Showing posts with label Bangalore. Show all posts
Showing posts with label Bangalore. Show all posts

Saturday, 14 March 2015

Shepherd "Stereolithic Riffalocalypse" - Live: A Debate

After a long hiatus, as a result of some cheapass corporate stuff we do, Live: A Gig is back with another review. This time we slow things down, and take up Bangalore based Shepherd’s upcoming offering - Stereolithic Riffalocalypse. Apart from the cool name of the album, we have something cooler (nope, we still can’t afford an air conditioner). For this one, Sairaj Kamath from Centuries of Sin joins our pothead maniac, to discuss about the album. Off to Live: A Sin!

Abhiraj: Hello, is there anybody in there?

Sairaj: Affirmative, Mandolin Man. Thanks for having me on Live: A Gig!

Abhiraj: No problem, kiddo! Now getting down to business before my high goes off. Stereolithic Riffalocalypse! What a cool name for an album!

Sairaj: Definitely, man. With titles like “Spite Pit” and “Bog Slime”, Shepherd have totally got this word duology thing down pat. Until now, the only two-fer phrases I loved were “School’s Out” and “Beef Kebab”.

Abhiraj: Beef Kabab! Now seriously getting down to business. Starting off with the album, there has been a lot of changes to the band since the last time I saw them live. Never seen them with the current lineup and of course, with all three members laying their vocals for their songs. The only two times I had the opportunity to catch them live were during the early days of the band, where they were still looking for that signature sound. I didn’t know what to expect from the album, but it is surprising to see that they have become totally a powerpack-ed outfit in the span of around 2 years, if my mathematics skills are still working.
Copyright - Danz Photography and Echoes From Beneath

Sairaj: Keeping that scourge of primary school aside for now, I feel that this album actually merges Doom-y Sabbath sensibilities with the Stoner sound and dirty sense of humour that you could only get from the 90s and early 2000s. Why, even the vocals actually reminded me a bit of those of Alice In Chains; that kind of yarling/wailing that made both Layne Staley and William Duvall so distinctive among rock and metal singers. Other than those, Shepherd have also managed to accelerate the whole riff-eroony package with blistering solos as well.

Abhiraj: I’m surprised they got through the censor board without any cuts in their lyrics.
Moving on, yes, there is a nice feel of a crossover Rock-to-Metal evolution sound going on with the band. The solos, well, I’m more of a different kind of a guitar solo lover, so they didn’t quite do the trick
for me. The vocals, at times I thought they were a bit low on volume, but then, with subsequent listens, the volume and tone just seemed perfect for me. Must have been the long disconnect from the whole Metal scene for me.
Another thing I did like in the album is the use of atmospheric elements, stereo panning, etc. That gives it a nice drone-y edge. And, when a stoner listens to that, it’s always “Dude! I’m floating in the riverbed of Pluto”. Really nice on the record, but, the ultimate question is - can they produce the exact sound live? You, having seen them live more recently than me, would be the right person to ask this question to.

Sairaj: Well, I’d have to say that Shepherd do a good job on the live front as well. The stoner sound, especially its guitar tone, is relatively easier to pull off in a live setting than that “polished” one that other bands strive for. Although, I can’t exactly remember if they managed to reproduce those atmospheric elements that you spoke of. Jager with Whiskey somehow does that to a person.

Abhiraj: Ah, you drunk kids these days. Anyways, another thing that I would like to point out is the amount of diversity we get to hear on the record. You have tracks like “Black Cock of Armageddon”, giving you the distinctive Black Sabbath feel, and then you have a track like “Turdspeak”, which I found pretty similar to a Black Label Society song, minus the millions of pinch harmonics. And maybe, a testosterone pumped Zakk Wylde. But, yes, the diversity impresses me. This factor may very well be the biggest talking point of the album in days to come.

Sairaj: I think the perfect test case for that diversity is “Bog Slime”. You have the slow doom-y riffs, the spacey atmospheres, a nice tempo change later on in the song that totally pumps things up, etc. One funny moment for me in the song was that break in the middle, which damn near convinced me that either that song was over, or my VLC Player was acting up.
Another thing which I feel like bringing up is the vocals in “Wretch Salad”. It almost sounds to me like the vocalists went straight up Ozzy in tha hizz-aus! It’s like the man himself had the munchies, broke into their studio searching for Bat kebabs, and decided to contribute some nasally nonsense to the vocals in that track.

Copyright - Danz Photography and Echoes From Beneath
Abhiraj: Well, I liked the sludgy outlook “Wretch Salad” had. But, “Bog Slime”, definitely my favourite from the album. It has this nice feel, as if a continuation of the title track - “Stereolithic Riffalocalypse”, and then all of a sudden we have a very welcoming tempo change down the middle which enhances the aural ecstasy, if you may call it. Also, the length of the title track and the continuation of the same tempo in “Bog Slime”, was getting a little monotonous. The tempo change was expected sooner or later.

