To start, Ritual Tradition Habit is a very captivating, wondrous, shadow-filled orchestral romp that is bound to impress.  The Belle Game know exactly what their sound is and it seems that they have a strong sense of identity and direction, and with it, they expand, grow, experiment, and build upon something special.  Creating space, ambience, and art-rock experimentation without teasing patience or instigating bore, as well as implementing violins and trumpets quite effectively without seeming at all forced, this group knows how to craft songs that carry with them a strong sense of artistic integrity while also being very catchy and leave you wanting more.

The Belle Game effortlessly create very mystical and sensually dark imagery with not only their instruments, but Andrea Lo’s vocals as well help paint the portrait of a modern twist entangled in a nostalgic frame. There is a whispery air to Lo’s vocals, a certain static, that adds just that much more texture and depth to the group’s already intensely layered sound and composition. The attention to detail is immaculate and they strive to create a visceral experience when listening; The Belle Game create a space around you through their album and with every listen, never quite stop to continually add upon that space as you are bound to catch something new that you had not previously caught upon. In the case of Ritual Tradition Habit, it is the small things that count.

Opening up the delicate and intricate ‘Ritual’, you are softly lowered into the dark, shadowy depths that make up Ritual Tradition Habit. Filled with lumbering, engrossing violins and bass that act as welcoming, yet somewhat intimidating guides as well as Lo showing off her impressive vocal range on ‘Ritual’, it is hard to really grasp  what exactly you’re in for.  Following up, ‘River’, showcases the group’s ability to really craft not only a triumphantly contagious song, but one filled with so many textures; trumpets praise and sing, a certain organ-like solo flourishes, and electronic voice manipulations all dance together like you have never heard before.  From there, the endearing emotion and pleasantry does not cease and once ‘Habit’ fades off, you will not pause to play the whole album from the start again.

Although the album itself may at times feel a little in-concise or without a clear, backbone concept, the music itself is wonderfully composed and its small faults are easy to forgive. In all, The Belle Game are looking up to become a very promising group and Ritual Tradition Habit is just their first step.

To compensate for that, many artists and promoters will tie a million and three labels to one work: pseudo-new-wave-core-grind-death-pop, with indie-folk-jazz influences. Not only does that deconstruct every reason why genre labels exist in the first place, often times, it’s a multi-syllabic way of saying this music is so watered down, it has no discernable lineage. It’s the musical equivalent of prison slop.

So, when Volbeat’s latest, Outlaw Gentlemen & Shady Ladies, came attached with “groove metal,” “punk,” “heavy metal,” and “rockabilly,” among many, many other tags, I prepared myself for the worst.

What I ended up listening to was the most interesting album I’ve heard in a long time, and perhaps the first instance I’ve come across of a successful commingling of multiple and varied genres.

The opening track confidently strides into town, riding the acoustic guitar and harmonica, thrusting the record’s Wild West motif deep into the listener’s ears. “Pearl Hart” follows, a seemingly disappointing delve into radio-friendly ‘hard rock;’ deep, quavering vocals, chugging rhythm section and friendly guitars masquerading as threatening. But as the song goes on, it becomes apparent that the heaviness isn’t manufactured, it’s inherent. The lyrics tell of a 19th century, female Robin Hood, not usually a subject popular on the airwaves. (Interesting to note, the band is Danish, and was not raised on The Myth of the West.)

The next tracks are heavier still, often moving into thrash territory courtesy of Rob Caggiano, former Anthrax axeman, and now fulltime Volbeat member. “Dead But Rising” recalls early Metallica, but does not stay in the territory, easily weaving between a mellower, almost hardcore chorus, and thrashy verses. Solid pop-punk tunes rest next to hardcore, gainy punk leads over heavy metal beds, thrash breakdowns in the middle of an otherwise straightforward rock song, and yes, even the rockabilly tinged “Lonesome Rider,” featuring Walk Off The Earth’s Sarah Blackmore as a guest vocalist. A banjo even accents “Doc Holiday”.

This proves to be the formula for the entire album, and it works perfectly. Each song enshrouds itself in a genre just long enough for the listener to get comfortable. Yet just when you think you’ve had enough, or you think you know what to expect, they seamlessly transition to a place that’s furthest from where the song was three seconds ago. The changes are never contrived, as is the case with most genre-hopping attempts, and illustrates not only a love but a deep respect for all visited terrain. The flow is incredible; on paper, it is the ultimate train wreck. Yet, on the record, is masterfully pulled off.

I know it is only May, but this could prove to be one of the most interesting albums of the year.

