Louder Than Life Artist Feature: Being As An Ocean

Written by Robin Ervolina
If you're not familiar with Being As An Ocean, let me introduce you to them via their music first. Because honestly, oh my G-d.
Meet singer Joel Quartuccio. I'm obsessed with his vocals. He looks like the guy one expects to handle unclean vocals for hardcore bands. Hang on though, because when he starts singing, *poof* mind blown. One man with many souls inside him (especially evident at 3:37), one for every mood and monster in me.
https://www.youtube.com/watch?v=G3MBv5-H9oE&index=1&list=PLoNBH0bst4R8a9MF40-eYUWJtCD_i0zJB
Spoken word. Clean vocals. Haunting melody. Also, meet Michael McGough, guitarist and (clean) vocalist. It should be clear that they're not your usual metalcore screamo outfit. There is complexity to their sound and their message. It's poetry and passion, boasting intelligent, insightful, masterfully crafted lyrics.
https://www.youtube.com/watch?v=wD5IG-X42lQ
Being As An Ocean take their name from a quote by Mahatma Gandhi; "You must not lose faith in humanity. Humanity is like an ocean; if a few drops of the ocean are dirty, the ocean does not become dirty." In regards their faith, they state they are "Christian people who love to write music," but do not claim to be a Christian band.
https://www.youtube.com/watch?v=Ng2JnoZ7jIo
Being As An Ocean was formed in Alpine, California in 2011. They have three LPs to their credit, Dear G-D, How We Both Wondrously Perish, and the eponymous Being as an Ocean. Catch their Louder Than Life festival appearance Sunday October 1st at 2:10 on the Zorn Stage.

Delain: Moonbathers

Written by Robin Ervolina
Dutch symphonic metal band Delain released their fifth CD, Moonbathers, last month. It's nothing unexpected; driving melodies, lavish orchestration, and the angelic voice of Charlotte Wessels. In other words, the same old, exceptional Delain. The anticipated follow-up to February's Lunar Prelude speaks to familiar archetypes. There are 11 theatrical songs on love and loss, good and evil, and of course, perseverance. Guest vocalist Alissa White-Gluz (Arch Enemy, ex-The Agonist) returns to kick off the first track,"Hands of Gold." Power riffs and strings forge an aggressive melody, perhaps Delain's heaviest offering to date. The contrast between Wessels' airiness and White-Gluz' eerie gutteral death growls is sublime. It's the perfect song to set the mood and tone of a CD that feels more like a performance than a recording.
Beyond that, there aren't many highlights to note. Each song is as exquisite as the one before. Every musician in Delain is a master of their craft, so perfection is a given. Wessels may, if it's possible, be even better than in previous recordings. In "Chrysalis - The Last Breath," her familiar falsetto is on display, but she belts out some hair-raising notes from her chest. If there are any other surprises, it's the Queen cover "Scandal" with its Abba-On-Metal feel.
Moonbathers is a gorgeous combination of assailing metal tunes and etherial ballads, delivering an elegant and majestic escape. In other words, it's exactly what Delain lovers have come to expect.

Louder Than Life Artist Feature: Motionless in White

"Sit down and shut up so I can sing you your fucking love song." - Eighteen Visions

