A long awaited update; Definition of Emo/Screamo.

Emo

  1. Music genre characterized by it’s trendy, mellow, emotive, and sometimes more intellectual and complicated sound.

Screamo

  1. Emotional post-hardcore music. Has a fast off beat sound, with screaming and an often dark mood.
  2. A mixture of “Emo” music with screamed (rather than, or as well as, sung) vocal parts.

Contrary to popular belief, it’s not easy to describe “Screamo/Emo” music, and the “lifestyle” that come hand-in-hand. Most people characterize the “Emo-kids” as being overly-depressed, whiny, and addicted to the woeful lifestyle that seems to constanty haunt them. But, most all that is said about these kids are just harsh stereotypes. Not all labeled ’emo-kids’ are constantly whining about their overly depressive lives. Emo is just a type of music; a way of life for some.

Emo is more a lighter type of music, which often has very well-written and emotional lyrics, while screamo is a heavier version of it’s Emo roots. There’s still the element of emotional, well-written lyrics, but along with that there’s screaming involved.

Not much else is to be said about Emo/Screamo music. It’s one of the rare, amazing genres of music that is difficult to describe, and easier to understand by taking the time to listen.

Example(s) of “Screamo Bands”:

Hawthorne Heights: A screamo band formed in Ohio, they now have a record deal with Victory Records.

Example(s) of “Emo bands”:

Something Corporate: A Cali-based emo band, known for their “Piano Rock.” Signed to Geffen Records.

Reflections on Real Illusions

Well, I’ve spent almost two weeks listening to Real Illusions: Reflections and its time to sit down and write a review.

I’ve written before that most times that Steve Vai comes out with an album there is a lot to absorb. You usually have to listen to it quite a few time to get the nuances of what is going on. This is especially the case with the last two Vai albums. I spent a lot of time listening to Ultra Zone before I finally decided I liked it. This album was no exception. But the final verdict is its a hell of an album.

So here’s a track by track review of the album for those who are looking for it:

Vocal Tracks
I started out skipping through the vocal tracks, with the thought of listening to them later. This is just normally what I do. Eventually I get around to them and wind up liking them. I’ve listened to all of them quite a few times now.

“Dying for your Love” is one of those songs that I’m sure I’ll like at some point, but right now I’m not “feeling the love” with it. For some reason it feels too “chaotic” for me. I’m not sure how to explain it, but it seems very choppy and disjointed.

“Firewall” initially annoyed me, but I’m really starting to like it. As my daughter would say, it “Rocks Out”. There’s a lot of energy in this one.

“I’m Your Secrets” – I actually like this one a lot, though it reminds me a lot of “Good Times” off of the “Skyscraper” album. There are differences, but the main guitar track sounds almost just like it, at least to me.

“Under It All” – don’t like it. Don’t know why, but just don’t like it. I’m going to have to focus on this one at some point because there are a lot of times that I listen to a song and hate it and it winds up one of my favorites. I just have to pinpoint what I don’t like about it. The interesting thing about this one is in other reviews I’ve read, people really seem to like this one – so it’s pretty obvious I’m missing something.

Instrumental Tracks
There is not one instrumental track on this album that I don’t absolutely love. This is probably some of Vai’s best work, in that the feeling and sometimes just the complexity of them keeps you on your toes. I’m really impressed with all of them.

“Building The Church” is the song that opens the album, and rightly so. This is a rockin’ song perfect for an opening for an album that took so long to create. The rhythm guitars are tuned down to what sound like ‘D’, giving you that deep rhythm that hits you right in the gut. I spent a lot of time rewinding this song and playing it over and over again.

“Glorious” is ok, but I haven’t really gotten into it — yet. Sounds too “synthy” or “whiney” to me. Most likely at some point that will change.

“K’m-Pee-Du-Wee” sounds like Vai from the Flex-Able years. Really sweet sounding. There is something about the sound that Vai had on his earlier albums that just made you feel emotions that you couldn’t explain. This is one of those songs. It’s a sweet, melodic song. This is another one I listened to over and over again. If “Lotus Feet” didn’t exist, I would nominate this one for the seventh track of the album (for the significance of the seventh track, see “Lotus Feet”).

The next instrumental on the album is “Freak Show Excess” and this one is nothing short of amazing. In the April 2005 issue of Guitarworld Magazine Vai has the first of a series of articles showing you how to play this song and how he put it together. If your lucky enough to get a copy of the magazine with the CD, there is a video lesson with him as well. This song is amazing and excessive and shows what an incredible player Vai is from a technical perspective. This is another one I listened to OVER AND OVER again.

