so far so good, networking with techy drinkers, discussing whatever we want. im not drinking beer, (im on a jameson kick), but i still feel like a part of group, blog, room.
update: looks like darren has a video feed on his facebook page. Were being nerds! and looking good while doing it.
update: david, solving problems with my magic quotes. and check out barseenlive.com.
It’’s all about Central Salem. What is Central Salem? It’’s bigger than Downtown Salem, downtown is so old school.
Central Salem includes North Broadway (or is it South Broadway, I call it, New Broadway), the Capitol, Willamette, parts of the weird awkward space between downtown and south commercial.
Why am I tell you this? Because you need to know for future references. When the new culture starts to make more of an appearance in Salem, it will focus on Central Salem.
Downtown, psh. Central Salem, yes! (and new broadway)
Past Lives will be playing tonight at the space with other great bands: Massive Moth (now with all new songs.), Umber Sleeping (”spectacular space rock”, sounds good to me. literally, i really like them a lot),
but don””””””””t take my word for it 
Seattle - The Stranger, alt weekly
“Past Lives rise from the rubble of the Blood Brothers (among other bands)—Jordan Blilie sings; Morgan Henderson plays guitar, sampler, and synth; Mark Gajadhar is on drums; and Blood Bro from way-back-when Devin Welch plays guitar. They share a lot of past.”
Canada - Exclaim!
“Strange Symmetry, the band’s debut EP, still finds the musicians toying with the skittish strains of post-punk, but the five-song set reveals that the act is more interested in riding a chilled-out marimba groove (see gorgeous disc-opener “Beyond Gone”) than busting out the skull-crushing axe work. Speaking from his Seattle home with his cat in his lap, Blilie talked to Exclaim! about starting over and reconnecting with his old friends.”
Spin Magazine
“Hardcore’s dearly departed, perennially under-appreciated Blood Brothers might have had a taste for breakneck speed and hyper-accentuated yelping, but lurking underneath their sonic skin was a glammed-out, glitter-flecked monster waiting to rear its head.”
For those who arent sure that the fest will go on, let me assure you that it will happen, and it will rock. The bands from outside and inside of Salem are 70+ strong, and growing. A large thanks to Willamette Univ., who is sponsoring all the sound and labor to make Cherry City Music Fest possible. Specifically the Delta Tau Delta, thank you very much, keep supporting local music.
More information to come: who are the agencys involved and why you should care and why volunteering is easy and fun.
Written by Ron Trembath
The world of hard rock and heavy metal hasnt seemed to evolve in a decent fashion. The mainstream acts sound like a bunch of cry baby bitches (see Buckcherry and Saving Abel), and the underground has lost the sense of revolutionary instinct these artists once had. But Eyes Like Mine are breaking the mold. With a vocal catalog somewhat similar to todays popular tastes, they use this trait to boust a much more illuminating sound that borders 90s grunge and the “fuck you, feel sorry for me” attitude of the turn of the century. Which becomes a brilliant combination that actually works.
A highlight track (or two) is hard to find on The Contents Are All Lies. “Rise” is sure to be a favorite for those looking for a modern song to set your house on fire to with its Audioslave essence and the raw power of Rise Against. “Hope” is a wonderful for those who enjoy hearing of a love affair that doesnt involve death and/or chaos.
So as the metallic shavings glisten into the night air, watch for new signs of heavy and enlightening metal. Whether or not The Contents Are All Lies is a title in the most literal sense, the given truths of Eyes Like Mine are fact proven. And this doesnt mean “facts” in a Fox News sense. It means real evidence is what makes a proven statement. And these guys speak only for themselves when it comes to true essence in the hard rock world.
Written by Ron Trembath
Seahorse is about as classical as a modern folk singer can be. Seahorses (a.k.a. Rich Swanger) self titled release, Seahorse, is a noteworthy example of transcribing the now ancient bluegrass and down home scriptures into an electronically saturated environment. The lyrics are intense and full of life. And the experience of hearing this album for the first time is nothing if it isnt beautifully peculiar.
Each song on this record sounds like an elegy for love, or a eulogy for pleasure. Tracks like “My Midnight Carousel” and “Just Beyond The Hill” pull a listener through tales of Swangers open and drastic love affair with life and the pursuit of his own artistic freedom. And the extremely down tempo of “The Pharmacy” sounds like a spiritual recollection of things done passed, and the fortune that was received. Or possibly ill-conceived.
With clever moniker attached, Rich Swanger bleeds life into our current death. With no problems carrying tunes and conveying solid truths about existence, he has made an extremely solid folk record. No essential step was mistook, and every rock was turned over, before being crushed with the power of the blues to make the sand of the hour glass of existence. This album is a great portrayal of how delightful the lighter side of American rock n roll can be.
Written by Ron Trembath
The Old Haunts bring a bit of an old school rock n roll vibe and bit of new(er) wave punk feel on Fallow Field. With well orchestrated guitar riffs, and ill faded bass lines, their vocal transitions are complimented wonderfully. For fans of true rock n roll, these guys will be a perfect suite. They manage to stay one step below catchy throughout the entire list of uber-cool tracks.
“Poison Control” is about as punk as they tend to get on this album. They also tend to bring a hint of The Ramones meets David Bowie on “Boots As Clubs”. And “The Old World” is a bluesy blessing disguised by a Sabbath life sense of distrust. Overall, The Old Haunts don”t only play well together, but it as though they were meant to play together in the most hard rockin sense.
A complete listen to Fallow Field can create a yearning to demand a cult following of these 70s inspiring lads. With each track, a new respect is born for the haunting ones. Although they seem to be 30 odd years behind as far as the new music tendencies, nothing beats the classics. And though they might not be as “punk” as they would think, they confusing, obscure, and unnecessary rules of punk rock might actually state that this makes them even more “punk”. Thus making it that much easier to appreciate the genius these guys have created with this very compelling and precarious gem of an album.
Everyone who has been following redcrownreview.com for the past three years probably knows that there really has never been a lot to read. Im just one man, I cant do it all. And I know that now.
The team Im asking for is a dedicated group of passionate writers. Blog and review are what im mainly interested in, but interviews, research stories and other formats are up for discussion. If interested in joining a group of local music supporters that meet up and share ideas every week or so, please contact info@redcrownreview.com. Include: who you are, how I can contact you, your history of writing experience, why you want to write for red crown, your evening schedule (so i know when are good times to meet), and any questions you may have.
songkick.com - “Sign up for an account and track tours for your favorite artists. We””ll send you email tour alerts when they come to town. We email you when the tour date is announced, so you””re the first to know. You decide how often we email you. (If ever!)”
Ian Hogarth - Songkick from Andrew Dubber on Vimeo.
originally found on http://newmusicstrategies.com/
Written by Rachel Blair
Album: Deep BreathArtist: Frosef | Genre: folk/alternative/experimental
Label/type: Crimethinc, Indie
Sounds Like: Think folk music meets Modest Mouse; reminds me of square-dancing gone hip.
In his third full-length album Deep Breath, Froseph tests musical boundaries with a mixture of experimental vocals, quirky lyrics and a menagerie of sounds from acoustic guitars and repetitive drum beats, to whistling and the sounds of nature. This CD leaves one feeling revived after listening to the relaxing and fun songs such as Pear, to the twisted mess of vocals, lyrics and the simple strumming of the guitar in Whirlwind, to the poppy and quick spun lyrics and beats of its final song/title track Deep Breath.
Froseph also produces his own zine Twinkle pig, a collection of creative writing and poetry. He has also played in bands such as: Infidel Castro, Northerly, The Nashville Superstars, Shiver Me Timber, Diaper, and Sick Trik