Written by Robin Ervolina
That saying, "Write about what you know" is absolutely worthless when writing about something I love, and I love Motionless in White. I get bogged down in the details of why and how as I am mesmerized by the pull of the music and the pain in the lyrics. I try to shoo my emotions away long enough to tell you about their history, their growth, their catalog, but it's pointless. Motionless isn't emotionless; you feel their music all the way deep down in the murky basement of your soul where it dredges up memories and comforts your demons. I'm going to try to give you a 101 on Motionless in White to get you ready for their set at Louder Than Life, but if I go down the rabbit hole, don't say I didn't warn you.
Motionless in White is straight outta Scranton, formed by Chris "Motionless" Cerulli in 2005 (other founding members have since left the band). Chris handles the intense vocals, a mix of clean and scream, and is joined by Ricky "Horror" Olson (rhythm guitar), Devin "Ghost" Sosa (bass), Ryan Sitkowski (lead guitar), Josh Balz (keyboards), and when touring, Vinny Mauro (drums). Their debut EP, The Whorror (2007) was eventually released as a full-length album When Love Met Destruction (2009). They've produced another three killer albums, Creatures (2011), Infamous (2012) and my favorite, Reincarnate (2014). On June 23, 2016 they put out a single "570" from their forthcoming studio album expected to drop in 2017.
https://www.youtube.com/watch?v=7Na3sECLYI8
I love it when people ask me to describe Motionless in White (cue the rabbit hole). Chris can growl and scream with the best of them, but when he indulges in clean vocals, it's a sweet break from the scream cave. Expect blast beats and breakdowns and metal riffs galore. Depending on the song, the mood, your baggage, you can take what you want from them. If you're a horror fan, they've got you covered. Love metalcore? Check. Industrial your cup of tea? Done. In the past they've been compared to Marilyn Manson, but I gotta disagree, mostly because I love Motionless and I loathe Manson (it's a deep rabbit hole, Guys). What's interesting about Motionless in White is they seem comfortable exploring a variety of genres to create an experience for their fans that is wholly unique. They are exquisite to listen to, and with a macabre appearance and an uneasy vibe, Motionless in White live engages all the senses, inviting audience interaction and participation.
MiW derive their name from the song "Motionless and White" by Eighteen Visions, a song I quoted in the beginning of this rabbit hole doxology. It perfectly sums up how I feel when I listen to Motionless in White, minus the sitting down part, and I devour every fucking song as if it truly were written to shut me up.
When a band body slams your shit away through your earbuds, you'd do well to wear pads and a helmet if you're going to actually get in their pit. Whether you're dwelling in the beautiful chaos or jamming from the sidelines, I'll be looking for you at the Monster Stage at 3:45 for Motionless in White.

Louder Than Life Artist Feature: Disturbed

Written and photograph credit: Robin Ervolina
It's kind of a bummer knowing you'll never go to Woodstock, that you missed seeing Prince live, that the closest you ever got to hearing Old Blue Eyes is attending his not-so-talented son's tribute show. Regrets are something you deal with as a rock fan sometimes; you just accept that you came along too late to catch Little Richard, Elvis, Joplin, Hendrix. The dream of experiencing music gods live ... it's never going to be a reality. In that vein, I remember my heart racing when this popped up on my Facebook feed last year.

Out of nowhere, with no warning, The Guy was waking up. One day he's on life support, and the next he's rising up, staring into the camera, and grinning. That's when I knew that one of my dreams was going to be a reality. Disturbed was back. I caught their reunion show in Chicago a few months later, and I've been fortunate enough to see them several times since then. Two fond memories: Rock on the Range when the entire crowd held their cells phones and lighters in the air for "Sound of Silence" and this video, shot at Red Rocks during "The Light."
https://youtu.be/_H4ARlmw88M
David Draiman's vocals are perhaps one of the best in his genre, Dan Donegan and John Moyer slam their guitars with pure elation and Mike Wengren lights up the kit. They have not wavered in the year since returning, putting on some of the most energetic sets in rock, treating fans to old and new hits, and leading the audience in that cheer of solidarity I always wanted to be a part of: "We. Are. Disturbed."
Come get down with the sickness on October 2nd at Louisville, Kentucky's Louder Than Life. It's nothing short of a dream come true, every single time.

