How to train for your first full or 1/2 marathon, for unmotivated runners

This isn't music, but it's informative!

Training for a marathon is not an easy task; hours of training and the right mindset are needed for successful completion. To become a marathoner, it is a complete change of lifestyle. But for those who are looking for the accomplishment of completing their first marathon, there are only a few steps needed to push yourself in the right direction.

1. Start small. You cannot become a marathon runner in a month. Give yourself a longer amount of time than suggested for training (22-weeks is usually suggested for a full marathon and 12 for a half), that way you have a little bit of leeway time and can ease yourself into the process.

2. Join a running club that meets weekly. Most running groups meet on a weekly basis and have a certain mileage planned. This requires you to run during the week in order to keep up. Many groups cost money as well, so it’s easier to push yourself out the door to run.

3. Think of running as more than a means of exercise. Once you are able to think past the pain of running, it will become an outlet and it will become easier to run on daily basis. It will be easier to fit running into your routine and will eventually become an important part of it.

4. Make a bet with someone. It can make things more interesting and the bet can be about your finishing time or about your completion of the race. Either way, it can be that extra push to prove to yourself, and someone else that you can do it. To make it even more fun, it can be a bet over something simple like dinner or a round of drinks.

5. Post your progress on daily sites. It will motivate you to run so you’re able to post your progress, and others’ progress will be motivating as well. Daily sites and forums provide runners with “virtual friends” that are experiencing the same things as they are and can give some very helpful advice. Some helpful sites are runningforums.com and dailymile.com.

6. Volunteer at races. Races of all sizes are always looking for volunteers to hand out water or work tables. Once you see other runners’ satisfaction of completing a race, and being around the energy, it will encourage you to run. Running blogger and 40-time-marathoner, Michael Schilling, said that just being a spectator at a race can also bring encouragement to non-motivated runners. “In essence, my motivation is based on the spirit, happiness and overall positive energy of these events. Every new runner will find the same,” Shilling said. “It's contagious.”

7. Sign up for races ahead of time and while your training, that way you have small goals to reach and you have already paid for the races along the way. Having small goals makes it easier to achieve them. During the summer months, there are multiple races every weekend. It will help you get into the groove of race running.

8. Some runners also use unorthodox tactics while running, like marathon runner Kevin Lemley. “I love that SNL sketch where Sean Connery is playing Jeopardy. I picture him running beside me and insulting me.”

Murder By Death/ The Builders and the Butchers

Reggie’s Rock club is a small, basement like atmosphere. It’s very well situated, and unlike some bigger, more pretentious venues, Reggie’s is intimate and always puts on a great show. February 12 was no different.

Fake Problems, The Builders and the Butchers and Murder By Death took the stage. The show started at 6:00pm and didn’t end until 10, and unlike many other venues, Reggie’s wasted no time in between sets packing the night with outstanding music.

The Builders and the Butchers took stage shortly after Fake Problems. The Portland-based folk band uses unorthodox percussion creating a truly unique sound and filling the room with overwhelming bass.

During the last song of their set, nearly 45 minutes later, B&B played “When it Rains” accompanied by half of the audience. Fully performed with audience singing, clapping and even playing instruments the band passed out to a few lucky fans.

Murder by Death soon scrolled across the projected screen above the stage. This tour was different from the rest.

Murder by Death was playing their albums Red of Tooth and Claw and Who Will Survive and What will be Left of them, both in entirety. After touring in Chicago for so many years, the band was assured to have many dedicated fans that know the ins and outs of these two albums.

They weren’t wrong. The crowd was filled with regulars and new fans. The screen that once simply said “Murder by Death” was now playing old horror and zombie films, a genre that the band was often associated with. And in the background was a cameraman.

The band was filming their first documentary, only in select cities, but Chicago was one of the lucky few. Not only did Chicago become lucky by being filmed, the original keyboardist, Vincent Edwards was playing for the three-night stint the band booked for Chicago.

Adam Turla started off that first growling note with “I’m Comin’ Home” off of Red of Tooth and Claw but not before he took a shot of whiskey, the drink the band is known for, with a fan that I’ve seen at several shows before.