“Lotus Feet” is the anticipated “seventh song” on the album. Each time Vai puts out an album, the seventh track is the one he feels is the most “spiritual and uplifting” song on the album. Some of these songs have included “Touching Tongues”, “For the Love of God”, “Windows to the Soul” and the grammy nominated “Whispering a Prayer”. There was one point years ago where I created a CD with the seventh song from each album because I liked them so much. Months later walking through Best Buy and doing my mandatory flip through the Vai albums — “just in case something was released and I didn’t know about it” — I found that Steve had already done all the work for everyone with Seventh Song, a compilation of all of these songs. Lotus Feet is right up there with all of these songs, only this time it was recorded live with a full orchestra for The Aching Hunger radio program. It’s a very uplifting and beautiful song.

“Yai Yai” – A little weird and according to Kelsi, not a song to “rock out” to. However, it’s interesting to listen to none the less.

“Midway Creatures” is the final instrumental track on the album at track 9. This is a really cool song, but out of all of them on the album (aside from maybe Yai Yai) it is my least favorite. A lot of cool guitar stuff in it, but a little too chaotic for me.

Final Words
It’s no secret that I’m a hard core Vai fan. I love almost everything the guy does musically. He is, in my opinion, probably one of the most inspired musicians alive today. Overall, this is a hell of an album, but its a little hard to get into right away. This album is very conceptual in nature – and therefore can be kind of hard to grasp until you let go of the conceptual part and just listen to the music, which is why you are sitting in the car with the CD in the first place.

Bottom line is, Reflections is a lot different than any Vai album you’ve heard. But if we wanted the same thing with every album, we wouldn’t be Vai fans. Steve is out on another plane, and trying to bring us out there with him. Each album has that little something that makes it “Vai” that goes beyond the insanely great guitar playing. I’m not really sure how to explain it, but this album has a certain quality that I haven’t heard on any other of his albums.

Buy it, listen to it a few times, and see if you can see what I mean.

The absolute gems on the album are Building the Church, K’m-Pee-Du-Wee, Freak Show Excess, and Lotus Feet (not necessarily in that order).

Update 4-13-2005
Pictures from the Chicago Real Illusions Evo Experience are available here.

These Are My Axes …

GuitarsThese are my axes. There are many like them, but these three are mine.

I’ve had a love / hate relationship with the guitar my whole life. I love playing it, but I hate how I sound and I’ve always had a hard time being disciplined enough to make progress in a way that actually makes me feel satisfied. Bottom line, I’ve always hated how I played.

One guitarist I always admired when I was younger was my younger brother Ed. He had an incredible love for the guitar from the time my Dad picked up our first “Hornsby’s special” $20.00 acoustic guitar for us when we were 10 and 12. He never put it down. I remember walking into our bedroom and seeing him sitting on the floor next to the bed working through Jimmy Pages solo from HeartBreaker on this little crappy accoustic guitar and actually sounding pretty good. I could never do that. I didn’t have the patience.

I still always loved the guitar though. When I was seventeen, I put an Ibanez on layaway and paid on it for months in order to get it. That’s it on the right hand side of the picture. Ed bought a red Ibanez later on. When Ed was around 15, he had a friend that had a 4 track studio complete with a PA and a drum machine and he and this friend locked themselves in this studio for weeks working on a song. This was really cool to watch, as I had no idea at the time what was involved and it seemed like Ed knew everything. He sat in that studio doubling guitar tracks, harmonizing leads and blowing me away with how much he intuitively knew about the process, at least from where I was standing.

That picture has always stuck in my head. It was so cool seeing my younger brother in a basement studio creating music. I was so proud of him, and to be honest, just admired him for how committed he was to the guitar and how well he was able to play. To this day, the solos for this song have stuck with me, though the tapes are long gone. I lost them.

In June, Jonna bought me an Ibanez JEM, a guitar I had wanted for a long time. Since she had made the investment, I figured I should at least attempt to start practicing again so that the JEM didn’t just sit there like the Ibanez (and later the Jackson Randy Rhoads Custom pictured on the left) had for so many years. I figured the best way to get back into the swing of things was to try to transcribe one of these solos that had stuck in my head forever as kind of a tribute to my favorite guitar player.

