown independent act Alex Hall’s Figurehead has somehow managed to wrap their head around this concept while simultaneously blowing ours.

With their three-song self-titled EP, AHF has taken a perfect snapshot of what their band is all about; see above. Recorded at Central 8 Studios in Akron, by the band along with Nathan Doutt, AHF are carrying on the tradition of area mainstays Jones For Revival and Vibe and Direct, only with a unique signature twist. The band channels complex arrangements more akin to the heyday of Bachman-Turner Overdrive and Yes than the Grateful Dead or Phish, only condensed down into a powerful, more conventional run time. Add in some good vibes and soulful lyrics, and you have one of the area’s hottest up-and-comers, Alex Hall’s Figurehead!

Alex Hall's Figurehead performing live in 2015. Photo Courtesy of facebook.com.

Alex Hall’s Figurehead performing live in 2015. Photo Courtesy of facebook.com.

The EP opens with the pounding Reggae-like rhythms and ripping guitars of “Perform.” The track swings back and forth from an attention-grabbing rocker to a more chilled-out jammer, climaxing with an elevated, melodic guitar solo on par with that of David Gilmour. From there, the psychedelic riffs and organs of “Credit Hole” take a listener on a blues-heavy groovin’ trip. The shifting middle section gives way to yet another soulful guitar solo. Finally, the EP concludes with the Doors-esque “Shakespeare,” with exceptional instrumentation by a band who sounds very comfortable together.

All in all, Alex Hall’s Figurehead is a very rare debut in the fact that it showcases a band firing on all cylinders from a very early point in their career. The band has set the bar rather high for itself, leaving the listener wanting more, and in anticipation for the next release! The only disappointment is in there only being three tracks on this EP.

Alex Hall’s Figurehead is set to perform the Friday, Oct. 9, at Cedars West End in Youngstown, Ohio, along with Sleepy Hahas and Knife Fighters.

 

Buzz Osborne Talks Cobain Documentary, Vinyl Resurgence

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By Rick Polo and Jennifer Elizabeth Rose (Editor-in-Chief and Social/Cultural Writer and Music/Arts Historian)

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Artist: The Zou

Album: Love Kills Part Two

Release Date: 8/22/15

Rating: 9.7/10

Two long years have passed since The Zou released Kills Part One. The album was a real emotional rollercoaster of well-crafted pop love songs, dragged through barbed wire of sonic experimentation; a notable trademark of the band. The album literally left fans hanging on the edge of their seats, waiting for the follow-up. Now, with the release of Kills Part Two, fans can finally breathe as the Northeast Ohio Indie Rock staples have unleashed the masterpiece that was years in the making.

After a slew of lineup changes and delays, Zou mastermind Khaled Tabbara has teamed up with a plethora of noteworthy musicians to craft what could easily be his finest effort to date. Featuring the talents of Bernadette Lim, Katianne Timko, Billy LaGuardia and Tabbara’s brother Rached to name a few, the eclectic sound each musician brings to the table only adds more color to canvas. Producer Pete Drivere lends his signature polished-yet-somehow-gritty-rock-and-roll sound, for a record that transcends nearly every era of rock, yet still sounds vitally fresh.

Kicking off Kills Part Two is the simply-titled “Love.” A Baroque Pop tune with vocal harmonies reminiscent of Rubber Soul-era Beatles or Pet Sounds-era Beach Boys. The opening track is airy and tense, perfecting leading into “Drop A Dime,” a Ben Gibbard-esque sounding number, that could fall somewhere between his work with either Death Cab For Cutie or The Postal Service.

“I Was A Tyrant” follows with a more Americana-meets-Baroque Pop vibe, and painful lyrics hinting at a one-sided relationship. From there, the hard-rocking “Ooglie Booglie” takes flight, giving a post-punk angst, both sonically and lyrically, not unlike that of The Pixies or perhaps some of Black Francis’ solo endeavors. The track features a standout riff that takes the record off into a whole other direction before taking another left turn with the following tracks.

The Katianne Timko-produced “Holy Moses” can best be described as “holy drums!” The electronic drums pound underneath a well-crafted pop song. The modern, but certainly not gimmicky, production feels more like The Zou taking a sonic step forward rather than a trendy cash grab.

Finally, Kills Part Two concludes with the Doo-Wop vocal harmonies of “Mon Dieu” (an early acoustic version performed on The Raw Alternative can be viewed here) and the climatic rocker, “Gun Moll.” With a collage of sound that evokes Animal Collective, “Gun Moll” featuring soaring guitars and some of the album’s most intense lyrics, leaving the listener again, at the edge of their seat craving more.

All in all, Kills Part Two features, some of, if not the finest music The Zou has produced to date! Standout tracks include “Ooglie Booglie,” “Holy Moses,” “I Was A Tyrant” and “Gun Moll.” With various nods to his influences, Tabbara takes his band to new heights, while still retaining enough of the classic sound fans have come to know and love. Lyrically, the album examines all the various angles of love and the multiple feelings it can provoke, much in the way of Paul McCartney, My Morning Jacket’s Jim James or even Martin Gore. Sonically, Love Kills Part Two is widely spread, much in the way of Pet Sounds, Sgt. Pepper’s or even Dark Side of the Moon. It’s indicative of a band reaching a creative high, but certainly not peaking just yet.

The Zou will be giving a performing at Suzie’s Dogs and Drafts in downtown Youngstown on Saturday, Aug. 22 as band of the official release of Kills Part Two.