Myspace: Leagues

Leagues is a two-man show featuring Prize Country's Aaron Blanchard on guitar and bass and Andrew Gormley on drums. Leagues takes a more fluid and layered approach than Prize Country, but are by no means lighter. They express an interest in scoring films and that seems like a logical goal as their music is made up of anything but encapsulated pop songs. These are textured mood pieces that run the gamut from quiet and introspective to loud and manic. If these tunes end up in a film, I'd love to see it, because it'd have to be a real freak out.

Myspace

New song from Frontier Folk Nebraska

Frontier Folk Nebraska has posted a new song entitled "Depression Queen" in their Myspace page. It might not be happy, but it touches the soul.

Myspace: Niki Thunders and the Temperamentals

Niki Thunders and the Temperamentals is the side project of Skitzo Calypso singer/guitarist Brad Cox. It's a bit of an alter-ego, drawing more influence from punk, 80s pop and glam than the melodic hard rock of his main project. Niki Thunders offers three moody songs on Myspace that are somewhat varied musically, yet very cohesive.

"To Die Like Morrison" begins quietly and moves toward driving punk and metal rhythms, dark goth vocals and a mix of synth and guitar layers. There are interesting hints of ska that crop up which creates tension in the otherwise dark song. Even the bombastic hard rock parts work really well in their role. The lyrics deal with serious questions about the nature of God, a topic that easily falls into cliches , but not here. Next up is the 80s alterna-pop of "The Sickness of Dreams." It taps into the Cure and New Order, but offers it up on a plate of hard rock that replaces the drama of its influences with a more believable edginess. "A Vietnam in the Neighborhood" is similar in influence to its predecessor, but has more punk energy and once again incorporates hints of ska that work subtly against the current of the song.

Niki Thunders seems to be much more free in its creative expression than Skitzo Calypso, perhaps because it's a singular vision rather than a collaboration. However, Brad Cox has enough breadth of influences that he subtly weaves into the music to keep things interesting. I'm definitely looking forward to more from this project.

Check out the review of Skitzo Calypso's latest, Between the Lines and Beyond the Static.

Myspace: Mongrels

Mongrels is a Canadian five piece that is in sense a supergroup of lesser-knowns, drawing members from Tricky Woo, Bionic, Blood Sausage and Local Rabbits (I haven't heard of all of them either). They mix a stoner 70s hard rock influence with garage and soul to create heavy, sludgey grooves for singer Amy Turok's wailing voice. Two drummers add heaviness (almost like multi-tracking a guitar, but more natural) rather than the polyrhythmic approach you'd expect.

"Contemplating the..." moves slowly, but steadily with loose rhythms and mindnumbing riffs. Turok's voice is rich and full with the perfect grittiness and gives the song continuity as it gets heavier and lighter. The garagey soul of "City Living" is almost on par with the MC5, but the chorus is just a little too standard, with a common hook only slightly hidden beneath the rawness of the music. "All in My Head" has some searing guitar riffs without getting complicated. It takes advantage of their dual drummer approach and brings it all together with an upbeat, but soulful chorus that's catchy and anything but average.

Mongrels is like a one band embodiment of late 60s Detroit, bringing heavy garage rock and raw soul together into a near perfect mix. Sure, there are other bands doing this, but few are doing it as well as Mongrels.

Myspace

Myspace: Bong Hits For Jesus

Taking their name from a recent free speech case decided by the Supreme Court in which a high school student sued the school system after being suspended for displaying a banner with this idiotic slogan, Bong Hits for Jesus have a bit of ground to make up before I even played the music. Granted their hearts are in the right place regarding free speech, but it strikes me as both sad and reassuring at the same time that our free speech advocates these days are people like this kid and Howard Stern and Larry Flynt. It's sad, because what they have to say is only worth protecting, because we can't pick and choose which speech is acceptable to protect. It's reassuring, because even in the days of the Patriot Act and the Iraq War, we can express political opposition. Granted there is some ebb and flow regarding these rights, but by and large, the free speech debate is often over things less serious than political speech because we value our political speech enough that it is still intact.