The date was March 30, 2012, and the newspaper was The Globe and Mail, Canada’s largest circulation newspaper and second-largest daily newspaper, after the Toronto Star. The band preordered 1,500 copies of the issue, so they had to stick with the theme.

“Committing to a specific future day in history as the sole inspiration for an album’s worth of music was an initial source of anxiety – what if nothing interesting happens?’ reads the band’s press release.

Unfortunately, that’s exactly what happened – the focus of the March 30 paper was an analysis of the Canadian federal budget – but they made the best of it.

“You start to see all of the little things that are so inspiring,” vocalist/guitarist/fiddler/songwriter Buchanan said of the writing experience. “Everything from the front page through to the personal stories that fill the obituaries, you realize there are so many stories going on every day. There’s so much more than the talking heads on television or the headlines themselves.”

Despite the Kickstarter backing (they achieved their fundraising goal in less than 12 hours) and the relevance of their topic matter, the band was formed in 1996, and it sounds like it. Think Dave Matthews Band or Crash Test Dummies. And, forgive me, but the Celtic instruments and abrupt changes in tone make me think of nothing more than the ‘90s Irish girl group B*Witched.

The financial news on March 30, 2012 led to surprisingly engaging music. The opening track, “Year of the Rat,” is an earnest anthem-type rock song. “Come all you liars, you saints and lost souls,” Enter the Haggis sing, urging you along.

Some of the songs take their newspaper article subject matter perhaps a little too literally – “Blackout,” for instance, inspired by an article about concussions in hockey that led the Toronto Maple Leafs to a poor record, contains the lyrics, “We follow along, we keep chasing the puck, ever whispering someday, we’ll drink from the cup.” At least they didn’t say “Stanley Cup.”

If nothing else, Enter the Haggis is sincere. Every song sounds like an earnest stadium anthem, and it’s easy to imagine Enter the Haggis opening for a band like U2.

The first single, “Can’t Trust the News,” contains a hopeful chorus that seems shorthand for the album and the band’s outlook, as well as the news story it was based on – a brief on a 65-year-old woman who climbed mountains to find distraction from trauma.

“Trust your eyes / They will follow the light / It’s a new tragic story / Trust your heart / It will swallow the dark / It’s a mecca of heartache and doom / You can’t trust the news,” Enter the Haggis sing.

It’s rousing call for hope amidst the bleakness of modernity and of news cycle – though one imagines Enter the Haggis must have wished they had something more tragic than the demise of the penny (“Copper Leaves”) to write about.

Hello Creatures comes complete with a hint of forlorn, but also with a sense of direction. They intermingle concentrated guitar riffs with a hypnotic melody that spews out somewhat distorted and groovy.

“Into Wherever” is an outstanding way to begin this journey. It’s relaxed tempo almost has a Grandaddy feel to it. Pair that with some dreamy vocals, and it’s a great start. The album flows right along into “Hey Kid”, where they throw in some very interesting harmonies that’s certainly catchy and makes it stick out from the rest as it has a clear sixties vibe to it. “Goodbye!” picks up the pace with it’s captivating beats and edgy guitar rifts. As we dive deeper into Hello Creatures, “Sound Asleep” takes it down a notch with it’s chilled, relaxing beat, and mesmerizing lyrics.

“The Stars Above Looked So Bright…” is my personal favorite on the album. The subtle guitar solos are captivating, as the lyrics are quite purposeful. “Seemingly Unfit” includes some really great pre chorus riffs, and the vibrant chorus reminds me a bit of Pearl Jam, which is quite the honor. This is the song on the album that packs the most punch with its fuzzy melody of electronics.

“Boogey Den” is a cheerful song that makes you want to get up and dance! I have a feeling that this might be the theme song for Hello Creatures.

The album ends on a high note with “I Was There Too”. This is the longest track on the album, but it certainly doesn’t get dull. You can really rock out as it finishes with a bang!

Let’s Say We Did – Hello Creatures has produced some very impressive melodies, and I love how they mixed in the classic sixties and seventies influences. The small, yet noticeable details they threw in to keep the tracks fresh make all the difference. Hello Creatures is stimulating, curious and very promising. It carries with it a dynamic of solid sound that melts together nicely.

Summer camp is all about seeing old friends and making new ones, taking part in activities you will find nowhere else, and reveling in a place that feels completely separate from the rest of the world.   The aptly named Summer Camp Music Festival has reinvented this experience for an older crowd with top musical acts providing the soundtrack.  Getting lost in the forest, huddling around the campfire, and staying up until sunrise are all common occurrences at SCamp.  This year the festival includes field day competitions, camp counselors to document the festivities, a treasure hunt, workshops led by artists, and much more.