Photo and video credit: Robin Ervolina

Louder Than Life Artist Feature: The Amity Affliction

Written by Robin Ervolina
There’s no greater joy, as a music lover, than to click “play” on a song from a band you know nothing about, only to have them sync with your soul indelibly. It’s called “discovering” and that’s what happened the second I listened to The Amity Affliction. This melodic metal outfit presents a musical pandemonium reminiscent of Dance Gavin Dance, with perfectly enunciated dirty vocals (Joel Birch) and soaring, appealing, siren-esque clean vocals (Ahren Stringer). The lyrics are honest, never trite, and the depth of the message is supported in earnest with solid musicianship. There is an expression about beauty in chaos, and it’s exemplified in the mood and method of The Amity Affliction.
The Amity Affliction was born in Australia in 2003 while founding member Stringer and former lead guitarist/backing vocalist Troy Brady were just wee high schoolers. The name is an homage to a friend who died tragically at the age of 17. “Amity” honors the friendship, and “Affliction” points to the turmoil of living in the aftermath of the unthinkable. When a band starts out that personal, you can bet they stay that way, and in the decades to follow, The Amity Affliction has continued to write and sing songs that deal with their real-life struggles. They are as relatable as they are talented.
We all have that sound we gravitate to, but I’m asking you to put your preconceived notions aside; as music lovers it shouldn’t be about what is, or isn’t, metal but rather what is or isn’t good. The Amity Affliction is good. It’s incredibly fucking good, and you should make a point to catch them live at Louder Than Life because any act that delivers their message with this much passion will leave you, I’m certain, breathless.
To hold you over I leave you with this ...
https://www.youtube.com/watch?v=NKupTHkz4d4
This ...
https://www.youtube.com/watch?v=xCXyN09DT9o
And this.
https://www.youtube.com/watch?v=1NOqg9pK4R8
Catch up with The Amity Affliction here, here, and here.

And most importantly, catch their haunting, soul-piercing, life-changing (okay, that may be a little bit much ... or IS it?) performance LIVE at Louder Than Life.

Jesse Blaze Snider: '16'

Written by Robin Ervolina
It’s probably not easy growing up in the shadow of a famous parent, but maybe if that parent is known for belting out the ultimate 80s rebellion song, “We’re Not Gonna Take It,” it might not be so bad. Jesse Blaze Snider already boasts a successful career writing and performing, doing voice overs for television and (possibly but he won’t confirm) video games, and raising a family of little Sniders in LA. Now he’s poised to release his first full-length solo album 16, and at 16 songs, it is indeed full length. Snider kicks off 16 with “Shut Up,” a brilliant blues infused tune that displays the vocal range Snider possesses, from his growling low register to the soothing side of his higher tones. It’s an entirely unique song with a catchy intro and an irresistible melody, a perfect introduction to Snider's songwriting abilities.
[embed height="500" width="640"]https://www.reverbnation.com/jesseblazesnider/song/26492970-shut-up?wordpress=1&pwc[branded]=1[/embed]
From here though, 16 gets a bit confusing.
There are radio-friendly ballads with approachable lyrics and singable melodies like “When You Love Someone,” and “Go With Me,” the later of which could easily be the finale battle song for any of the vocal reality shows. Then there are the songs that are clearly inspired by Snider’s father’s generation of rock, such as “Credits Role” and “Lost And Found.” “Hide Smart” and “Bullet” seem to channel Nine Inch Nails, while “Pushin’ It” is clearly influenced by Led Zeppelin, right down to Snider’s soaring vocals, and the feedback fadeout. Perhaps most baffling are pop tunes “Crank It Up” (it’s Britney, bitches), “More Where You Came From,” and “Got Your Number,” which sounds like the perfect Katy Perry vehicle, with it’s “ooohs” in the background and it’s chugging melody. All that’s missing is Jesse spelling out “N-U-M-B-E-R.” With such a mashup of genres, I can’t help wondering if Snider is launching himself as a solo artist, or producing a catalogue of solid work to present to other recording artists.
Along with opening track “Shut Up,” there are a few stand out songs that seem to hold the promise of who Jesse Blaze Snider is as a solo artist. “Wickedly Wild” has a high energy intro that drops back to a 4/4 drum beat, providing a foundation for Snider to drop lyrics alongside a dirty southern bass line. That scene in the movies where the girls are two-stepping on the bar top, and then the drunk boyfriend in the corner takes a swing at the patron who just touched his girl’s leg? “Wickedly Wild” is the song playing in the background. The last track, “Twisted” (the irony is not lost on you, right?) is also one of the better songs on the LP, but to be honest, by the time you make your way out of the Jesse Blaze Snider musical genre maze, you’re almost too disoriented to appreciate it.
Taken as a whole, 16 has something for everyone, so it may not actually be for everyone. If you have broad musical tastes, you’ll appreciate Snider’s ability to take on any musical styling with ease. There is a confidence in him that has allowed him to produce a collection of well-crafted tunes spanning multiple generations and genres. I understand why Snider is putting out 16 songs on a CD titled 16, releasing 9/16/16, but I can’t help wishing he’d picked his six best tunes and released them as an EP on the 6^th instead. Regardless, there are some shining songs on 16 that are must listens, and you can listen to 16 in its entirety right now at jesseblaze.com. Connect with Jesse at ReverbNation, Facebook, Twitter, and Instagram. If you happen to be in LA on 9/16, purchase tickets to his album release party and check out 16 live, perhaps the way it’s supposed to be experienced. Just maybe steer clear of the bar, and watching for flying fists and articles of clothing.