The four turned into five for the night, and they sounded better than ever before. The sold-out crowd was enthralled with every move and every note echoing in the small bar of Reggie’s Rock Club. The whiskey went down and the beer spilled the floors as Murder by Death continued to tell their stories of zombies attacking cities, lust, betrayal, horror and of course drinking.

Between the songs the band relaxes for a minute, takes a sig of their beer and tells hilarious anecdotes of bed tacos, Iron Maiden, White Snake and Rambo. “Murder by Death has no mercy,” says Turla in reference to a Rambo movie.

Who Will Survive and What Will be Left of Them was their first big album, like the tag line to the original Texas Chainsaw Massacre.

Their encore treated the lifelong fans that lined up against the railings playing nearly half of Like the Exorcist, But More Breakdancing which was their first album.

The band admitted to playing a few songs that they haven’t played in five years. They pleased the crowd, whether new fan or old, and they definitely left the audience wanting more even after a two-hour set.

Jean-Paul Gaster Interview

Metal band, Clutch, made a drastic change with their side project and “alter-ego” blues jam band in the 90s called The Bakerton Group. With their heavy following with each band, the group recently decided it was time to start their own label, Weathermaker Music. On February 17, The Bakerton Group released El Rojo produced by J. Robbins, on Weathermaker Music. Drummer, Jean-Paul Gaster talks about the switch, the recording industry and shares what’s in store for Clutch and The Bakerton group.

Many band members have side projects, but what made you guys decide to have a jam band "alter-ego" with all the same members (with the addition of Per Wiberg)? How does Bakerton differ from Clutch?

We originally started The Bakerton group in the 90s. Neil actually moved to Denver for a short amount of time and we found ourselves with downtime and wanted to try the instrumental thing.

We’re all way into jazz and the blues and wanted to play that style of music, so at the time we played some Thelonious Monk and Coltrane covers. More than anything it was an experiment.

We decided that when we started Weathermaker we wanted to make and release a Bakerton record now that we had some real distro and a real label. We’ve been friends with Per for a long time and toured with him a bunch in Europe.

He’s a monster keyboard player and has an affinity for funk, jazz, and the blues so it was a natural fit. It turned out he had time off after an Opeth tour to record so it worked out perfectly.

What influenced the completely different sound?

The biggest difference is being able to write songs that aren’t focused around lyrics. After the years we’ve become really good at writing Clutch songs, and on the flipside, it’s a great challenge to write the Bakerton tracks. We’re much more concerned about the form of the songs and trying to find what melodies are working where, and really the instruments themselves become a lyrical focal point. At the end of the day its still hooks. We’re trying to write those things that still stick in peoples’ heads.

Why did you decide to create your own label, Weathermaker Music?

We realized after we were finally done with D.R.T. (our previous label), that it was time to do something drastically different. The idea of running our own label was always something we’ve been interested in, but at the time the distributors were not into the idea of working with just bands.

Over the past few years though, it was apparent that we as a band could sell as many records as any of the indie labels out there… that’s kind of what spurred it. It’s exciting to have our own label; we have a lot of projects planned that we’re excited about.

Would you recommend other bands to create their own label?

No doubt about it. The idea of a label as we know it really is nonexistent nowadays. The industry’s changed so much.

There’s a lot of ways for bands to get recognition today. The internet has had a large impact on the way bands do business. Anything you can do yourself is the way to go; you can’t wait around for people to get interested in your band anymore.

These labels were trying to sell millions of records and that doesn’t happen today, whereas years ago that happened way more frequently. Major labels are definitely a dying breed and anyone who can start their own label should definitely do it.

Two bands, a record label... What's next?

I’m pretty sure we have our work cut out for ourselves at the moment. These days we’re either on the road or writing more songs for both bands. It’s really gone like that steadily for the past year. We’ve had no time off in over a year so I think we’ve got our work cut out for ourselves right now.

I don’t think we’ll put out any bands on our label not related to Clutch, that was never the plan, but we’ll have the new Clutch full length this summer which we started recording after this tour, and maybe some other surprises coming soon as well.

-AlarmPress

Dancehall: The Rise of Jamaican Dancehall Culture

By: Beth Lesser

Dancehall: The Rise of Jamaican Dancehall Culture explores the ups and downs of Jamaican music that has led Kingston to have one of the largest recording industries today. Dancehalls started in the backyards of those who were lucky enough to own soundsystems and grew into a political and cultural struggle throughout the 1970s. Dancehall brings you to Kingston, where it all began, and takes you through the years with full page pictures of artists, dance-goers and the culture of the music of the dancehall.