So going in, I expected some half-baked college jam band kinda fare. It didn't take long to figure out that I was way off base. They have five songs on their page, all of which make them difficult to categorize and none of which establish the band's "sound." A dark groove and crazy vocals characterize "Crack Baby." It's very loose and weird, avant-garde even, but not particularly technical. There are some cool psyche guitar leads that stand out. "Within an Inch" has a lighter, echoey sound and a decent guitar hook that gives it some promise. Still, it's a fairly messy song and suffers from poor production. BHFJ adopts a jazzy angle early on in "Your Mother." The song picks up a bit, but then breaks down into formlessness. Poor production is once again a problem. The mellow, raw, understated guitar of "Name of the Song..." along with considerably better vocals and production should make this their best track, but it's more conventional (even hinting at perhaps a Black Crowes influence) than the other tracks and suffers from that more than it benefits. As if they recognize that they've played it too safe, there's an interregnum of electronics and conversation followed by another song altogether. It doesn't really work as a single song, but I kind of respect that they'd rather screw it up than have it fit into a formula. That seems to fit their personality as a band. As if things couldn't be more disparate, "Comes From You" is practically synth pop. What's nice is that the vocals aren't very slick, so it has an odd organic sense about it. Interestingly, I bet this one is pretty cool live.

While BHFJ hasn't really cultivated a consistent sound, they have also avoided sounding like anyone else. I can see why they may be a fairly popular local attraction, because I suspect that their quirkiness is quite charming in person. Unfortunately, the songwriting isn't particularly strong and the production is poor which prevents that charm from translating to my car or my living room. That being said, I don't think they're a bad band, because they clearly have fun with their music and their commitment to being odd at the expense of being good (or what's accepted as good) is very rock n roll of them.

Myspace: We Are Oceans

We are Oceans is a four piece from Florida consisting of Marko Kurtovic (vocals/guitar), Erik Totten (bass), Neil Parsons (drums) and Paul Gonter (guitar). Marko wrote the songs a few months ago and formed the band to perform them and move forward, so this is a band in its infancy, not its prime.

Two things will strike you about the three songs they have posted. First, they like Against Me...a lot. Second, they're very, very angry. The first point is pretty understandable as they have to start somewhere and Against Me is as good a place as any. "The Day My Father Told Me to Be a Man" sounds like it came right off of As the Eternal Cowboy and "Bathtub Dock" doesn't stray far from the same sound. On "Germs of Men," they branch out a little bit with a more arty, angular sound which leads me to believe that there's already growth in their songwriting. The overall sound is raw, gritty and angry. It doesn't sound like it's been professionally recorded, but at this point, that isn't hurting, because their energy is their strength and it's very clear on all three recordings. None of the three suffer from underproduction.

There is no doubt that We Are Oceans, or at least Marko, is angry, but before you dismiss this as young, middle class angst, you should know a little bit about the history that was poured into these songs. As Marko says, "This whole band is about my life to this day." He was born in Yugoslavia and in 1992, at the age of four, his father had to leave due to the civil war that was raging as the country broke up into the smaller national states that had spent much of the 20th Century under one Communist government. From there, his family spent seven years in Germany where Marko faced ignorance that left its mark on him. Now he lives here in the US with its own set of problems. Needless to say, this isn't the common experience, nor is this common anger. These songs walk the line of anger between love and hate, finding Marko at times furious with God and at others hopeful in his anger. While "Germs of Men" gives me hope for We Are Oceans musically, it is "The Day My Father Told Me to Be a Man" that gives me hope for them lyrically. As Marko sings, "We're not meant to have borders. / We're not meant to have limits. / We are the ocean," I feel both his pain and his love and that has so much more depth than just anger.

For a band that's just formed in the last few months, We Are Oceans shows a lot of promise. They have a lot of experience to draw on in just Marko and as the others contribute more over time, that can only broaden and strengthen their songwriting and performance. They seem to already be finding their voice and should continue to stretch themselves out to make their own sound. They've definitely made a promising start.

Myspace: Covert

UK-based Covert has been making their dark post-punk since 2006. In that relatively short time they've proven that they are capable of producing moody, edgy, moving music seemingly influenced by the better bands that followed the initial punk explosion of the 70s rather than the watered-down new wave that was digested by the masses and is now seeing quite a revival. They have recently recorded their second demo, a five song EP entitled Songs for the Lost, and four of those songs are available on their MySpace page.