Sairaj: And we’re sliding into the negatives. The most delicious part of the review. *rubs hands like an evil Mother-in-law*
Well, this is not so much a negative, as an unfortunate thing that might work against the album’s favour. The tempos in all the tracks do get monotonous, so much so that you might not be able to distinguish between them. I know that Stoner-Doom has that universal “slow sound” which is of course awesome in its own way, but at the same time, it’s difficult to cherry-pick or even recognise a track from the others if you’re listening to them live or without seeing the playlist. Basically, the “uniqueness” factor is kind of hard to come by for any one track in the album.

Abhiraj: The thing about Doom is that the tracks are slow, and heavy. There are songs that may not need any advanced knowledge of guitar playing to play them, but having said that, there isn’t much you can do to change the sound of the whole album per se. In a time when the whole scene is saturated with thousands of bands, finding that signature sound is hard. Shepherd did a great job in that part, in my opinion, with the way they have composed and arranged the songs; in the album, as well as the basic riff structures. Yes, it is predictable at times and it does get monotonous, but that comes with the package, and nothing can be done. Just like you would expect some considerable amount of breakdowns from modern metal bands, or a definite harmonica solo from a country song, there will be something or the other that you can predict from a Doom band. But, the way they take advantage of the negative part is what sets the good bands from the greats. In this case, Shepherd is certainly on the right track.


Sairaj: I guess that perspective has some merit. It’s just that, from my perspective in my city, I’ve noticed this thing called the “Bangalore Doom Syndicate”. Basically, it’s this collective of bands like Dying Embrace and Bevar Sea that set up gigs in the city for themselves and other bands, and there’s a high endorsement of Stoner, Sludge and Doom metal in those things. If I remember right, I saw Shepherd jamming in one of those gigs itself. Fitting right into a scene or sound is one thing, but there’s also the option of turning that sound right onto its head in a good bit of experimentation. Maybe Shepherd can pull a “High On Fire” trick sometime and make their sound more aggressive? That would be a DAMN COOL route to take the Stoner-Doom sound through.

Abhiraj: Well, at one point of time, you will have to experiment to stand out. To be seen or heard by people. Or, just to get an album contract with a label. With the lineup and experience of the individual members of Shepherd, I’m sure they can pull that hurdle off and set for bigger gains in the future. But, for the time being, if Stereolithic Riffocalypse is to be judged as a base for their journey, I would say, Shepherd may actually be India’s answer to a long lost Stoner Doom band that can get the crowd engaged. My personal views, I didn’t get paid to write that.
Copyright - Danz Photography and Echoes From Beneath

Sairaj: Dude, this is the INDIAN metal scene we’re talking about here. They would probably only be able to pay you with half a blunt and a cup of Mishti Doi.
Getting to the album, I agree, it’s a fine base for Shepherd. One cannot afford to get too high-handed with a debut album (unless they’re Opeth or something). It’s just meant to introduce listeners to the starting or definitive sound of a band. In this case, ‘Stereolithic Riffalocalypse’ has the heavy riffs to be taken seriously by metalheads, and the total cock-rock vibe in its lyrics and vocals to keep the Stoners and alt-rock fans satisfied.

Abhiraj: The most I got paid for reviewing metal album(s) was a McChicken burger. Without fries. Or, Coke.
Anyway, yes, the conclusion can be drawn and we can surely settle on the fact that this very album has the potential to change the Indian metal scene; sooner, or later.

Moving on from the album. In the coming days, I’d like to see something like a Stoner Goregrind or some shit. That would be good! And, controversial too. Or, maybe a Pop Black Metal band from India. That would be the real shit!

Sairaj: Stoner Doom Pornogrind? “Cheech and Chong Fucked With a Knife”? “Entrails Ripped from Seth Rogen’s Cunt”?

Abhiraj: Before the censor board catches on to us; goodbye, cruel world.
P.S. - We didn’t use the word “Bombay”. Don’t censor us please :’(

Sairaj: I’M TOO PRETTY TO GO TO JAIL :’( :’(
See ya.

Varun: Hello, anyone here? Am I too late? Fuck this corporate shit.


Listen to Stereolithic Riffalocalypse here:

Tuesday, 14 October 2014

Until We Last "Earthgazing" - Live: A Debate

So, even after seeing the low hit count on their last article, the gone case duo of Live: A Gig are back to debate on another latest release. This time they chose Bangalore based Until We Last’s latest offering - Earthgazing. Now kids, if you want to be loved by people, do not try copying these idiots at home. Off to the maniacs:



Abhiraj: So, it seems some people don’t like it when an album is scrutinized of all good and bad aspects. Ahh, it was fun reviewing The Demon King anyway. Moving on, Until We Last! Have watched them perform live a few times when I was in Bangalore and I was really hoping they would come out with a release sooner or later.