Now in its 13^th year, Summer Camp takes place over Memorial Day weekend in Three Sisters Park just outside of Chillicothe, Illinois.  What began as a small jam-centric gathering in 2001 has ballooned to become one of the top camping festivals in the Midwest.  This year’s lineup features over 100 acts performing on six stages.  With artists ranging from rock to electronic, funk to bluegrass, and everywhere in between there’s bound to be something for everyone.  This year’s lineup is led by mainstays moe. and Umphrey’s Mcgee, each playing three days, as well as renowned artists including STS9, The Avett Brothers, Big Boi, Trey Anastasio, Thievery Corporation, and Diplo.  Here is just a handful of the entertainment in store at Summer Camp 2013…

Spirit Family Reunion: Thursday, 7:30 Campfire Stage and Friday 6:00 Camping Stage

Summer Camp is always stacked with great bluegrass, folk, and acoustic artists.  This year is no different with one of the top to see being Spirit Family Reunion.  The Brooklyn-based act first gained attention playing in NYC subways before moving on to share the stage with Trampled By Turtles last year. In their own words they play “homegrown American music to stomp, clap, shake and holler with.”

Medeski, Martin, and Wood: Friday 4:00, Moonshine Stage

MMW is keyboardist John Medeski, bassist Chris Wood, and drummer Billy Martin.  With over 20 years of experience under their belts they have been a constant force in the jazz world while gaining a reputation for their live performances.  Expect this to be the first set that really gets people moving at the Moonshine stage on Friday.

The Soul Rebels: 9:00PM Friday, Campfire and 1:00AM Soulshine

The Soul Rebels is a brass band from New Orleans that combines traditional brass band style with modern sounds.  They will surely have the crowd dancing to their horns’ blend of funk, R&B, and hip-hop.  They will also be playing a special late night set as De La Soul Rebels in which they will recreate classic De La Soul tracks.

SAVOY: 8:00 Saturday, Campfire Stage

Colorado-bred, New York based electronic group SAVOY has become one of the most exciting names in the genre.  These guys have skills and they are not confined to one sound.  Whether it’s their earlier hard electro sounds, dubstep tracks such as “I’m In Need”, or slick banger “We Are the Sun”, they know how to make people move.  Scampers will be some of the first to get a live taste of the trio’s freshly released Three Against Nature EP. Their 8 o’clock set time should be just in time to light up the early night with their impressive laser show.

Indigo Sun: 6:00 Sunday, Camping Stage

If you’re in the mood for some saxophone but would like it leading a smooth full band as opposed to being combined with a DJ deck then Indigo Sun is for you.  They have a scheduled set but search the forest for their campsite where they have been known to have impromptu jams through the night.

Big Grizmatik: 2:45AM Saturday (Sunday), Red Barn

After getting together at last year’s Electric Forest for a surprise set Big Gigantic, Gramatik, and Griz are reassembling for a special late night set to close down the Red Barn after STS9 on Saturday night.  Since last year Griz and Gramatik have gotten together for a few incredible sets, but this will be the first time they will have the power their three talents since their initial outing.  Late night shows in the Red Barn require an extra ticket and they once again sold out almost instantly this year.  You can still get in by buying a VIP upgrade or possibly by giving that really thirsty guy next to you at Gramatik’s daytime set a drink of water (you never know…).

Diplo: 4:30 Sunday, Moonshine

Diplo has seemingly been everywhere in the world, but this will be his first stop at Summer Camp.  Recently he’s been touring Europe with his Major Lazer project so let’s hope the change of pace leads to a set that gets people moving while exploring his wide range of styles.

Big Boi: 6:30 Sunday, Moonshine

Every year Summer Camp seems to have at least one hip-hop legend on hand.  De La Soul and Common delivered some of the festival’s best sets in previous years.  In 2013 Big Boi of Outkast will be in charge of educating the crowd with his hip-hop wisdom.  This set is sure to include Outkast hits, tracks from his successful solo work, and cuts from last year’s excellent Vicious Lies and Dangerous Rumors.  Big Boi’s unmistakable flow is sure to teach the crowd a thing or two.

