This, Ninth House‘s third full length album continues in the band’s deep, dark, cemetery & western style featuring the moody poetry and vocals of baritone Mark Sinnis. Twelve tracks are offered, ranging from metal-flavored country rock to smooth, plaintive ballads to jangly honky tonk. As in their prior CDs, minor key melodies prevail. Ninth House ventures beyond the level of pessimism that is customary in traditional country & western to the extent of crossing over into Gothic rock. All songs are originals except the 1948 antique, “Ghost Riders in the Sky,” resurrected in a commendable version reminiscent of Sinnis’s idol, Johnny Cash. The title track is a gem, an intoxicating anthem that unites existential protest with passionate, irresistible hard rock. Though the topics are generally dark and the melodies mournful, the driving rock rhythms and exuberant guitar accompaniment ironically lift the listener to a kind of nihilistic euphoria.

The merging of rock with classical music has been tried from time to time over the years, dating back at least as far as 1967’s “Classical Gas” by Mason Williams and Walter Murphy’s disco entry, “A Fifth of Beethoven,” both based on instrumental, rather than vocal works.
Rock operas such as “Hair” and “Jesus Christ Superstar” and virtually everything by Andrew Lloyd Weber represent original compositions done in semi-operatic style. The East Village Opera Company’s effort is different in that it consists of faithful versions of classical operatic arias performed in true rock style, both vocal and instrumental.

The ensemble consists of a drum set, electric piano played by the EVOC’s mastermind Peter Kieswalter, two guitars, a bass, three violins and a cello, plus two vocalists, one male and one female.

The performance opened with Mozart’s “Marriage of Figaro” as shaved-headed, mod-attired vocalist Tyley Ross bounded on stage, strutting like a young Mick Jagger while the music swelled in a bombastic Queen-like accompaniment. Next followed the Puccini aria “Che Gelida manina” from Boheme and a bluesy “Questo o Quello” from Verdi’s Rigoletto.

The music turned funky for a duet from “Lakme” in which Tyley was joined by the incandescent AnnMarie Milazzo whose vocal skills just barely exceeded the appeal of her dangerously hot, wet-tee-shirt-worthy physique.

Just before the first intermission, Tyley went solo for an upbeat version of Puccini’s triumphant “Nessun’ Dorma,” made the most popular tenor aria by Luciano Pavorotti a generation ago.

They returned with “M’Appari” a familiar melody that everybody knows, but few have heard performed in art rock style. The ironic “La Donna e Mobile” and venerated songs from “Carmen” and “Madame Butterfly” received the classic rock treatment.

The EVOC was joined by an actual diva from the New York City Opera company to sing an up tempo aria from “La Traviata,” and the audience got an opportunity to listen in awe to a real operatic singer whose voice and vocal skills literally dwarfed those of the gracious and humble EVOC.

A Neapolitan song, ”Mattinata” and “The Pearl Fishers” brought a temporary close to the show, but they returned to thunderous applause with Wagner’s “Ride of the Valkyries,” then did some tongue-in-cheek rap and the rockingest “Vesti La Giubba” from “I Pagliacci” ever.

A packed house at NYC’s Town Hall roared their appreciation repeatedly, and this uniquely talented ensemble eventually brought both young hipsters and gray-haired baby-boomers to their feet in a foot-stomping, hand clapping, and head-bobbing frenzy.

At first it seems like the ultimate clash of styles. Antiquated, somber and aristocratic opera meets lurid, exuberant and radical rock. But both rely heavily on passionate, vehement and intense expression. The combined style takes advantage of the most delicious melodies ever written —sometimes rousing, often exquisitely heart-breaking— but couples them to the compelling rhythms and the freedoms that go with rock— freedom to twist and bend notes, modulate keys and accelerate rhythms for emotional effect. The EVOC does this with fantastic artistry, mastery, and loving respect for both genres.

Pencil portraits done at a Skeptics Convention

   A really accomplished cover band is a unique pleasure. Sure, we all respect creative and innovative rock music writers and composers. But lets face it. Aren’t 99.99% of them beating their heads against a wall for their entire careers? The time spent mastering their craft, the investment in instruments, equipment and recording costs are rarely if ever recovered. The fact is that most attendees at live music performances would rather pay to hear the songs they love and remember performed live rather than try to fathom whether or not they are listening to the next, yet-to-be-discovered Nirvana.

   Well, The Memory Pain is comprised of five guys who have put in the time and paid their dues contributing to and performing with highly acclaimed, highly creative original-music bands that never got signed to a label. Their love of the music that they grew up with remains undiminished. And let’s face it. The years of practice they put in, and their natural talents are assets that have to be expressed.

 These are really accomplished performers. Frontman Fred Hays has the talent and vocal range that enable him to re-animate such cherished entries as “I’ll Melt With You,” “You’re All I’ve Got Tonight”— even “Mystery Achievement.” The virtuoso accompanists and sometimes-vocalists including Byron on drums, Dan on bass, Jason on guitar and Doug on keyboards somehow replicate enough of the arrangements to match the sound of the originals with the added pleasure and spontaneity of a live-and-in-person feel.

   Nothing is more entertaining, really, than an evening of our favorite songs performed with astounding mastery and energetic intensity that a group like this can bring to the music we all have known and loved throughout our years. And do they give you your money’s worth! For three hours, with a short intermission break, The Memory Pain pours forth lovingly crafted, respectful versions of the best from the 70s, 80s and 90s.