Matthew Curry: Shine On

Written by Robin Ervolina
I didn’t grow up listening to the blues. I grew up because of the blues. I was raised in Bloomington, Indiana – daughter of a retired master sergeant teaching ROTC at Indiana University. I was allowed to do exactly three things: be quiet, get good grades, and obey. It was exactly in spite of those parameters that I found myself sneaking into the Bluebird on Kirkwood with a fake I.D. (sorry, Bluebird) to catch as many masters as I could (sorry, Mom). Blues, the blessed union of rules to freedom, suffering to beauty, creates the purest connection between the ears and the soul. A good solid blues song is a gift, and true blues virtuosos are a blessing. And so it was with great joy and elation I was handed Matthew Curry's Shine On, set to drop 9/16, to review.
Curry's father encouraged him to pick up the guitar when he was just four years old, and pick it up he did, albeit not in the traditional way. The little left-hander improvised and flipped the guitar upside down. Today he brings audiences closer to god on a left-handed Eric Clapton Signature Fender Stratocaster. Shine On is his third release, hot on the heels of back-to-back LPs If I Don’t Got You (2014) and Electric Religion (2015). Opening track “Blink of an Eye” gives good intro, bright and promising and delivering on that promise with vocals boasting of maturity beyond Curry’s 21 years on earth. I know that’s not unheard of in this genre, but it’s not the norm, and if you don’t believe in reincarnation you cannot explain the depth and wisdom his vocals reveal.
In an earlier interview, with 96.5 Fox, Peter Frampton stated, "... someone asked me in an interview today if I thought there could be anymore guitar heroes. Well, hell yes of course and Matthew is one who will prove that to be true.” The second track, “Caroline” is a the antithesis of that prediction. Title track “Shine On” drum rolls into muddy waters. It’s heavy in a rock-a-bye-whiskey-baby kind of way. This track is church, through and through. “Electric Religion” drops in with a Mississippi riff, paving the way for a driving rhythm and melody that shuts your eyes, shuts your mouth, and commands obedience in a way no preacher or papa could. “Matter of Time” could easily be mistaken for an early Clapton deep cut, and “Draw the Line” incorporates a church organ to support the solid soulful sound of Curry's lyrics and delivery.
The beauty of blues is that it truly meets you where you are. It embraces failure and hope, while promising neither. Curry embodies that spirit in an inherent, natural, blessed way. If blues is a religion, Curry is an ordained minister, and it's time, Brothers and Sisters, go to church.
You can order pre-order Shine on at iTunes and check out matthewcurry.com for tour dates and vestments.