Dancehall tells the story of Jamaica’s adaptation of early American R&B that turned into the creation of a local recording industry made to spread the word on Jamaican pride and musical significance. The creation of Ska, Dub and Reggae take their place in the development of Jamaican music. The history and growth of Jamaican music culture told in this book is bittersweet and caused death and struggle for the island.

The economic struggles and political instability of the 1970s fueled violence throughout Jamaica. This caused many citizens of Kingston to stay inside for fear of being killed also caused most artists to flee the country in order to pursue their music and keep themselves and their families safe. Dancehall recognizes and unravels this period through various quotes and stories of the struggles.

With the end of the war and the election of 1980, musicians headed home towards Jamaica with what they had learned and the connections they made to pick up where they left off and create a more diverse music scene. Dancehall recounts the music and cultural revolution that began. Without the beginning of soundsystem and dancehalls the Jamaican culture would not be the same. “The development of the soundsystem dance was the most natural thing in the world for Jamaica,” said author Beth Lesser.

Dancehall shows the inside of a dancehall session, the first dancehall label, various influential artists and the evolution of dancehall and soundsystem into the late 80s.

-Alarm Press

The Format: B-sides & Rarities (Vanity)

Prior to scamming my favorite band's website I had no idea that they were no longer. I was shocked to say the least. Looking on the bright side, before The Format packed up their things and waved goodbye, they released an album of their b-sides and rarities late last year.

The Arizona based indie pop band has never failed their fans when it comes to breaking out fantastic albums. I assumed this wouldn't come short of that expectation and I wasn't let down. Lead by vocalist Nate Ruess, the band of almost 10 succeeded in heading out with a bang.

Their poppy beats coordinated with downright sad lyrics are what the band is known for. You never realize the subject matter until you actually listen to the lyrics. The boys mask it fantastically, causing listeners to break out in dance. This album is no different.

B-sides and Rarities is a compilation of what the boys have done throughout the past five years of their career. It greatly shows their growth as people and as musicians. album also has five demos from their previous studio album, Dog Problems.

A Good Time at Your Expense is an acoustic song about hatred. However Nate’s melodic voice carries the song through, as always.

The boys also threw in a short cover of Do You Believe in Magic? A classic, that they kept a classic.

The last two songs on the album are probably two of their best songs ever released. Apeman and Does Your Cat Have a Mustache? are fun and dance-worthy songs. The quirky titles caught my eye right from the start. It’s a great way to end an album, and since this is their last to be released it’s a great way to tie up their career as The Format.

French Kicks: Swimming (Vagrant)
New from Vagrant Records is the album Swimming from the Brooklyn band French Kicks. The new release is out on Itunes but doesn’t come out on disc until May 20^th. Some of their die-hard fans bought the album online and raved about it. I, however, have a little less raving to do. I really don’t want to tear this album apart, but if I won’t, I don’t know who will.

French Kicks’ lead vocalist Nick Stumpf’s airy and melodic sound almost resembles Thom York’s of Radiohead. However the airiness doesn’t subside and while some people like that, I’m not a big fan.

The album is entirely produced and mixed by the band itself. Impressive. I won’t go too far into praise though, because I find the I-mixed-this-in-my-basement-sound to be a little immature for a band of their class. It makes the album sound live, but isn’t that what shows are for?

Next on the list: variety. Their sound is unique and there is no doubt about that, on the other hand their sound from song to song is not. This is an album that I got bored with really quickly. Instead of three minute songs, I felt like I was listening to one really long song. One that I wish would have ended at three minutes. If it would have, I think I would have liked it.

It started off good, but ended sour. Kind of like those sour patch kids commercials; but opposite.

Throwing a little bit of good in the mix; it was pretty upbeat. There was a lot of finger snapping and hand clapping which always makes for an audience pleaser. But in French Kicks case, it just wasn’t enough.

The album ends with a song that fits perfectly called This Could Go Wrong. It seems like a good idea, but in the end it really isn’t a mind-blowing creation.