First impression - This is the best $2 I have spent to buy an album in recent times, I could have got it for free, but listening to the tracks on their Bandcamp page, I just couldn’t. It’s pretty hard to compile an instrumental album to start off with; but, these guys have hit the sweet spot with it. If I were a random pothead kid, I would say - “Smoke up and listen to them, bro! They’ll get you to Pluto and back!” But really, this is some good stuff here!


Until We Last - Earthgazing

Varun: Well, there's no doubt about that! The album is an absolute stunner. I know only a handful of post-rock bands in India and I've even managed to catch a couple of them live this year; but you know, these guys are the best. I tried to buy the album when it came out a couple of months back; but I couldn't. Something to do with the RBI policies of using the PayPal gateway it seems. I guess I'll have to grab a physical copy whenever I hit Bangalore. Hope the stock lasts!



Anyways, being the post-rock enthusiast that I am, I can say that these guys have not only put out a brilliant release but also something very innovative. Majority of post-rock music out there is either a depiction of urban life or one's emotions or life experiences. These guys made it about the nature for a change. Here’s a little story...

In the daily race of making a connection with my surroundings, I listen to a lot of post-rock (predominantly urban), especially while travelling in the city, and I sort of feel the atmosphere around me. On a fine day (to die :P), I put on this album anticipating a similar connection, but instead I was lost. I didn't feel like I was travelling in the metro with people surrounding me. I felt as if I was in another space, which is what I guess the band is trying to achieve: to connect the listeners to our mother Earth, aurally. The interesting part of the story is when the album ended, my iPod started playing Amesoeurs’ 'Gas In Veins'. The song, with strong urban aesthetics, made me realize where I was, and I was nowhere near a natural ecosystem. Such is the power of music!

Abhiraj: Thankfully, I had a 6 year old PayPal account which enabled me to buy the album. Sadly, only INR 2 was what I ever got transferred to my bank account till date from that account, and that was the security deposit they send when you open an account. Sigh.

I agree with you on the quality of post-rock bands in the country. Well, if you would ask me, Until We Last is currently as close as it gets to the international standards. In a country where the quantity of bands coming up these days is skyrocketing, it’s good to see a band which actually shows some quality among that quantity!

I was really impressed with the flow of the arrangements and the consecutive songs. A very well thought out plan and that’s exactly what plays with your emotions. Post-rock is not anyone’s cup of tea, and playing the genre is certainly not anyone’s cup, leave out the tea. I really loved the track “Earthgazing”. The track showcases a nice use of synths and the guitars with a very impressive setup of the panning. Whenever I listen to the track, I feel like sitting on top of my terrace in the evening with the cool winds blowing into my face. Right now though, I’m sitting under a fan in my living room, and it still gives me the same feeling! The way the music manipulates the mind is credible!

Varun: Exactly my point! The music does become a means of escaping from where we are and the flow of the album, like you said, does play an important role in doing that. The focus on texture gradually increases as we move towards the end of the album, making it more ambient and pulling you further away from reality. We notice that the band has used a lot of electronics in the last track, 'Water', unlike the first four tracks which are mostly guitar-based. Those sounds/noises, along with the melodies themselves, nicely represent the aesthetics of a marine habitat.

Another thing I liked was how calm overall the album is. There are no pacey tracks, no intense build-ups and consists of clean guitars throughout. The album's mood remains more or less steady with those beautiful and dynamic clean guitar harmonies and yet you feel it getting more intense. That's not something I exclusively appreciate, but since it has been done quite nicely, I couldn't help but mention.


EP back cover credits
Abhiraj: True, very true! The last two tracks actually, including the bonus track - “Trails” have a heavy electronica sound associated with them. And, I’m not complaining. The whole idea of various layers of sounds amalgamating into a song is beautifully implemented.

Now, coming to some technicalities. Both of us know how difficult it is to portray the exact sound as heard on the album, while playing live. Given the current scene and lack of well acoustic-ated venues to play in, how do you think they will cope up with this very serious problem?

Varun: Well yes, that’s always a challenge. But I believe that that's something they have already achieved. I haven't seen them live but saw a performance clip online and was highly impressed by their stage presence; some really stunning visuals there. Check it out if you can.

The sound seemed alright in that video, but again I would make a better judgement if I actually see them live, which I haven't. But yes, they opened for Tides From Nebula a couple of weeks back and my friend who was there told me that they were "indeed magical". Even you mentioned earlier that you have seen them live, didn't you? How did you find them? Did they play a different set that day?