"Cry Answers" starts off with a fluid bass line and grating, trebley guitar and moves into big chords and almost operatic vocals. The chorus breaks into a fast, prog/metal riff bringing a solid rock sound to the song. It touches a lot of influences, but remains cohesive. They move into darker, moodier territory with "Let's Go Out," suggesting some love for Joy Division. Its quiet bass line, sparse drums and piano builds to an edginess reminiscent of Gang of Four. Still in the Gang of Four vein, "Hope" is angular and unsettling, putting it very much at odds with its title. A mellow, moody piano piece with pleading vocals, "Favourite Star (For a Lover)" has a stark nature that even the ringing guitars of the chorus can't change.

In a world where it seems that so many bands want to seem dark and moody, Covert is the real thing. Their artistic, though not yet commercial, success stems from their influences, who were bands of substance themselves rather than chart-toppers. Covert may have the same fate, but it's better to tap into the darkness of your soul than to sell it. They sing, "Gotta move in your own direction, / take control of your own skin." They seem to practice that as well.

Myspace: Rubbing Down Debbie

Rubbing Down Debbie is yet another band from Jacksonville, Florida. After writing about the Explicits awhile back, this is the second band to approach me asking if I'd do the same for them (Baker Act being the other). Something good must be happening down there, because Rubbing Down Debbie makes them three for three in my book as far as good unsigned bands go.

Rubbing Down Debbie is a little different than the two previous Jacksonville bands I've checked out. First, they've been together longer, having formed in 2003. They've also had some higher profile gigs, including playing with Exene Cervenka's Original Sinners. They seem to be more focused on getting signed and the professional angle of being in a band than their peers as well. Where the other two bands were intended to be taken at face value, Rubbing Down Debbie seems to have a bit of sexy shtick that reminds me of the Lunachicks.

They have four songs on their myspace page. The first, "Out of Darkness," seems to have come from a different mold than the other three. It has a bit more of a metal sound and it seems like they stretched themselves a little too far. Too much reliance on effects, flat vocals and a plodding, awkward chorus combine with poor production to make this a questionable effort at best. Luckily though, this song is the anomaly and they follow it with perhaps their best song, "Get Off." It's more of a punk song along the lines of early female-fronted LA punk bands. The vocals build from talking to tortured over an interesting rhythm driven by the bass line. The stripped down sound eliminates both the effects and production problems of its predecessor. "High Heels" is another simple punk effort, with great snotty vocals. It has moments where it goes a little flat, but all in all, it's a decent low-key change of pace that likely finds an important role on their album. Their final song, "Intrepid Fear," is another high-energy punk rock affair that falls only a hair shy of "Get Off."

Rubbing Down Debbie should be well on their way to finding a record deal. Their brand of punk rock isn't a huge field and they do it well when they stick to it. It's admirable that they tried to push their own boundaries, but they should be careful not to push too hard, too fast. Learning their limitations should allow them to capitalize on their strengths and find the best avenues for growth. In the meantime, their sexy, slightly gothy brand of punk rock should gain them a decent audience.

Rubbing Down Debbie has a self-released album available at CD Baby.

Myspace: Birds of Maya

In response to Myspace's generic "sounds like" field, Birds of Maya state that they sound like "like a gg allin demo played through a megaphone." It's a fair description and it's certainly colorful, but it leaves out an awful lot. If they really sounded like dear-departed GG, I wouldn't be writing about them. They are loud and they are chaotic, but they have way more groove than GG Allin ever imagined.

"Porch Dude" sounds like it was probably recorded live. It gives a good idea of the sheer power emanating from the speakers, but loud alone doesn't make great music and it's hard to get much out of this one beyond hints of what might have been had the song's structure been better captured along with its volume. "Killer in the Snow" is Dark Side of the Moon by comparison. It's still a cacophonous mess, but it captures just the right amount of the song itself and mixes it with the unabated energy of the performance, creating a near perfect track that is so bluntly heavy that Blue Cheer might put in ear plugs. Still, the song moves along with a slow undeniable groove. It fades at the end, begging the question, "What else did it have to offer?" "Traveller" suffers from the same problems as "Porch Dude," but some of the manic guitar work still manages to come through and it is worth hearing even if the song struggles to rise above the poor recording. Low recording levels and bad mixing aren't enough to stop "Sleepwalker" though. The heavy groove soldiers on and feels like it'll smash your eardrums to bits even if you turn it way down.