Frightened Rabbit: The Midnight Organ Fight (FatCat)

Frightened Rabbit caught me by their name. Honestly, I couldn’t resist passing up a band with that name. The Midnight Organ Fight was surprisingly very entertaining.

The UK band fuels their music by keyboard and intriguing vocals. Not only did the band name pull me in, but their sound is very fun and catchy.

The album starts off with Modern Leper. What I really loved about this album is that Frightened Rabbit has a hidden folky/country flair. On the surface it sounds much like other indie rock music, but buried inside is a little personality.

Head Rolls off starts off with a religious statement. The lyric goes, “Jesus is just a Spanish boy’s name.” For a really religious person, this statement could be very offensive. For other’s it could actually get a chuckle. Either one, it gets attention. The song entirely is about life and death and the ever going cycle.

The Twist right off caught me by the keyboard intro. This song is layered. Slowly it adds more instruments and more vocals. Slowly it gets faster and more intense which is a technique Frightened Rabbit seems to use quite often.

The album ends with deep lyrics and their acoustic side in Poke. The band really expresses their emotions in this song as well as throughout the entire album.

I went into this album with absolutely no background of what kind of music Frightened Rabbit was. They turned out to be a band that I plan on listening to a lot more often.

The Blakes: The Blakes (Light in The Attic)

The Blakes self-titled album can be described in four short words: love at first listen. If I could end it there I probably would, but there is still a lot more to rave about. Each song sounds remarkably different, yet still similar. This album really keeps me listening because they bring something new to the table at each new song. I never, ever get bored.

The album starts off with Two Times, which is heavily argued as the best song on the album. Surprisingly, this song was written in a span of only seven minutes. The scratchy and unkempt vocals lead the catchy lyrics and head-bobbing beats. To say the least, it’s a fun song. The Blakes don’t stray from this theme throughout their entire album.

Their style holds a vintage feel and resembles the music of The Strokes and The White Stripes, especially in the song Modern Man. Modern Man is another fun and dance worthy song. In this song, as well as others, they keep the fun beats but add their own edge to it which makes it completely unique.

The song Vampire shows the darker edge of the band. Although they don’t take it to an extreme, it is safe to say that this song has a much more somber tone than any of the other songs on this album.

Not much else can be said about this album. I see no flaws, at least on the surface. This is the first I have heard of The Blakes, and I hope it is not the last. They’ve got spunk; they’ve got attitude; they’ve got a fresh new sound.

This album gets an A. Congratulations.

Neva Dinova: You May Already Be Dreaming (Saddle Creek)

Neva Dinova’s You May Already Be Dreaming is an incredible album with one complaint: it’s kind of a downer. I really like the sound of Neva Dinova and after hearing the first couple songs on this album I had an awesome attitude towards it, until it didn’t change much. I was looking forward to this album being one that I listen to on an almost daily basis, but I honestly can hardly get through a full listen of the album.

Not to bash the band, because they are really talented, but I got really bored with it. I found myself having to turn it off after just two or three songs. So, I did a test to hear the entire album. I listened to only the first minute of each song just to get the feel of it.

The first song, Love From Below, is actually probably my favorite. It’s reminiscent of Johnny Cash and I think it works well for this song.

One minute is almost all I can take of Will the Ladies Send You Flowers. The song is about death and dying and suffering through the process. Something I honestly don’t want to listen to on a daily basis. However to give Neva some credit, they do make the pain sound beautiful.

I can see the light! Supercomputer takes a turn and speeds it up a little; but only a little. My favorite part of the song is that it’s really cleverly written. “…and I’m gonna type in the numbers right, to build us a sky and then divide it by seven so we can give us some light.”

Cleverness always wins me over.

I’m not going to lie; I don’t understand Funeral Home. I’m really not that sure what it’s about; whether it’s literal or not. I probably will never know.

It’s not until half way into Apocalypse that it gets an actual beat. If I were leisurely listening to it, I think I would just skip right over it. The second part of the song I like a lot, the first half almost put me to sleep.

Lead vocalist, Jake Bellows, has a very soothing voice but he tends to drag his words along. What I have learned from You May Already Be Dreaming, is that Neva Dinova likes to repeat lyrics a lot, talk about sad things, and is a good album for a rainy day. I may not be totally digging this cd right now, but who knows maybe a month or two down the road I will realize what a fantastic album it is and completely regret not giving them “mad props.”