Light Years: 'Lite Years'

Written by Robin Ervolina
It's easier to start hating someone you love when you have the bubble gum sadness and wine cooler angst of a good pop punk tune. Enter Light Years' Lite Years, the sugar cube in your whiskey, the scented sharpie in your briefcase, the millennial blues to your Gen-X disillusionment. Comprised of Pat Kennedy (vocals/guitar), Tommy Englert (bass), Andrew Foerst (guitar) and Kent Sliney (drums), Light Years presents three acoustic versions of songs selected from their acclaimed I’ll See You When I See You LP, and one brilliant cover of Bruce Springsteen's, “Atlantic City.” Lite Years permeates the air with nostalgia and self-flagellation in a way only a true pop punk production can. “The Summer She Broke My Heart” is airy and bright, stripping the sting from the bleakness of heartbreak. Kennedy’s sweet, sweet voice in “Accidents” delivers lines like “Starting to see I’m just a bad seed that won’t grow into anything,” and “If you knew how much I hate me, would you still try to save me?” “Let You Down” bleeds of blame sung in two-harmony and is my favorite tune on this EP. I don’t know if The Boss is a fan of this genre, but I do think he’d approve of Light Year’s cover of “Atlantic City.” It’s very cool to hear a pop punk cover of an American classic, and Light Years does it justice within their genre. If possible, they darken the storyline even more (it’s that pop punk, yearning vocal styling), and the irony of that alone is worth the download.
I’ve always been a fan of pop punk, so this EP fits perfectly into my playlist between Green Day and Blink 182. You can download Lite Years, released today via Rude Records, on iTunes. It's also available for streaming on Spotify.

RavenEye: Nova

Written by Robin Ervolina
UK-based rock outfit RavenEye launch their first LP Nova on September 23, 2016 via Frontiers Music Srl. For those unfamiliar with this wickedly talented trio, frontman Oli Brown is a decorated blues veteran who left that genre to play a little rock and roll in 2014. With their energetic performances and bluesy rock goodness, RavenEye was immediately and wildly accepted by fans and peers, earning them a place as support for many major acts, including Slash in 2015. Now on the heels of their successful freshman EP Breaking Out, RavenEye presents Nova, an auditory assault of luscious melodies and rich lyrics, an offering so unique and compelling, it’s destined to send RavenEye soaring to stardom.
The opening notes of the introductory track “Wanna Feel You” form a come-hither riff, and when Brown croons the first lyrics “Close your eyes/come to me,” you're already there. It’s almost six minutes of bluesy, rocking, seductive courtship leading into track two, “Come With Me,” a roll-down-the-windows-and-scream-at-the-top-of-your-lungs tune fueled by a killer rhythm section. Put this one on your workout playlist, right at that point where you want to start crying, right when you need a kick in the ass.
Last year I asked Oli why he formed RavenEye -- why not just sit back on the laurels of his already established career. Track three, "Inside" answers that question in a way that makes me embarrassed I asked. Melodies change without warning, hooks come out of nowhere -- it's like riding a rollercoaster for the first time: you never know when the car is going to jerk you left, right, flip you upside down, or just go off the damn rails. For the record, Nova never goes off the rails, but I advise you keep your seatbelt buckled.
It’s a thrill to hear a melody marry itself to a lyric rather than one forcing the other to conform. In “Hero” Brown sings of going down in the flames of the war someone else started, and the descending chords in the chorus play right into that visual. The frantic riffs and drum lines likewise create a feeling of frenzy that fits the message. "Supernova" delivers a little respite, but pay attention because it's a masters class on the cause and effect of a noted blues master taking rock and roll by the hand. Oli refers to it as "the only bit of peace you get," and indeed “Walls” delivers on that promise with a heavy drum kick and an irresistible riff. "Oh My Love" calls to mind a Southern summer sipping sweet tea on the front porch, even if you've never spent a single day on anyone's porch. The boys from the UK show they can channel the heart of the deep dirty south. Every guitar solo is hypnotic, transporting you to a place where boys are playing air guitar and girls are dancing with their hands on their hips.
"Madeline" rolls in at track eight, an amalgam of all of Brown's exes with a scathing message of the shit we put up with from someone we love. "Hate" lays down a lyrical assault on the front end, with a pounding rhythm section that supports the feeling of near exhaustion that is Nova. I don't hate "Hate," and in fact will mosh so hard when I hear it live. By the time I get to "Out of The Rain" I'm almost on auditory overload, but this bit of garage band post grunge inspired goodness is a pleasant break before the final track “Eternity," a pleading soulful ballad with sublime harmonies. “Lay your head down/come to me/close your eyes and see the light.” It boasts a haunting melody that breaks into a power ballad after Brown belts out, “Waiting for you” at the 2:37 mark. Nova leaves us with Oli singing, “Forever is waiting for you" as the song fades out.
I've never felt compelled to write a track-by-track review of a CD. Usually I'll hit the highlights and let you discover the rest. I can't do that with Nova. It is a masterpiece in total, each song a facet of an emotional manifesto. Nova is brilliantly cohesive. It is lyrically and melodically nothing short of a perfection. No one can question Oli’s decision to take his talents to rock and roll. In the words of Brown, "Lay your head down/come to me." Do that on September 23th. You've earned it, yes, you.