So here it is. My tribute to my favorite guitarist. This is the ‘outro’ solo to that song that I watched my brother write and record in that little home studio 20 some years ago. I have recreated it as best as I could given my memory and limited playing ability. I am playing all rhythm, lead, and bass guitars. I also doubled all lead guitars as I remember he did.

This was recorded sitting on the floor in my bedroom on my Digitech GNX4 8 track recorder.

It’s definitely not perfect, but it is what it is. A tribute. I hope you like it.   If not – he wrote it 🙂   Add to the formula.   He was about 15.

Addendum:   After that muted part at the end he did this weird arpeggio stuff that was supposed to be faded out.   It was amazing, but I have no idea how he did it, so its missing.

Concerto Suite For Electric Guitar and Orchestra in E flat minor Op.1

Concerto Suite for Electric Guitar & Orc Today on the way to take Kelsi home we stopped at the mall and as I was browsing through CD’s I came across Yngwie J. Malmsteens Concerto Suite for Electric Guitar and Orchestra in E flat minor – Op.1.

Needing a change of pace, I picked it up.

This album is extremely cool. Its a full concerto, written for an orchestra with the electric guitar as a solo instrument. Before you shrug it off as just another orchestra CD like Kiss Symphony or Metallica S&M, it isn’t. This is a completely different animal. This is an actual classical piece of music, written by Malmsteen himself, with the guitar as the lead solo instrument — not a rehash of existing songs with an orchestra behind them.

The only albums I’ve really liked from Malmsteen are his first, Rising Force and Trilogy. All of his other albums seemed “more of the same”, where you are essentially beaten over the head by how fast he can play and how much he can dominate the song. This album, however, is amazing, and its quite obvious that this is the type of music Yngwie was meant to play. I think this is by far his best album to date.

If you see this in the store, pick it up. It is, dare I say it, a masterpiece. On a scale from one to five in both originality and just plain beautiful music, I give it a seven.

Steve Vai: Real Illusions Review Section Opened on Vai.com

The folks at Vai.com have opened a section of the message board dedicated to reviewing the new album, Real Illusions:Reflections.

The album is due out on February 22. Check out the reviews and when your done, click on the Amazon link down to the upper right of the page if you want to order it.

Update: February 20, 2005:
The April 2005 issue of Guitar World Magazine is “The Virtuoso Issue” and has a really good interview with Vai and a lesson on playing “Freak Show Excess” off of the new album. Pick it up if your a Vai fan.

This issue also has a pretty good interview with Zakk Wylde as well.

Phil Anselmo Posts Statement on Web Site

For a month after the senseless murder of DamagePlan and former Pantera guitarist "Dimebag" Darrell Abbott, former Pantera frontman Phil Anselmos’ web site was dark.

As I was browsing around this morning I found that he has updated his web site with “Part One” of a statement in which he tries to address his feelings regarding the murder and the breakup of Pantera.

This was actually updated around January 21, but I haven’t been paying much attention.

DVD Review: Metallica – Some Kind of Monster

Metallica - Some Kind of Monster Jonna picked up Metallica – Some Kind of Monster last Wednesday and we watched it that night. Boy, did I like this movie.

More than anything else, the movie gave me a different perspective on the St. Anger album. I mentioned previously that this wasn’t one of my favorite albums but after seeing the movie I think its time to revisit it. Actually, more than anything else, it gave me a completely different view of the band than I had previously.

The band was pretty dysfunctional, with a lot of pent up anger towards each other and Hetfields major control issues certainly didn’t help. This dysfunction caused bassist Jason Newsted to eventually leave the band. The movie chronicles the time just after Jason left, when the band decided to hire a therapist to help them through the issues they were having in order to keep the band together.

The movie was rather surreal, as its very weird to see the band formerly called ‘Alchoholica’ by friends sober, serious, and dealing with real human issues. At times, it’s quite uncomfortable to watch, as its like eavesdropping on someones therapy session. Actually, it is eavesdropping on a therapy session.

The thing I liked most about the movie was being able to watch the creative process happening. Its kind of cool to watch what goes into creating an album like St. Anger. It was also kind of cool to watch the band go through the different phases of their relationship, and the human aspects of being in a band the size of Metallica.

I think the movie is worth the time spent watching it. Then again, being in management, I tend to read a lot about team building and things like that.

Seems to me that rather than paying $40,000 a month for Dr. Phil, the band could have just started with The Five Dysfunctions of a Team, as the issues outlined in this book were many of the things that the band was dealing with.

Bottom line is, if you work with teams, this might be a good movie for you to pick up at the rental store. I give it 5 stars.