Alive in Wild Paint: Alive and Wild Paint (Equal Visions)

Phoenix based Alive in Wild Paint has changed the face of emo music and weaved in a new feel of their own. Their lyrics remind me of early Dashboard Confessional, and their sound resembles Coldplay. Ceilings is an intricate blend of pure love songs and the beautifully tragic voice of Travis Bryant.

After the split of Goodbye Tomorrow and Terminal, the members scattered; but Travis Bryant, Matt Grabe, David Roat, and Austin Wilson started Alive in Wild Paint. Their highly anticipated Equal Vision release was produced by Mark Trombino who also produced albums with big timers Jimmy Eat World and Rilo Kiley.

On first listen, I feel in love. Ceilings’ downfall is that all the songs sound very similar; however it also means that if you like one song chances are you will like the entire album. Melodramatic is the perfect word to describe Ceilings. It’s incredibly relaxing, but at the same time the whole sense of the C.D is dramatic.

God Gave Me a Gun is easily one of the best songs on the album. The heartbreaking sound of Bryant’s voice really shines through the lyrics. Most bands would not be able to pull off lyrics like, “I’m the only one that likes to see myself hurting,” and the intensity of the entire song but somehow they do it.

The general feel of the album stays the same until it picks up for a little bit in the song Sleep with Your Soul In. Saying the C.D becomes upbeat is definitely a stretch, but the rhythm does speed up.

It doesn’t last for long though. Forecasting is six minutes of depth and sorrow. The song is introduced by a beautiful intro on the piano. The song progressively strays away from being a ballad, but then ends right where it beings all over again.

They end it off with A Vespertine Haunting which doesn’t stray from the general theme of the album. It is as dramatic, soothing, and gorgeous as all of the other tracks.

After the release of Ceilings, Alive in Wild Paint could easily morph the label of being called “emo” into something admirable.

Dear and the Headlights: Small Steps, Heavy Hooves
Too old for Taking Back Sunday, but not yet ready to settle down for bands like Maroon 5 and The Fray? Look no further, Dear and the Headlights brings in the best of both worlds. The Tempe based quintet belts out refreshing lyrics and beats that don’t drift too far from the pop-rock genre.

They open the album up with Oh no! which captures the audience with its constant progression. It introduces the theme of the album undoubtedly. Small Steps, Heavy Hooves is relaxing yet upbeat and fun.

This is what I like to call a “summer C.D.” It is catchy and something really fun to listen and sing along to while you’re driving. If the music isn’t enough, they have innovative and amusing song titles without making them a sentence long such as I’m Bored, Your Amorous and Skinned Knees and Gapped Teeth.

One of the slower songs, Paper Bag, is basically one long simile where vocalist, Ian Metzger, compares himself to a paper bag. It is a creative use of grammar techniques learned in grade school. While all of their lyrics are very easy to relate to, which makes the album even more fun to listen to; this song probably has the most relatable lyrics.

The Hot, Hot, Heat-esc I Just Do is definitely the best song on the album in my opinion. It’s very cheerful and easy to bounce around to, which is always a plus. Then they slow it down one more time with the closer, Midwestern Dirt.

It is hard to believe that a band with this much talent hasn’t made it big yet, however that may change because they are currently on tour with Jimmy Eat World and Paramore. I take pride in speaking for many that Small Steps, Heavy Hooves is an incredible release from Equal Visions and Dear and the Headlights.

Murder By Death: Red of Tooth and Claw (Vagrant)

After switching to Vagrant Records, Murder by Death is back with their forth full length album, Red of Tooth and Claw. Since the band’s sound is constantly evolving, I was very skeptical of this new album. The quartet from Bloomigton, Indiana features Adam Turla with vocals and guitar, Sarah Balliet on Cello and Keys, Dagan Thogerson on percussion, and Matt Armstrong on Bass. With the band’s ever growing popularity, they were able to work with Grammy-winning producer, Trina Shoemaker. Shoemaker worked with artists such as Queens of the Stone Age and Iggy Pop.

