For those new to the concept, gamelans are the community-based bell-and-percussion orchestras common throughout the Indonesian archipelago. Sunday afternoon, Gamelan Dharma Swara, New York’s very own Balinese-style gamelan treated a standing-room-only crowd to a performance that was as beautifully hypnotic as it was bracing. In keeping with tradition, this group is a community organization, holding an open workshop on December 7 for anyone interested in joining. True to form, this group of 24 musicians plus dancers is multi-ethnic and represents a wide range of ages including a young guy who is their star performer and looks about 12. Musicians from a wide range of completely unrelated styles have found a home in this group, including the bass player from Chicha Libre, one of the singer/arrangers from Brooklyn Balkan folk choir Black Sea Hotel and noted Chinese guzheng player Wu Fei.

Bell players in a gamelan typically play a set of four. Because the bells have so much sustain, half the work involves muting them, requiring both split-second timing and impeccably precise teamwork. This group excels at it. Their percussion includes hand drums as well as a boomy one-piece tom-tom played with a single stick, and a set of two massive gongs that produce resonant, echoey low bass tones. Perhaps also in keeping with tradition, everyone in this group multitasks: dancers play, players dance, percussionists switch to flute or bells and vice versa. Each of eight pieces they played featured a different crew, but regardeless of who was doing what, the result was equally captivating. The most intricate, lush pieces of the afternoon opened and closed the show, the first featuring a quartet of dancers who closed by pelting the crowd with flower petals, the second illustrating a mythical battle between brothers (one ends up killing the other - but then he gets up and starts dancing again) featuring some remarkable call-and-response between the flutes and percussion. To the eyes of one not versed in traditional Indonesian dance, the dancers seem to blend a herky-jerky, googly-eyed eeriness with slowly undulating grace, and to the group’s credit, they made it look perfectly natural.

The rest of the program was a mix of hypnotic lushness and percussive fire, frequently in the same piece. The quietest and most captivating featured a trio of bell players set up in the middle of the stage doing a traditional gender wayang piece typically used as a musical backdrop to Balinese shadowplay theatre. The most intense and percussive piece was in the barong style, in its loudest moments something like a more mellow, less chaotic Chinese New Year celebration, the group’s young star dressed in a strikingly elaborate, oversize dragon costume, keeping perfect time as he clacked the creature’s big wooden jaws together. Unlike Western music, the gamelan repertoire doesn’t utilize chords per se, although a couple of the pieces the group played actually did have chord changes along with some dizzyingly repetitive melodic hooks: one that kept coming back again and again was a 1-3-4-3 progression (for those who don’t play an instrument, that’s the intro to Add It Up by the Violent Femmes - catchy, huh?). In addition to a set of program notes handed out before the show, the group’s spokesman would often entertainingly explain the mechanics and stylistic differences of the various pieces.

One unexpected if very auspicious development was to see how popular this group has become, and not simply among the expat population: the crowd was every bit as polyglot as the crew onstage. Adventurous listeners interested in Gamelan Dharma Swara’s next show should plan on getting tickets the minute they go onsale, considering how quickly both this past weekend’s concerts sold out. 

Kitty has a passion for the art of dance and performance, and she is a true teacher. Some girls crumble, some smile and take it, while others learn from her (because they are scared not to) and become better performers. I’ve seen Kitty cradle and coddle her own studio dancers from toddlers to teenagers and then go on to teach their children.

Dancers respond to Kitty whether they like her or not. Some are motivated by fear or anger, but most want to impress her, which gets the results I want and need. That’s why I love Kitty, and that’s why I have her coach our team. She develops talent; she can make a nondancer a dancer, find the wow in an inexperienced performer and also have a little fun while she’s at it.

In terms of decision making for squad cuts at week six of training camp, Kitty’s eyes confirmed my suspicions on performer vs. potential. Her feedback also helped me see the light on some candidates that I was just being far too hopeful for. I call it “Kitty clarity.”