The Soulshine Tent:

The Soulshine Tent is one of the most unique and exciting parts of Summer Camp.  You can stop by early to start your morning right with a group yoga session.  On Friday afternoon any ultimate Umphrey’s fan must stop by for a chance to win a coveted Golden Ticket.  There will be multiple drives to help various causes this year with a Conscious Alliance canned food drive (bring 20 cans and get a SCamp poster!), a cell phone drive, a shoe drive, and for the first time this year a seed drive where you will be able to trade or pick up new seeds to start your summer garden.  And by participating in all things Soulshine you are partaking in the Summer Camp Treasure Hunt.  Check the back of your program to learn more on how to cross off items and get access to a special The Everyone Orchestra (featuring Victor Wooten, Joel Cummins, and more) set Sunday in the Red Barn.

Summer Camp Tips:

- Arrive early for the Thursday Pre-Party. Not only is it an extra day of great music, but also you will be able to snatch the prime camp spots and get acclimated before the full crowd arrives.

- Bring a wagon to transport supplies from your car to your site.  Yes, a Radio Flyer style wagon.

- The festival comes alive at night.  Music runs from 11AM-4AM, so be ready to sacrifice some sleep for music.  Even if you weren’t lucky enough to snag a ticket to the late night sets in the limited capacity Red Barn, you’re still at Summer Camp.  There will be acts playing at the Campfire Stage and Vibe tent into the wee hours of the night.

- Be prepared for varied weather.  It can range from sweltering during the day to chilly at night.  Last year temperatures constantly neared triple digits and it felt like the Grapes of Wrath by Sunday; the year prior there was significant rainfall that turned the grounds into a giant mud pit.

- Meet new people. Try new things.  There’s no better place for it.

The group’s newest effort is a melodic and soothing slice of indie rock. The songs on this album, their first for Cherry Red Records, are reflective and almost wistful. Not that there is a feeling of melancholia or sorrow on the record, it feels like this band has embraced who they are.

The songs sound gently reminiscent, like recounting a fond memory. When singer Guy Chadwick sings that “the only trouble here is in your mind” on “Trouble in Mind”, it feels like he has accepted the mantra. There is a resigned, contented air to his vocals throughout the album. It gives his voice a maturity that makes the album feel richer.

The guitars quietly accompany Chadwick’s ethereal crooning beautifully, with gentle melodies and just enough verve here and there to remind you they are still there. The entire ensemble feels very tightly put together, with nary a wasted drum fill or extra guitar part. Even though it is appreciably well put together, the album delivers a very carefree, unassuming vibe throughout.

The only downside to this lackadaisical feeling is that there isn’t really any song or group of songs that stands out from the pack. This is a bunch of slightly forlorn soft rock, nothing more and nothing less. It’s an album that skates along pretty easily, never making stop to take notice.

When Chadwick laments he feels “just like Hemingway”, it’s over a jangly guitar and uptempo drums, delivered with airy nonchalance. The complaint comes across as just a little forced, and likewise you’ll be hard pressed to find any kind of emotional connection with this batch of songs. They will probably flit out of your head just as fast as they enter.

Not that every song needs to be an ear-worm, or that you should cry (or laugh) on any record. But She Paints Words in Red is devoid of any kind of feelings. It can be warm, sometimes, but that’s about all you’ll get.

Overall, it’s clear from She Paints Words in Red that the House of Love are a band that know their way around a well-written song. This is a pretty album that doesn’t try to be much else. Leave any expectations behind, and you’ll like it just fine.

At this point in time, there’s nothing really new to say about this band, considering that they’ve been doing this for thirty years, with fifteen studio albums, a whole slew of e.p.’s, and a bunch of other media presentations under their belt. They started out as individuals, creating music that was sometimes folky, always rock and roll, and perpetually weird; and, thirty years later, ‘weird rock and roll’ is a tag that suits them still.

The Terror has all the classic hallmarks that demarcate this band’s unique identity. There are beautiful melodic arcs, artful textures, noisy ambient tones, great songwriting, and that compelling emotional poignancy that Wayne Coyne is so brilliant at evoking. On top of it all, is the falsetto, that haunting-yet-detached style of vocalizing that suit the needs of this band so perfectly.

Part of their genius manifests from a mastery of recording studio techniques wedded to an incredible feel for sonic textures. For reference, listen to ‘She is Death’, a track that dates back to 1986. This track is a reminder that this group started out as an amazing musical unit. The fact that they’ve managed to constantly grow and mature is testament to their genius.