On first listen, I was scared and nervous that MBD would no longer hold a place in my heart as one of my most beloved bands. Previously in In Bocca Al Lupo, Turla’s voice remarkably sounded like Johnny Cash. However as this album starts off, his voice has a resemblance to a baritone Kermit the frog. Luckily, the sound of MBD merged quickly back into what their fans have grown to know and love. If it doesn’t strike your fancy on the first listen. Try it for a second time around. You won’t be able to stop humming the tunes for hours afterwards.

Their style has always generally stayed the same in all records, but each album has its own distinct character. In Red of Tooth and Claw, it seems like the band tried to add a little character from each album and combine them all into one. However, I think the first few songs really stand out as something new. The second track, Ball & Chain has a really distinct sound and is heavily supported by the rhythm of the cello.

MBD never fails to add a long stretch of purely instrumental music; Red of Tooth and Claw doesn’t break that streak and has the song Theme (for Ennio Morricone). One great thing about MBD is their lyrics are always dark and captivating but they can also have amazing songs that are solely instrumental. Theme sounds similar to songs of off Like the Exorcist but More Breakdancing.

The album ends with a completely new sound. Spring Break 1899 has a 1950s feel to it in the beginning and gradually becomes darker and darker. The song is a tragic love story. Turla’s voice shouts out heartache and pain and is backed up beautifully with the haunting sound that MBD is known for.

Some fans may say that Murder by Death has changed their sound, and while that’s true, it could be better described as a progression. Without a doubt, they still produce unmistakable music.

Grand Archives: Grand Archives (Subpop)

The Grand Archives produce music that is different from most artists in their genre. The instruments are same, the lyrics are similar, but the style is what makes them stand out. The vocalists in most bands stand out from the instruments, but Grand Archives almost makes the vocals and instruments at the same level. The vocals also sometimes resemble an echo.

The Seattle band belts out feel good, head bopping music about happiness and hope for the future. The quintet consists of Mat Brooke (Vocals/Guitar), Jeff Montano (bass), Curtis Hall (drums), Ron Lewis (guitar/keyboard), and Thomas Wright (guitar). The boys were strung together from different bands, all that sang about the dark and dreary times and they all thought it was time for a change.

The album opens up with “Torn Blue Foam Couch.” This song introduces all of the instruments and the vocals. It starts off really slow and speeds up as if getting the listener ready for what’s to come. The next song, “Miniature Birds,” begins with whistling that makes you imagine five little birds chirping harmonically in a tree. The feel-good beat of this song never fades, even if the bird image does.

The band breaks out a few more songs before the prologue-esc, “Breezy No Breezy.” The song reminds me of the board game clue; always a mystery, always quirky, and most importantly always fun. It leads way into the second half of the album, which contains a little surprise.

“The Crime Window,” is a song with a completely different feel from the rest of the album, even so, it still fits. It has a ska punk feel to it, similar to a Mighty Mighty Bosstones song. It’s obvious that they put this song on the album just to shake things up a bit, and just to have some fun.

They end the album similar to the way they started it off, with a song called “Orange Juice.” It’s short, sweet, and wraps everything together in one song. The song features a little bit of almost all of the random instruments found throughout the album. If listened to closely enough, you can hear several different styles of music combined into one. That theme seems to be present in every song, and makes for a unique and exciting experience.

Tim Barry: Rivanna Junction

Former front man to the punk/hardcore band Avail is taking part in the punk-turned-acoustic phenomenon. Tim Barry takes love ballads and adds a rough and tumble sound, and a painfully soothing voice to get the product of “Rivanna Junction.” Barry changes pace continuously, going from slow and steady to upbeat.

This album was released in November of 2006 on the label Suburban Home Records. His style resembles the late Johnny Cash as he brings southern comfort to his style of rock. His pain breaks out in songs like “Cardinal in Red Bed” and “Steel Road.” All of his lyrics are based around events that really happened, but Barry writes them in a way that anyone can connect to them. He writes songs about one night stands, and trains passing by. Tim Barry’s “Rivanna Junction” is lacking little, and that also includes profanity.

He opens up the album with a country flared punk song titled “Trash Inspirations.” Then anger settles in as he breaks out his song about a one night stand that he never wanted to end called “Avoiding Catatonic Surrender.” He talks about sorrow and regret that his one night stand had to end and that it ended being only that. Even though his pain shines through, he still seems to add a touch of humor to the situation.