Kitty, like me, tries to give the candidates every chance to prove they should be here. Her final test with Jaymie Rae was uncomfortable, yet necessary. Jaymie just fell short on technical dance terminology, execution and retention of choreography. She was given the chance to at least show us she could bust it in freestyle — doing her own thing, but poor Jaymie Rae even crumbled on that exercise. Unfortunately, the spotlight was on Jaymie and she didn’t shine. This was frustrating for her and me because she’s a beautiful girl with a lot of appeal. The real test will be if she is able to shake this off and come back stronger next time.

On a lighter note, the vets took on our rookies in flag football. We did this for teamwork, exercise and education. The girls got to learn the positions of the football team and basic football 101. They were even coached by cornerback Terence Newman and linebacker Bradie James. Having the players involved was a heck of a lot of fun for everyone involved and a departure from the pressures of the dance studio. It was a lot of fun. From the coaching to the touchdowns to girls talking smack, this stuff makes you smile!

At this point, there were so many people I wanted to call into my office for feedback (both good and bad) that I decided to just do a team state of the union meeting. Sometimes I’ve found not giving enough feedback causes more mystery and anxiety than just stating the facts (pleasant or not). It’s a relief for the girls to hear exactly what I’m thinking, rather than wonder. I went through a laundry list of things the girls needed to address individually, and then Judy and I watched them perform side by side with the veterans. This allowed us to start seeing who was starting to gel and perform as one group and who looked out of place.

After great deliberation and a thorough review, we were able to conclude that two of the training camp candidates needed no more evaluation. Unfortunately the time had come for them to go home. I hate ending dreams for anyone because these ladies have given us their hearts. But, sometimes their best isn’t enough for this job or our time frame. I hate saying goodbye to the nice girls — the ones who gave us their heart and soul, have so many great qualities and yet still fall short in dance technique.

I’m often asked if my job is fun and to this part of my job I can definitely say “no!” I am in the business of developing performers and I love discovering talent. A limited roster forces me to be very selective and to that I will be true, but making dreams come true for some, means breaking dreams for other. For those who leave training camp, my hope is that they will keep their dream alive and that their future plans will include working on dance and style every week until auditions next spring.

Cheers,

Kelli

The Remarkable J’s With Jamie was their second album and it is immaculate pop jazz. The first track “You Turn Me On, Baby” is an ensemble work that is reminiscent of Lambert. Hendrick, & Ross or Jackie Cain and Roy Kral. However, on the songs that Jamie takes center stage, there is a definite Ella Fitzgerald or Sarah Vaughan quality to her classy voice. “My Cigarette and I” is an elegant example of this. Every track has something going for it. There are some nice orchestrations throughout. I especially like the Bossa Nova sophistication of “Love Come Take me Again” and “This Old House” is just downright fun. The harmonic teamwork on such standards like “Let There Be Love” and “Bewitched” is certainly something to write home about. It may be a clique to say they don’t make music like this anymore but…They don’t make music like this any more.

The album is available from WFMU’s Beware of The Blog in 192kbps MP3.

Download

Anyhow - concentrating on the musical content - in opposite to the visual aspect the band is rocking with joy of playing as a precondition I'm quite sure - dynamics and crescendos, good vocals and twin guitar work which is crashing here and psychedelic there. And that's why EVERY OTHER FATE's music is absolutely unique (and I like it).

Meant as building up an epic perhaps the album name is split in two song titles. Nice idea whereas I don't know if this is really something new. The tracks are indicating some slight Tool leanings and are also provided with spacey guitars - always alternating between very dynamic and more unexcited slow parts. Abu Ghraib (Hotel America) belongs to my favourites initiated by a sample and also attacking in waves - the trademark of the songs. An example for pulling of a feat to combine a complex song structure with a catchy memorable melody.

