Tag Archives: theatre

Clones Of Clones – New Artist Spotlight

Clones Of ClonesHere’s a band you guys should really look into and expect great things from.

Clones Of Clones are an alternative rock band from Washington D.C. with some very promising output which looks set to blow-up in a massive, positive way very, very soon.

The band is Nick Scialli (Bass, Guitar, Vocals), Ben Payes (Guitar, Synth, Vocals), Brian Abbott (Drums) and Todd Evans (Guitar, Synth, Vocals) and their mission is to put together music you can instantly get behind and hang onto, while having a good time in the process.

There’s a versatility to their style which means that they can comfortably dip into more indie territory one second, tackle something a bit more bluesy the next and pick up a poppier vibe at times while still sounding like themselves and delivering fresh, well put-together tunes.

One of their EPs which you can find on SoundCloud is their 2013 debut Neighborhoods, a 4 track-long mini album with some killer psychedelic cover art and, of course, some cool music.

Case and point:

“Bully” is the second track from Neighborhoods and it certainly gets that slightly 90’s vibe across quite well with a catchy chorus, a chilled-out rhythm and some welcome attitude. The other tracks are also well worth listening to as the title song, “Neighborhoods”, boasts some great lyrics and both “Homie” and “Take Care Of Yourself” have a genuine emotional punch to them.

Do check out the band’s Youtube channel because you’ll be able to find those songs and much more on there.

Which brings us to the really cool part: there’s a new EP on the way and the teaser for its explosive title track “I Don’t Need Your Love” is up!

This is a short but sweet example of how good the full song and its video will be and, having listened and viewed both, I can safely say that this should be the breakout hit the band are looking for and deserve: its Black Rebel Motorcycle Club-esque swagger and catchy-as-hell chorus alone make this one a must-hear.

And, if every song on the EP is as good as this one, which I’m sure they are, then you’ll probably want to head over to iTunes come November 11th and purchase I Don’t Need Your Love because it’ll be worth it to say the least.

More information on Clones Of Clones can be found on their website and their Facebook page which you’re very welcome to “Like” (same goes for ours, hehehe).

The band is also active on Instagram and Twitter so there’s no excuse to not bring these Clones Of Clones into your lives, like, right now.

Expect a review of their new EP right here on Feedback Theatre soon enough!

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Dissolve – Song Of The Day

DCEP

If you only know John Frusciante from The Red Hot Chili Peppers, then you’ve been missing out on some brilliant solo stuff. While some of it may be, granted, a little depressing or too experimental, the music is always packed with beautiful melodies and some obviously genius guitar work. Frusciante is also a highly underrated singer and he shows off a bit of his range in “Dissolve”, our Song Of The Day for today. From the EP DC EP, which boasted the creepy cover above, the unpretentious track slowly but surely grows into one hell of a pretty song.

Security – Album Review

Peter Gabriel

Peter Gabriel‘s fourth solo album Security (aka Peter Gabriel), released back in 1982, was about as experimental as you’d expect but a couple of hits came out of it and, in an album with only 8 songs, that’s pretty darn good.

But was the whole album as worthy as its most popular tracks?

The first song, “The Rhythm Of The Heat”, boasts an odd yet compelling and intense build-up. After a minute of Gabriel singing over what sounds like asthmatic trains, the drums etc. kick in and the song develops into what I can best describe as an epic black magic ceremony. It’s a perfect concert overture and it does really well to get you hyped up for the rest of the album.

Next up is “San Jacinto” and, over a rhythm of raining, popping notes, we get some solid, creative lyrics as ever. It’s an entertaining track despite being another long one and, although It develops slowly, the pretty epic ending is worth it.

Finally, we get to the album’s second single, “I Have The Touch”, a very 80’s love letter to rush hour. The song has a typically eclectic beat and a glam feel to it at times. It’s an upbeat yet desperate and erratic anthem. Arguably one of Peter Gabriel’s best.

The next one, “The Family And The Fishing Net”, is about 7 minutes long so don’t be in a rush if you’re planning to listen to the entire thing. It’s another slow burn with various beats and random sound effects everywhere. The tone is darker yet, at times, it becomes a funky Prince-style upbeat tune and, at other times, it has more of middle eastern music influence. Again, very experimental and challenging but an enjoyable listen if you’re willing to stick with it for a while.

The album’s first single, “Shock The Monkey”, follows and, yes, its infamous video is worth a mention as it’s all kinds of awesome and, most importantly, batshit insane. You’d never expect such a really fun, generally upbeat track in which Gabriel says “monkey” a lot to have this dark of a video and yet that’s what we got. That said, the lyrics do hint at darker, more violent goings on. It’s one of the catchiest of the bunch and, again, one of Peter Gabriel’s most memorable and best songs.