Nova can be pre-purchased on Amazon and iTunes, and check RavenEye’s website for bundles and hardcopies of both their CDs.

Art of Dying: Nevermore

Written by Robin Ervolina
When a band called Art of Dying refers to their upcoming EP, Nevermore, as a "resurrection," you have to appreciate the irony. Although if you're a DieHard fan, you'll realize there really isn't any irony since "...the art of dying is your life to live." Nevermore presents six songs of rebirth under the umbrella of a title paying homage to Smeagol the Raven and frontman Jonny Hetherington's love of the poet Poe. New drummer Cody Watkins takes the "drum throne" from Jeff Brown, and Art of Dying leaves their label to form their own Vices and Virtues, named after their 2011 LP of the same name. In the land of new beginnings, Art of Dying delivers six solid songs that form a sort of retroactive bridge between 2015's Rise Up and 2012's Art of Dying in a way that might have lessened the blow of the former, but would have made the delivery of the later perhaps less nostalgically sublime.
The first track, "All or Nothing" is a definitive Art of Dying tune, with instantly recognizable cord progressions and riffs by Tavis Stanley laying the foundation for the vocal prowess of Hetherington. The second song, "Torn Down" highlights another perfect pitch in the Art of Dying wheelhouse: prolific lyrics. "I won't get lost in the silent screams that fall on me," is pure prose, resting easy on the ears while laying heavy on the heart. In a recent interview, Jonny revealed that Cale Gontier (bass/vocals) "really hates 80s bands." Listen in amusement as Tavis lays some Journey-esque riffs in "Torn Down."
In every Art of Dying record there is the lighter-in-the-air ballad, and title track "Nevermore" delivers on that promise. There is a simple and ageless beauty in the construction of this tune. The note progression rises in the chorus like a battle cry, and the repetition of lyrics makes this an instant fan sing-along. Says Hetherington, "If you’ve ever been in an abusive relationship, or if you’ve ever been in a place where you don’t want to be, and you finally decide to get out, and the clouds part and you say, “Now that I know/I can let go/leave this all behind/I’m taking control/on my own/I can finally feel alive/I don’t need you anymore.” It’s such a — the hairs are standing up on my arm just saying that out loud because it’s such a great release."
"Seen This Coming" comes in at track four, and rather than rest light after the power ballad, Art of Dying lays down a radio-friendly tune with a memorable chorus and lyrics that give comfort to my own faulty coping mechanisms. "Paradise" brings the classic AOD harmonies married to a grunge sound that inspired Disturbed's Dan Donegan to dub them "Eagles in Chains" (a combination of the Eagles and Alice in Chains.) Wrapping up the EP is the first release of Nevermore, "Cages" featuring a haunting beat by new drummer Watkins, and bringing it all back to the instantly recognizable AOD vibe that birthed an army of devoted DieHards.
Nevermore JUST dropped an hour ago and it can be downloaded now via iTunes or purchased directly from the guys at artofdyingmusic.com. Their headlining tour is underway and dates are available here. As always, you can follow them on Facebook, Twitter, and Instagram, as well as artofdyingmusic.com.