The same with the long track Sleep, in red which is consisting of all the potency the band has to offer. First of all the varied guitar work is really striking - fantastic! I love songs which have a spacey touch in parts or even contain some psych moments. And that's it here - a psychedelic middle part, raising in waves until the band is back on the top with full dynamics carried by the good working rhythm fraction. Rebirth should be mentioned if someone is missing a ballad up to now whereas In the Crash, We Die is made for headbanging and the refrain for singing along.

(Nearly) everything matches - eminent teamwork - entertaining songs, skillful played with much enthusiasm. The songs can be downloaded via several distributors and even PayPlay.FM provides a printable cover. A great find for those who are searching for new inspiring music hailing from the heavy art and post rock area.

by Rivertree


EVERY OTHER FATE Music Online:
recommended progarchives.com worldwide prog rock stores

• GEMM, Vinyl Records & CDs Rare Albums (Out of Print and Imports)
• AMAZON, find cheap, used and new stuff with the marketplace
• eBay, used or new | bid or buy now

First... Rainbow is not a true band in 1975 but only Ritchie Blackmore & Elf! This is the first album of Rainbow ('Ritchie Blackmore's Rainbow'). So this album is not perfect. But another star is definitively born: Ronnie James Padovano, in art Dio!

From 'Rainbow Rising' to 'Long Live Rock'n'Roll' is another era! Dio, Blackmore and Powell... That band, That music! i love this Rainbow phase. And in this phase Rainbow are the only true Prog band that has passed to the story for the album produced in Punk era! Incredible!

'Down To Earth' is not a bad or transitional album. the departure of Dio and the presence of Graham Bonnet transform Rainbow music in a great Hard/ AOR band. But in 'Down To Earth' are present 'Since You've Been Gone' and 'All ight Long' that are between the best Rainbow songs.

Also Joe Lynn Turner era is not totally bad. Songs like 'I Surrender' or 'Stone Cold' are magical song. But in this phase Rainbow produced albums extremely close to AOR.

The best song in this 'The Very Best Of...' are (in order of importance in my heart) are: 'Catch The Rainbow', 'Starstruck', 'Stone Cold' (one of the best power ballads of all time), 'Street Of Dreams', 'Stargazer', 'Man On The Silver Mountain', 'Kill The King', 'Gates Of Babylon', 'I Surrender', 'Can't Let You Go'

The production reflect the passage of techniques and years. In general all the songs have great sound productions.

The cover present a photo with a typical Blackmore phose. Not bad but a bit anonymous.

Conclusions: Good compilation because all rainbow's phases are well represented. But from some exceptions: 'Power' for example is a poor song and 'Can't Let You Go' have one of the best organ intros of the Rock and music hystory!

Rating: *** because the passage of the years and fashions are all presents in Rainbow music. This fact reflect alo the transformations of Rainbows line-ups. With Joe Lynn Turner, in general, the music become too commercial but simultaneously we find a true teamwork (because yes, Dio/ Blackmore/ Powell era was demonstration of single virtuosisms). Then... How many modern AOR bands have copied 'Street Of Dreams'?

by Mandrakeroot


RAINBOW Music Online:
recommended progarchives.com worldwide prog rock stores

• GEMM, Vinyl Records & CDs Rare Albums (Out of Print and Imports)
• AMAZON, find cheap, used and new stuff with the marketplace
• eBay, used or new | bid or buy now

After watching the second presidential debate this week and witnessing John McCain constantly referring to us as “my friends” over and over and over again, it seemed only natural that this week’s Rock List was dedicated to friendship. Tell us your favorite tales of companionship, and on Tuesday we’ll use teamwork to tally the votes and reveal the best friend songs. Until then, here are our picks:

LCD Soundsystem — “All My Friends”
The Lemonheads — “My Drug Buddy”
Paul Simon — “You Can Call Me Al”
Led Zeppelin — “Friends”
Beck — “This Is My Crew”