   This was the second time I witnessed one of their marathon sets, and I really can’t think of a better way for a fan with a healthy knowledge of rock music history to spend an evening. The Memory Pain’s ever-expanding repertoire will please and satisfy anyone who has an interest in the musical history of the last quarter of the 20th Century. And those who are nostalgic for the passion that they felt when they first experienced New Wave, Goth, and Alternative, will find it to be “Just Like Heaven”

It was no surprise that The Secret Machines was selected to top off the High Line Festival, a 10-day combination of music, art and performance celebrating the inauguration of work to renovate a stretch of elevated rail running up the west side of Manhattan through Chelsea to convert it into a public park-in-the-air. This trio, originally from Dallas, but currently living in New York City soared into fame and acclaim on the basis of tight, elegant Led Zeppelin-meets-Pink Floyd brand of power rock.

So it was a profound letdown when, following two excellent, anonymous opening bands (when, oh when, are rock venues going to make clear announcement of the identities of openers?) and a dazzling light-show prelude, TSM began, not with one of their beloved anthems, but an unfamiliar and uncharacteristic ballad…or two…or five.

No longer a trio, having lost guitarist Benjamin Curtis recently, they replaced him with not one but two performers, thus transforming TSM into a quartet. Scorning the audience’s desire to hear their many established hits, TSM chose to push new material obviously intended for a yet-to-be-assembled third album. Worst of all, they failed to intersperse the new material with recognized songs.

Unfortunately, the new material has none of the qualities of their prior efforts. Brandon Curtis completely changed his vocal style. Gone are the compelling, driving cadences. Gone the catchy, melodious hooks. Gone the intriguing lyrics! Instead the rhythms are erratic and shallow, the melodies monotonous and unsatisfying, the lyrics preachy and pretentious. The bass guitar issued buzzing belches that removed any resemblance the music might have had to their former repertoire. Between these half-baked songs there were irrelevant drum rolls and guitar and synthesizer riffs. All throughout the show, the band members seemed to be distracted, frantically gesturing hand signals to each other and to the off-stage staff.

It’s as if TSM had been replaced by imposters who knew nothing of the originals, and who trying to foist their own inferior material on fans. A confused but loyal and forgiving audience accepted this misguided departure from TSM’s former style with lukewarm applause. After an hour of bitter disappointment, I lost my desire to hear the songs I had sacrificed a Saturday night to hear. I had no trouble convincing my companion to leave, even as TSM began reverting to their old repertoire. We got up and walked out, wondering if it would be appropriate to ask for our money back.

Veronica Puleo, former New Jerseyan and one time associate of Doktor John and of The Empire Hideous, came to The Cathedral this past Thanksgiving evening while she was visiting NJ for a commissioned photoshoot at a wedding in the Tarrytown NY area. She has been living in California for many years and been married for the past two to a gent named Paul. Veronica once sang with The Empire Hideous and had a brief go at a short-lived side project of Myke’s called “Pneuma.”

Many of us recall Veronica as a precocious and glamorous kid with many talents in the fields of music art and fashion. Her current profession is photography and her musical project is called Velvet Wallpaper which you can visit by clicking on the foregoing link.

Here’s Doktor john getting some well-deserved attention!

JULY 27, 2006
NYC

The Lower East Side bar/club Sixes and Eights (is it 6s and 8s ?) was the venue for a special event sponsored by Chamber irresistibly entitled INDUSTRIAL MAYHEM on this Thursday night.

The big draw was the headline-band Informatik an exceptionally accomplished techno-industrial duo who were en route to the Black Sun Festival A fan of Informatik since their 2002 magnum opus “Nymphomatik” I have appreciated their industrial rhythms, reminiscent of Frontline Assembly, as well as their penchant for their trippy, synthetic melodies with string-like voices. Also impressive on their recordings were the menacing, dark vocals, altered electronically to sound like a small male chorus singing in unison.

Opening act Nuclear Riot Act an all female noise factory with old-school punk vocals and a percussionist who was armed with an electric megaphone and who worked off a section of chain-link fence that was set up with all kinds of noisy pots and pans to test the tensile strength of our tympanic membranes!

Next up, our friends Xian (pronounced “Christian”) and Lance of Eisdriveperformed a set of semi-experimental electro-industrial that had some mesmerizing grooves.

Time was ticking away, when around midnight the band Cesium 137 came on and got the spectators up on their feet to dance to their interesting and peculiar blend of techno-combined-with-European-wedding-band (DON’T TELL THE GIGANTIC and MEAN-LOOKING FRONT MAN I CALLED THEM THAT!)

Fortunately Deviant UK had cancelled, so at 1:00 AM headliner Informatik took the stage. They are a duo originally from Boston circa 1993, now relocated since 2002 to San Francisco fronted by Da5id (pronounced David) Din, vocalist and programmer, and Tyler Newman keyboards. Both of these highly accomplished electronic-whiz musicians have side projects galore, and unfortunately it shows. They were ill-prepared for this performance of Informatik, to say the least. Din’s use of reverb on the microphone vocals sounded weak and out of place compared with the deep, distorted and choral effects one came to expect from their recordings.

What’s worse, they hadn’t even bothered to prepare a play list. That’s right! They may have had an electronic glitch that prevented them from calling up their digitial data for most songs, or they just hadn’t given it a thought when they took the stage. So after opening with a great track off their only killer album (Nymphomatik (we were able to forgive the crappy vocals because the song itself is so wonderful), they resorted to calling for requests. A lot of people like Informatik, but not so well that they could recall the names of songs they wanted to hear! When their one, best song “A Matter of Time” was requested, Din arrogantly refused the request to the disappointment of several spectators standing next to your reporter who had been looking forward to nothing other than that one song!

They finished in no time at all, putting forth maybe five, at most six pieces, few of which were familiar and none of which could be identified with the sound heard on their recordings! It was a sad disappointment to have wasted a whole evening and part of the next morning waiting for a kick-ass performance only to have Infomatik go out, not with a bang but a whimper for lack of preparedness, both technical and artistic…and for refusing to meet the expectations of their audience.