Birds of Maya do have a bit of GG Allin in them, but more importantly they have a lot of Blue Cheer and the MC5 in them as well. Even those bands might be given a moments' pause at Birds of Maya. They have a full-length album coming in a few months on Holy Mountain and one can only hope that they don't rein in any of this power in the studio.

Myspace: Baker Act

After my review of the Explicits, their fellow Jacksonville band Baker Act contacted me about doing the same. After a brief listen, I agreed. It's always nice to hear a new punk band without a trace of emo and Baker Act has the emotion without the whining.

The four songs on their page all show influences from the artier side of punk. They're more moody, but not sappy, with some rough edges. Their influences seem varied from song to song, yet the result is a cohesive sound. "Psycho Chick" taps into the old Dead Kennedys sound that, oddly enough, few bands have been able to capture. The harder chorus is more straightforward and rock oriented, but taken as a whole, the song has a unique ebb and flow to it. They draw more from darker mid-80s punk/alternative bands like Jet Black Berries and Naked Prey, with a hint of the Avengers. Once again, the song has enough variance to its course to keep it from the doldrums that so many punk bands fall into. "Ignorance is Bliss" is the most straightforward of Baker Act's songs, but still throws a few curves and is carried by Danielle's passionate vocals. It's a pretty angry song and while the anger isn't focused, it is somewhat articulate. Appropriately, they finish up with "Story of Faye," a song that shows Baker Act's unique strengths most obviously. Like the other tracks, it reaches back to some of the dark side of underground 80s American rock, but more successfully. "Story of Faye" is certainly their emotional peak and they show a real mastery of their own creativity, striking a perfect balance between tight and loose.

Baker Act isn't doing anything completely new, yet their sound as a whole belongs to them alone. They don't draw from the hardcore or pop punk wells as many of their peers do, but they are without question a punk band. They are rooted in many things that have remained buried for years and benefit from Baker Act's fresh take. They've been together long enough to have developed a collective intuition that makes their music more subtle and compelling. While Danielle's vocals are particularly evocative, the solid work of the rest of the band, while less overt, is the subtlety that gives them real potential.

Baker Act has been together for about two years and have a demo EP titled Co-Dependent for sale or download via their Myspace page. In October, they head into the studio to record their first full-length and I for one am anxious to hear the results.

Myspace: The Explicits

The Explicits are a hardcore band. Usually, that means the same old thing which is both good and bad. In this case, it means some of the same with a few different angles.

The Jacksonville, FL based trio consists of Renee (vocals/guitar), Jeff (bass/backing vocals) and Jarrod (drums), all 19 and all currently enrolled at the University of North Florida. Listening to the songs they have on their page, it seems like their influences might be fellow Floridians Hot Water Music, a touch of Rancid and a healthy dose of the Exploited and GBH. According to them, influences range from Slipknot to Garbage to Avenged Sevenfold, but I have a hard time hearing it. However, a second listen does have hints of 90s alt rock under the surface, but it's far more subtle than the straightup hardcore element.

All four songs on their page come from their 2007 demo recordings. "Indestructible" kicks off with the unbridled energy that is essential to hardcore. Nothing about the song shows any hint of restraint. It's all breakneck rhythms and power chords, but well-done and passionate. Since it's the first song on there, I had to check again to verify that Renee is the singer, because she has the best growl I've ever heard from a female vocalist. I must not have been the first to wonder, because they explicitly state, "And to answer the most popular question...yes, that's Renee singing...she has a metaphorical dick, but a real vagina." It is near impossible to tell she's a woman by her voice, but she's definitely got a fine voice for the music.

"Idiopath" is a bit slower, but every bit as raw. Renee's vocals keep it hard, but the song as a whole is certainly lighter. The verse seems to get a bit of groove going, but the chorus kills it with a bit too much bluster. The lyrics, though short, are interesting.

Maybe it's just the power of suggestion, but "No Remorse" reminds me a bit of early Motorhead. The guitar riff in the intro touches on Fast Eddie Clark's playing. The drumming is pretty solid, but I could do without the brief drum solo. This song has potential and might need just a little more work to make it more cohesive.

"Static" walks a strange line between GBH and Rancid. As I've said before, I'm not a big Rancid fan, but it works pretty well on this song, adding an edgy hook to the more abrasive hardcore sound.