Anger turns to sadness; a repeated theme throughout the album. You can’t get used to a rhythm for too long because before you know it, it will turn into another one. Tim Barry keeps the listener wondering what the next outrageous song is going to be about. He takes each track to a new level with a song even about killing a man and ending up in prison. With the storyline seeming so real, it’s hard to tell if Barry is telling a true story or just has a very vivid imagination.

This is currently Tim Barry’s only solo album, but he does have a DVD that was released in 2006 also. With Barry’s success on this album as well as the DVD, one can only hope for the best in time to come.

Chuck Ragan: Los Feliz
Twangy is the new punk and hey, it works. Rock singers are starting to take a turn for the acoustic. People like Eddie Vedder, Dustin Kensrue, and Tim Barry are going solo with a new feel of an old familiar voice. A former front man of the power punk band, Hot Water Music, is back and unplugged. Chuck Ragan released his first album entitled “Los Feliz” which was recorded live at a semi-impromptu performance in Los Feliz, California.

Ragan finds his roots in Gold Country, California. His music, however, is not that of a traditional California musician. Listening to this album puts images in my head of a smoky pub like those seen in movies like “Desperado.” Maybe his voice doesn’t help the imaginary portrait, as he sounds like a smoker of twenty years. The image is fitting and leaves a dingy aftertaste that keeps you coming back for more.

The 2007 show features acoustic guitar and harmonica and of course that unmistakable voice. This album proves that raspy voice is not produced through the recording process, but it is indeed the product of Ragan. His sound reflects that of an edgier Dave Mathews Band with a voice similar to Matt Skiba. No wonder Hot Water Music did split albums with Alkaline.

A hard-hitting guitar riff of “Open up and Wail” ironically enough opens up the album. His aggression pours out into his guitar and his soul pours out into his lyrics in each song. He is accompanied by two friends in the song “Do You Pray” which could be best described as the epitome of a toe-tapping song. Round-a-bout lyrics and rhythms make it hard not to get up and dance in a circle.

He slows it down in the love ballad, “Symmetry.” In the opening, he announces that it is for his “sweet wife, Jill.” His voice softens slightly and his guitar is joined by violin and harmonica. But his edge is still not lost.

From there he keeps it steady until he shakes it back up again for “California Burritos,” a song performed by his acoustic duo named Rumbleseat. Ragan keeps his audience tuned in by constantly shifting gears until the very end. His combination adds up to a very entertaining album with hopes of more in the near future.

Simian Mobile Disco: Attack Decay Sustain Release

If you have never heard of Simian Mobile Disco, chances are you have seen the video for “Hustler.” If you haven’t seen it, well I’ll briefly explain how it became a youtube phenomenon. It starts off with about 10 girls sitting in a circle, telling secrets to each other. About a minute into the song, they all start making out for the rest of the video.

Simian Moblie Disco’s “Attack Decay Sustain Release” is the perfect album to get up and dance to. The band mixes a wide genre of indie techno and even a little pop and rock. This album really made me want to buy a strobe light, hook up a disco ball, and host a party. The beats are incredibly catchy and tune you in from the minute the disc begins, until the end.

James Shaw and James Ford are the duo that makes up Simian Mobile Disco. These London natives don’t hold anything back when it comes to breaking out an outrageous album. Some of their influences include Daft Punk, Prince which really stands out in the song “I believe.” The singing sounds like that of Prince’s, but with the edgy tactics of Daft Punk.

“Attack Decay Sustain Release” consists of a lot of repeated lyrics and rhythms. This is why this album is a perfect fit for a party or a club, but maybe not so much on a day to day basis. The songs really blend into each other. It makes for the album to sound like one non-stop dance party. The beats have a slight resemblance to that of old school Nintendo. Think Mario Bros. on a turn table. If Nintendo put out a game soundtrack I think it would sound a lot like this album. Not that it’s a bad thing.

This album features songs like the ever famous “Hustler,” “It’s the Beat,” and “I Believe.” All of which have their own lyrics, but an uncanny resemblance. To those not used to techno, this CD can seem like one ongoing track. After listening to it a few times, it can really grow on you. If nothing else, it’ll make you sway back in forth in your seat.