Read Our Minds

I Heard the Muse Today, Oh Boy

Depeche Mode’s latest release shows that back to the future can be a positive course of action. sounds of the universe is a blast from the past – literally and figuratively.  In an attempt to move forward, the band members pulled out their old analog synthesizers and reacquainted themselves with their heritage.  The result is a CD that ranks among their best as an example of electronica, but rankles many contemporary reviewers because it seems ‘frozen’ in time.  To me, that was the point of the exercise.  Their Muse (it was even the name of their original label) always was electronic – sampling industrial sounds and looping them into grooves, then layering synths and guitar into crescendos that often resolved into ambient soundscapes. 

Somehow digital keyboards, with their automatic presets and samples, don’t provide the same bio-feedback that white noise generators, filters and knobs do.  Analog also puts a constraint on the artist because it requires more programming.  As a result, this CD is more stripped down in its production, which plays to the band’s strength.  There is more air and space in the mix and the rawness suits dépêche Mode better than the overly lush mash-ups of recent years. 

This is a vital, energetic sound, and for me it brings back fond memories of why I first liked this band over twenty years ago.  As I said earlier, it’ll also remind others of why they didn’t – and it will confuse a younger generation who don’t realize that this band was the root of a movement they initiated that now has become bloated in production.  Welcome back, Depeche Mode.  It’ll be interesting to see how you transition from this work.

--Reviewed by Dennis Collins

Musical Web- The Who

I don’t swirl around the Internet much.  I read the newspapers, scour ESPN.com and check out sites connected to the University of Illinois Fighting Illini.  I also visit a few political sites for news as well.  That’s about it.  But I do know we like music at Tech Image…and there is one site that I visit all the time.  It may date me but I don’t care as I am a tremendous fan of the world’s greatest LIVE rock and roll band—The Who.

I think this is a great site because they post current and old concert song clips.

So check out this site … TheWho.com.  Registration is free and you don’t even have to register.  Enjoy.

--Reviewed by Kevin Johnson

ApologetiX Proves PR Value of Spoofing Great Songwriters

My husband and I found ourselves at a rock ’n roll concert with a bunch of hippies and eardrum blasting speakers the other night, and had a blast! There was no smoke, no alcohol, and no profanity in the place. Much to our surprise, the artists, the ApologetiX Christian Parody Band, so closely mimicked the original artists that it was difficult to believe we weren’t listening to AC/DC, the Eagles and Kansas live. Until we heard the lyrics.

The Eagle’s “Hotel California” was changed to “Hotel Can’t Afford You,” and conveyed the story of Joseph and Mary in Bethlehem on the night of Jesus’ birth. “Eight Days a Week” by the Beatles outlined “Eight Ways to Be,” which the band humorously coined the “Be-Attitudes” from Jesus’s Sermon on the Mount. And, Elvis’s “Don’t Be Cruel” became “Don’t Be Fooled,” cautioning the audience not to fall for anything short of the real thing.
 
We left the concert with 10 of the bands CDs, and laughed all the way home at this band’s amazing musical and copywriting abilities. They were brilliant publicists, building on their talents and abilities to connect with an audience via the music the audience loved.

In reflecting back on the show, I wonder why more PR people don’t tap into the power of music to convey their messages. Believe it or not, the Supreme Court laid down some specific guidelines that make it legal to use the world’s most popular music, providing it fits the criterion of a parody, spoofing the original artist in some way. The entire transcript from Supreme Court ruling can be found here. More on the fair use of music parody can be found here.

Whether you like the ApologetiX message or not, I encourage you to check them out to better understand the power of this PR play. Their musical and copywriting ability seems to enhance the original artist, and make their message that much more attractive.

--Reviewed by Mary Conley Eggert

Kanye West: Love Lockdown

I’ve been saying for months that I should review Kanye West’s latest album (if that’s what you can even call them anymore) “Love Lockdown” but still haven’t since its September 2008 release date. Well, I guess better late than never.

While I wouldn’t consider myself a diehard Kanye West fan by any means (probably because of his snippety attitude), I do own each of his albums and appreciate the cutting-edge lead he takes to the rap/hip-hop music genre. He always seems to plant the latest directional seed with one, big single that other artists are quick to pour water on and make grow.

And he didn’t disappoint with “Love Lockdown.”

Unlike any of his other releases, West was inspired by 80s synthetic-pop icons like Boy George and Phil Colins. The beat to each track is compiled of electronic pop sounding instruments much like you heard when you were sporting your neon mesh tops, crimped hair and slap bracelets. For the lyrical overlay, West uses the computerized auto-tune voice effect, which is something that several other artists quickly adapted to after the album release.

You also can’t forget the drum machine in the background of some of the tracks, though nothing like the Hit Stix toy I had growing up with a side ponytail. The different back-in-the-day sounds combined with today’s mixed tempos make it an interesting musical concept that is a nice change to some of the other music out there  right now.

Overall, I liked Kanye West’s take on the album and it’s a good listen. All the sounds flow nicely and the lyrics keep to an album plot like all his CDs seem to do. “Love Lockdown” has definitely kept to West’s way of scooping up new flavors for several others to begin serving up as well.

 

Now let’s just hope he comes out with something else (and fast) that doesn’t use a voicebox.

--Reviewed by Christine Rojewski

Insurgentes by Steve Wilson (released 03/09/09)

Steven Wilson has been an underappreciated cult musician for many years, but his primary project, Porcupine Tree, has begun to change that with its rising popularity.  This solo effort is sure to accelerate his visibility to a larger audience as well.  Unlike many ego-gratifying discs that leave you wondering just what were they thinking when they made it – Insurgentes is blatant in offering familiar sonic approaches that resemble Wilson’s other projects but provides a distinct difference that is gratifying.

The ten songs weave through a variety of styles that reflect Wilson’s range -  from progressive rock through metal and into ambient textures - and create a cohesive environment that is especially interesting in the 5.1 surround-sound DVD version (included with the CD). 

Wilson is a busy artist, he collaborates with other established bands and also has two other side projects, but each one maintains a unique flavor.  The one constant in Wilson’s work is quality.  He takes care with the mix and has re-mastered many early recordings to take advantage of current technology.  Musical virtuosity is also a given – on this album he collaborates with exceptional artists like Gavin Harrison, Tony Levin and Jordan Rudess.  

I could go on about the macabre and visually arresting video for Harmony Korine or other aspects of the CD, but the bottom line is simple  - if you are interested in music that impacts you on multiple levels and actually rewards you for repeated listening, then click here and order this CD now.  You won’t regret it, except that you might become as hooked as I have with this singular talent.

--Reviewed by Dennis Collins

King of the Surf Guitar - Dick Dale and his Deltones

No one plays the surf guitar like Dick Dale, and the King of the Surf Guitar “best of” compilation is Exhibit A. Although there are a few stinkers – I don’t ever need to hear “Mr. Peppermint Man” again – for the most part this is a great listen. One of the best highlights is a duet with the late Stevie Ray Vaughan on the old Chantays hit “Pipeline” – which is actually from the Frankie and Annette movie “Back to the Beach.” Also included is the classic “Miserlou,” which is worth the price of the CD alone. If you need a little sun and surf, this is the CD for you.
- Reviewed by Ken Krause