The Explicits are remarkably good for being together only about nine months. They're all pretty competent musicians for their age and as a drummer, Jarrod is particularly well-suited for the road the band is taking. If they can draw (but not force) a few of their personal influences in more prominently, they could become an exceptional band. As it stands, they're a very good young hardcore band that has the potential to a find a sound that's fully their own.

Myspace: Overlord

Overlord has an image problem. Their myspace name (overlordisnotmetal) shows that they are consciously aware of it. Even though I found this band through one of my favorite indie rock bands, Palomar, I still wondered, "Is this a metal band?" The answer is most stridently "no." While that might put off those who find them haphazardly, this band's catchy, sixties inspired indie rock is worth a listen.

Overlord has four songs on their page, three of which appear on what seem to be actual releases* and the fourth on a demo. "Oh My Mechanical Heart," from 2007's Pictures from Anhedonia, has slight country tendencies that call upon the days before rock had seperated itself from its parent. The song is memorable without relying on an overt hook. Another 2007 release, Alps, I Did It Again, offers "Nothing is Wrong," another sixties influenced pop piece that captures the smooth balladry of the Moody Blues without seeming quite so light. Overlord pulled "The Family Plot" from last year's Ticker Symbols. Once again, the band reaches back 40 years for their influences, but this time they filter it through 80s jangle a la the Church. The final song, "Back to the Big Lie," comes from a recent unreleased demo recording. At first, it seems to drag a bit, but its subtle atmospherics make it the strongest track posted on their page.

Overlord is more established than the other bands I've reviewed from Myspace, but they're still not a major act by a long shot. Still the expectations should be higher for a band at their level than for a band that has just formed. Overlord are clearly better than a lot of what's out there, but perhaps not quite as good when experience is considered. While they were a good listen, I don't see anything that will necessarily change with more time under their belt. Indie rock fans who like a healthy dose of sixties pop should check out Overlord, but don't expect them to get their big break anytime soon.

*Their myspace page indicates that they are from albums, but their regular website makes no mention of the first two of these albums.

Myspace: Salute 27

Salute 27 takes their name from the many rock n roll deaths at the age of 27 (Hendrix, Janis Joplin, Kurt Cobain, Jim Morrison, Brian Jones, Robert Johnson). After listening, it's kind of appropriate that their name is a tribute to the past, because their music definitely is.

"Going to the Lake" is pure 70s hard rock from their 2006 demo. The riffs are solid though unoriginal. Nonetheless, it can't be simply dismissed, because Salute 27 does inject fresh energy that makes me expect they're a fine live act. "Acoustic Ride" is a preview of their forthcoming EP. It's country blues feel doesn't feel quite so regurgitated as the previous track, but it's not as instantly likable, either. Still, there's something interesting going on that becomes evident over the course of the song. "Right On," also from the 2006 demo, is back to the 70s hard rock angle, but is once again played with some passion that gives it great energy where it lacks creative spirit. "Take Me Home," from the demo once again, is probably their weakest track. It's bluesy rock that reaches back more to late 80s hard rock than it does to the 70s. As such, the band's enthusiasm isn't as evident here. If they're going to copy a style, they should at least make sure it's worth copying.

Salute 27 has only been together since last summer and they do sound very tight as a band for such a short existence. Their fervor goes a long way to make up for their conventionality and perhaps time with open up new avenues of creativity for them. The music is good and I suspect translates very well in the live show. While I don't expect their EP to shake the foundations of rock music, I do suspect that it may be very enjoyable for anyone who hasn't already had enough of the riffs of the 70s.

Myspace: All Ships at Sea

Hardcore is a genre in which it is really difficult for a band to distinguish itself. You have be heavy, you have to be fast, you have to be agressive. There aren't that many ways to break that mold and stand out, musically or philosophically. Nonetheless, All Ships at Sea is a young hardcore band from Middletown, CT that is struggling to do just that.

All Ships at Sea have four songs up on their page (two of them downloadable). All fit the hardcore mold, being downtuned and angry with growling vocals. Yet they also break the songs up with some slower parts, some more melodic parts and some attempts to be more technical. The recordings are raw and the ideas seem to still be forming, but they do seem somewhat fresh and could develop into a sound that sets them apart. Philosophically, they aren't necessarily breaking new ground, but they could as they develop. Christian hardcore isn't new territory and most of those bands can be pretty overbearing. Because hardcore lyrics are so difficult to discern, I can't tell if All Ships at Sea fall into this trap. I'm a churchgoer myself, but I prefer to be shown the path of righteousness (no matter what the religion), not told it. I hope All Ships at Sea tend more toward showing than telling.