On another note, there's just one thing I felt the band could have missed in the album. The album tells us with its calm nature how beautiful and pleasant our planet is, but what about the chaotic parts? I mean for a beautiful stream of river in the hills, there's also a lava river from an erupting volcano; for all the green forests, there are also the hot and stormy deserts; for all the creation, there's also destruction. Maybe these guys didn't want to focus on the negative parts, that's why they decided to leave that out. But that's something I would have loved to listen on the album, because nature is not always beautiful, just like the cities are not always grievous and depressing.

Abhiraj: I had seen them live prior to releasing the EP and they seemed really good! But, now that I have heard their studio recordings, it will be really intriguing if they can match up to that sound and stereo effect placement. I would surely be looking forward to that the next time I catch them live.

The chaotic scenery may be a plan for a sequel to this EP, or a full length some time in the near future? Besides we did have our dose of good over evil in our last debate, this is surely refreshing after that :P

I may actually listen to this EP and The Demon King back-to-back, now that you gave me that good vs. evil lecture :P

Varun: Ohh no! I'm done with the good vs. evil fight! Social dynamics is not my thing anymore. I was actually talking about the ecological dynamics, which play an important role in so many album concepts. But you clearly seem in mood for some bacon bombs. So let's end this discussion here and go have some meat now!


Abhiraj: I’m on a diet. I’ll stick to my green veggies. I love greens.

Check out Until We Last - Earthgazing here -



Buy Earthgazing today from bandcamp!


Monday, 12 May 2014

Insurrection 3!

Sound-Awake is back with the third version of Insurrection, their heavy metal themes series of events which made its debut on the 1st of December 2013, at Ion Bar and Kitchen. With its sophomore edition
featuring the likes of heavy metal stalwarts such as Neolithic Silence, Shepherd and Dark Desolation raising many an eyebrow and acting as a wake-up call for the denizens of metaldom in India to sharpen their swords, polish their armour and prepare themselves for its upcoming editions, Insurrection has made its foray into the dark malevolent world of heavy metal amidst thunderous applause and cemented its position as one of the most sought after platforms for promoting heavy metal in India.
‘To be quite frank, Sangeeth and I thought the event would glacially pace itself towards grandiose and in our wildest dreams we never thought that our product would hurtle itself towards country wide glory in less than a year of its inception. I am not blowing my trumpet here, but I would like to specify that Insurrection was conceptualized with thematic leanings towards the more arcane and unforgiving forms of music and for an endeavour specializing in such left-hand path art-forms to penetrate into the citadel of extreme metal and cement its position there, is nothing short of phenomenal and the journey from obscurity to identity has been extremely gratifying’ says Preetham Rao.
This event boasts a line-up that features bands specializing in extremely diverse genres. The poster (designed by Pramanik Studios) is out and the line-up is given below
Date: 15th of June, 2014.
Venue: Ion Bar and Kitchen. 
Tickets: INR 450 at the gate and early bird passes priced at INR 350 will be available with the bands and certain outlets which will be announced in due course.

Art work and customized items will be sold by a host of art vendors which again will be announced later. Details and developments surrounding the gig will be posted on the event page. 

RSVP here

Monday, 5 May 2014

Freewheel Rollin': What went down!

So, after two amazing gigs in Chennai and getting the honour to cover Kolkata's debut crowd funded metal gig, it was high time we covered something in Bangalore. And, the opportunity was knocking at our face - Freewheel Rollin' would be the first gig to be covered by Live: A Gig in Bangalore. Here's what went down during the amazing evening:
So, as a customary thing, we had to put this update first -


And then the mayhem starts. First band - Hard Enough

This was the best cover of the night, hands down!

These guys were just mad!

Them licks, them damn guitar licks!

A little love from our Instagram profile





Next band - Pinch


Inspired by the PJ's from the vocalist, we made a fool out of ourselves :P

The new song sounded epic!

One for the bass :)


The vocal range and the use of the vocal processor!

Instagram Love <3



Next band - The News, playing their comeback gig!

Yes, it was!

They had made a perfect comeback!

Instagram lovey dovey :)



Next band - Stuck In November. Another comeback!


Pimping for the venue and the band with pathetic grammar





And a little something from Instagram :)




Next up - White Mug, releasing their debut EP :)

Andre, The Giant was big. White Mug can be that big too!









Instagram bromie homie, yo!



Next band - All The Fat Children! All of them. Actually only three of them :(

And after this, we had to go for a small dinner break and couldn't update the set. And when we return, this was the scene. Sorry guys :(

The headlining act was next - Solder!

These guys took control of the crowd from the word go. And then the British Tube Distortion guitar solo came!

We all know the Cookie Monster, right?


And Solder were getting everyone grooving! Be it a receding hairline, or receding waistline, age simply didn't matter :D






A little thank you to Sound Awake and The Humming Tree before we got out of the venue hoping to get an auto back to our shelter who won't charge a bomb :(



Lastly, kudos to the organisers for the band selection. A debut gig always gives you the nerves and the guys at Sound Awake pulled it off brilliantly!

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