Therion’s “Live Gothic” is a full length CD/DVD release recorded in February 2007 in Warsaw Poland. It proves that while Therion continues to change over time they are still one of the top prog-metal acts and capable of delivering this rip-roaring good time. The set list contains 6 tracks from the latest release Gothic Kabbalah, 2-3 each from Secret Runes, Sirius, Lemura, Vovin, Theli, and one each from Deggial and Crowning Atlantis (if my stats are correct!) I was a bit concerned when I heard the choirs were out and they were going with individuals, only because I happen to love the choirs. I was also disappointed initially when many of the early tracks were much more punchy and head-bangin riff stuff than the surreal, dreamy, and mystical tracks of my favorite album Deggial. And while I still prefer that side of Therion I have come to really enjoy this concert.

So let’s discuss the DVD as that was the big selling point for me. I far prefer studio albums to live ones, but when they throw a DVD into the deal my wallet opens up pretty fast. Nothing like Therion standing right in your living room! The quick verdict: this is a fabulous musical and visual experience. The stage is handsomely decorated in the Gothic motif and while the production is nothing hugely expensive it does not need to be. A rewarding experience for the eyes comes from the sense of teamwork and fun the band is having along with very tasteful lighting. While the band is absolutely professional and tight it is the strength of the vocals that take Therion above the experience of other metal bands. This time out the band is losing the full choirs and going with four lead vocals, two male and two female. They are able to provide a full and enjoyable ride even if I do miss the full choirs in some tracks. The two boys are Snowy Shaw and Mats Leven. Snowy brings a strange tortured voice and an Ozzy level amount of enthusiasm and goodwill, he is obviously enjoying the hell out of this show. Mats is a talented guy with something between a Dio sound and 80s hair metal band. As much as I respect his vocal pipes I didn’t feel his “vibe” was quite the right one for Therion. The two ladies Lori Lewis and Katarina Lilja are both enormously talented and charismatic, bringing operatic grace one moment and devilish mischief the next. Lori can remind me of Loreena McKennitt in the metal realm (or even Kate Bush in “Son of the Staves of Time”) while Katarina has to be seen to be believed. Probably the smallest physically on the stage she projects unbelievable presence when taking the lead, and when she smiles I have to say she just melts me—just loved watching her start to finish. She does the vocal for “Musphelheim” as if possessed by something, very interesting. “Rise of Sodom and Gomorrah” is another highlight with a winged dancer under the cool lighting, and the most delicious chorus where the guitar hook sets up the delicate, lovely vocal line. I’m sure some will find this over the top or cheesy but I don’t care, I found it a perfect balance of stage theatrics and musical delight—and yet still intimate. Therion takes every fan in this theatre with them rather than being so big and distant like a Metallica gig might be. Some may charge that Therion is not complex enough, not metal enough, not this or that enough. It is more important to me that the composition has emotion and beauty inherent, much more so that the level of complexity or the speed of the riff. Johnsson understands, in my view, the necessary elements of interesting, emotional musical storytelling which is why I place Therion above so many of the hyped modern prog acts, metal or otherwise. Johnsson and Therion have assembled quite a legacy.

Another issue I want to address is the band’s image. While they are often described in various shades of “occultist” and readers might get the idea they are negative or depressing nothing could be further from the truth. While I can’t speak to what their lyrics may be about (I don’t pay that much attention to reading lyrics, shame on me), I can tell you that the music of Therion is filled with life, passion, and it makes me feel very good. Especially watching them perform it live…this is not a bummer in any way! Immaculately filmed and edited with reasonable pace to catch all of the action from close and from crowd perspective. A booklet of nice photos is included though it is sadly lacking in notes and written details. A very enjoyable package that is a must for Therion fans and recommended to any fans of dark symphonic metal with operatic beauty.

by Finnforest


THERION Music Online:
recommended progarchives.com worldwide prog rock stores

• GEMM, Vinyl Records & CDs Rare Albums (Out of Print and Imports)
• AMAZON, find cheap, used and new stuff with the marketplace
• eBay, used or new | bid or buy now