They have four songs up on Myspace. "Plagued by Visions of Confederate Horsemen" is the kind of title that certainly piques my interest. Unfortunately, it's a fairly standard piece that stays within the hardcore box. It does have decent raw energy, but could benefit from a tightening up of their sound. "Invocation and Doxology" does a better job with pace changes and the result is a more interesting song without any decrease in the band's punch. "Darling Hollywood..." shows potential for the band to get a bit more technical and also breaks out some of their best straightforward writing. The more technical parts include some stuttering rhythms that work very well and contrast nicely with some of the more basic punk parts. Everything isn't quite in place, but this track shows the most potential. Their final song, "Kids Play With," is another step forward in both production and playing. They seem to have developed a feel for the power of pauses, but not full mastery of it.

All Ships at Sea are not a great hardcore band yet, but they show some promise to develop into something special in the sea of typical. It looks like they'll be coming to Baltimore on June 26 and I'd like to catch them. Maybe I'll be able to say, "I saw them when..." or maybe not. Time will tell, but they're still young and time is on their side.

Myspace: Mike Kelly

I found Mike Kelly on a Myspace bulletin from none other than Mike Watt. I thought with that kinda recommendation he desrved at least a listen. Let me first offer Mike's own disclaimer, because it's a good one and something you should know going in. He writes of his songs, "ALL WERE RECORDED IN FIRST TAKE,IN ORDER TO CAPTURE THE ESSENCE OF THE SONG,INSTEAD OF WASHING IT AWAY IN PERFECTION.IM SORRY IF IT SOUNDS ALITTLE ROUGH AROUND THE EDGES, BUT IM DOING IT ALL MYSELF,,TRYING NOT TO FORGET IDEAS AND TRYING TO CATCH INSPIRATION WHEN IT COMES." Rough around the edges might be a bit of an understatement, but he is warning you ahead of time not to expect Dark Side of the Moon or anything in terms of production. Fair warning, no problem. If you can deal with what are essentially the ultimate in DIY recordings (written, performed, recorded by Mike himself) and get over the sheer rawness of these songs, you might be in for a treat. If you can't, I suspect he doesn't really want you visiting anyway, because his music isn't about being slick or smooth or easy. It's about spontenaity and challenge and a good psyche out.

Right now, Mike has four songs up on his myspace page. "Can I" is an acoustic piece with rough vocals. Echoey backing vocals lurk in the background and some trippy guitar noodling rises and falls. It's a pretty freaky track that reminds me a bit of some alumni of the old Enigma Records like the Rain Parade or Jet Black Berries. "Croaxias Inadvert" is another acoustic song that starts off a bit in a Syd Barrett vein, but chanting vocals make it a bit more Eastern as it goes. This one doesn't really get going though, making it the weakest of the four. Getting away from the acoustic, "Hopeonarope Wesp" is domiated by raw, phased and distorted guitar. It's not a complex song, but the subdued wail of Mike's vocals give it nice dimension. It reminds me a lot of the trippier side of 80s punk and alternative, like Wurm or the Enigma stuff I mentioned above. "The Place is You" comes close to being the best of the four songs, but the structure breaks down a bit in the middle. It comes back around, but there's a bit much going on which leads to confusion more than just a listening challenge. I think it's more of a production issue though.

Mike Kelly is a raw musician. Both his playing and singing could use a little bit of refiniement and the production is more what you'd expect from a recording of ideas than even a demo (as he warns us on his page). However, there's a lot of real potential here. The songs have a decidely psychedelic quality and display real passion. Even if he cleans everything up, Mike isn't playing the kind of stuff that will light up the charts, but I say too bad for the masses, because they're missing out. As it stands, I like what he's doing, in spite of (or perhaps because of) the lumps.

Myspace Posts

Myspace has a lot of faults, including horrible design, semi-porn peddling and just general stupidity from people I don't really give a crap about. However, it has proven to be a pretty good way to find some new music and keep up to date on tours, releases, etc. So, I'm going to add a feature to my blog where I review a band/artist that I found on Myspace. We'll see how it goes.