An on-and-off beat and isolated, rap-esque spoken vocals open “Lay Your Hands On Me” like it’s a Flight Of The Conchords song or something. Actually, it’s another longer, grander, more experimental track with a chorus that kicks in soon enough and is comparable in style to some of The Talking Heads‘ more out there tracks.

As for “Wallflower”, it is introduced by pan flutes and fleeting instrumental touches. You’ve guessed it, it’s a slow burner with a big build-up but this one’s much more lyric-centric than the others. Hell, the thing’s practically like a sung novella! You’ll need a lot of patience to enjoy this softer, slower effort.

We end on the much funkier “Kiss Of Life” which definitely has a Prince-esque party song vibe to it. It’s one of the most entertaining tracks on the album and it’s reliably packed with loads of crazy, layered beats throughout. It’s bizarre that this one wasn’t released as its own single but it’s certainly a nice surprise for the album’s conclusion.

All in all, if you like Peter Gabriel’s stuff, Security‘s a really good bet: chances are you’ll love every minute of it. Otherwise, you’ll probably enjoy the singles but not much more. Objectively, I’d say it’s a strong, entertaining album with some really good ideas and some cool songs.

Anyway, Peter Gabriel gets 4 Ziggies out of 5 from me.

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Peter Gabriel the album, not the guy.

Or both, whatever…

I’ll just keep calling this one Security.

Distortion – Album Review

Distortion

Bad albums from The Magnetic Fields are sure hard to find so an album called Distortion which would purposely distort most of its songs sounded like this could possibly be their first misstep.

I mean, there’s no way that an album filled to the brim with feedback could be any good, right?

…right?

Distortion opens with “Three-Way”, a playful instrumental intro with the odd rocky break and people shouting “Three-way!” every so often. It’s random but it sets the tone rather well, plus it gets us used to this new intentionally distorted sound. Singer Shirley Simms then takes on the satirical “California Girls” which amusingly gets darker and bloodier as it goes on. It’s catchy, pretty funny and kinda genius.

This album already looks set to be pure Magnetic Fields wit and inventive musical experimentation and we’re only like two songs in!

“Old Fools” is a slower song sung by Stephin Merritt and it’s a pretty but melancholic one with a sad vibe throughout. It feels like a long, serious, pensive march with Merritt’s usual dark vocal tones making it sound both sinister and hopeful somehow. “Xavier Says” is next and it’s a softer track sung by Simms this time. It’s an enjoyable listen even if the simple melody is supported by all that white noise.

Merritt opens the next one, “Mr Mistletoe”, with some poetic vocals before the song develops into what sounds like a gloomy, depressing Christmas tune. Luckily, the lyrics and melody are spot-on as ever. We’re then back in rockier territory with “Please Stop Dancing”, one of the best tracks on the album and one you could imagine being even cooler covered by a fast-paced punk band. Merritt and Simms both take it in turns to sing this nonchalant little anthem.

“Drive On, Driver” starts off almost like a soft country song with its slow, regular beats and Simms and Claudia Gonson’s vocals harmonising this road trippin’ tune. It’s the closest the band comes to a straight-up folk song on the album. Stephin Merritt opens “Too Drunk To Dream” a capella before this upbeat yet morose love song about boozing to avoid dreaming kicks in. Suffice it to say that it’s pretty awesome.

“Till The Bitter End” is a darker, infinitely more gothic song and Simms’ soft vocals work perfectly with the with the guitar’s occasional blunt appearances. Mr Merritt then gets to be a bit of a crooner with “I’ll Dream Alone”, another heartbreaking love song and my personal favourite track on the album. The song beautifully develops into a genuinely charming, if sad, chorus. It’s, quite simply, a gem and proves just how versatile the band can be: one second clearly joking around, the next showing up with a sweet, heartfelt song you’ll want to listen to over and over again.

Simms sings the ironic “The Nun’s Litany” with its catchy melody and its clever lyrics. It’s similar in tone to “California Girls” in that sense. Of course, the whole thing is still very much bathed in distortion. “Zombie Boy” is moodier, rockier and boasts a glam feel despite not being synth-based whatsoever. Somehow, The Magnetic Fields have managed to channel some New Wave swagger without going down the electro route and it makes for a unique, really cool song. The album ends with “Courtesans”, a soft, nostalgic track with a pretty melody and a reflective tone.

As you might have already guessed from this review so far, The Magnetic Fields have, indeed, pulled it off once again delivering a very good album that’s truly one of a kind. Distortion may be about as distorted as it gets but it’s so well written and the songs are so cleverly put together that it all blends in together perfectly and you quickly welcome its bold, risky concept.

Is it the band’s very best? That’s debatable, but it’s certainly right up there with some of their best work.

That’s 4 well earned Ziggies out of 5.

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