What sets the Dear Hunter apart is that they love deviating from this format. Yes, there’s a lot here that fits it perfectly – the surging “An Escape” and “Kiss of Life” and almost danceable “Whisper,” all terrifically fun, come to mind – but they also draw on a few rather surprising influences. The biggest departure by far has got to be “Shouting at the Rain,” a ‘70s-style country ballad that reminds me of Okkervil River or maybe the Red House Painters circa Old Ramon, but there are plenty of others, too. One of them, “Girl,” is a clumsy attempt to weld funk, garage blues, and R&B together; needless to say, this is my least favorite on the album. But on the other hand, “This Vicious Place” is a surprisingly effective e shot at trip hop. Granted, it probably won’t lead you to set Massive Attack aside and declare the Dear Hunter the new heroes of the genre, but it’s certainly a lot better than expected.

Elsewhere, this album has two modes. There’s the post-punk/chamber pop/generally sort of Arcade Fire-flavored mode, and the dreamy mode hat takes over to the end.  “Sweet Naiveté,” probably the best song on the album, brings that in spades with its phenomenal piano and spacy vocals; fans of that should also enjoy “Cycles,”  “Let Go,” and “Don’t Look Back.”  Meanwhile, “Bring You Down” and “Shame” are intriguing efforts to mix these styles; they’re not particular favorites of mine (“Shame’s” retro electric piano doesn’t quite get off the ground, although the strings are cool; I do like how “Bring You Down” is dreamy funk, though, because how much dreamy funk exists?), but they’re certainly different, which hooks the listener in effectively.

So it’s a pretty solid album on a whole. Most of it is very good, and on occasion – “An Escape,” “Sweet Naiveté” – this album courts greatness. If you’ve eaten up the more famous eclectic indie rock albums of the past ten or fifteen years, this’ll make for a great next step.

Each song on the album could be seen as an individual character from a dramatic and crestfallen opera. Alone, each track has is own sorrow to describe but feels a little empty and lost, when brought together however, Gabriel’s opus guides the listener through a journey of their own hidden emotions. “All the Pretty Things” is a truthful album that unfortunately doesn’t place priority on composition but rather story telling. The lyrics are accessible but often too direct, lacking in the poetic language that is necessary when writing material meant to have such a depth. Overall the album has a story worth telling, but in such a way that one shouldn’t listen too long or too closely for fear of being drawn down into a deep depression along with the band, caution is advised. We aren’t likely to see Union Cell touring outside of Florida anytime soon, but their album is available through iTunes and other outlets, so check them out.

WATCH VIDEO HERE:

!!! – One Girl/One Boy video

Sing With Chk Contest – Note from the band:
Come on, admit it. You’ve dreamed about singing with !!!. Only a few of us have been able to live that dream but now you can too. We’re not bringing Sonia Moore, the singer from One Girl/One Boy, so we want you to come up and sing w/ us when we hit your town.

Upload a youtube video of you singing along or send an mp3 to singwithchk@gmail.com. No big deal, just you in front of the mirror singing into the hairbrush style will do. We’ll sift through the entries and holler at you if you’ve got what it takes. You’ll of course be judged on your vocal ability, but dance moves and star quality definitely help. If anything, it’s a free ticket for you and your bff for the show. No flakes, no egos, no drug problems.

US TOUR DATES
MAY
16 Cambridge, MA @The Sinclair *
17 New York, NY @ Bowery Ballroom *
18 Washington, DC @ Black Cat *
19 Durham, NC @ Motorco *
20 Asheville, NC @ Orange Peel *
22 Atlanta, GA @ Earl %
23 Birmingham, AL @ Bottle Tree %
24 New Orleans, LA @ Tipitina’s %
25 Austin, TX @ Mohawk (Outdoor Stage) %
26 El Paso, TX @ The Lowbrow Palace %
27 Tucson, AZ @ Club Congress ^
28 Phoenix, AZ @ Crescent Ballroom ^
29 San Diego, CA @ Casbah ^
30 San Francisco, CA @ Rickshaw
31 Sacramento, CA @ Cesar Chavez Park

JUNE
1 Los Angeles, CA @ El Rey Theatre ^
3 Portland, OR @ Bunk Bar ^
4 Vancouver, BC @ Fortune Sound Club ^
7 Minneapolis, MN @ Fine Line Music Café *
8 Chicago, IL @ The Bottom Lounge *
9 Detroit, MI @ Magic Stick *
10 Toronto, ON @ Horseshoe Tavern *
11 Montreal, QC @ Le Belmont *
12 Burlington, VT @ Signal Kitchen *
13 Portland, ME @ Port City Music Hall *
14 Hamden, CT @ Spaceland Ballroom
15 Philadelphia, PA @ Union Transfer *

AUGUST
25 Los Angeles, CA @ FYF Fest
31 Seattle, WA @ Bumbershoot

Support
*Sinkane
%Shockwave Riderz
^White Arrows