Where have I been?


I have been a bit busy moving from this blog over to something a bit more concrete. I have been orking on and no running and posting on itsoudnsbetterlive.com The ebsite is run and operated by myself with some collaboration between a few other people. Although it is now a website, the content you enjoyed and loved from this blog is still there with a bit more freedom since I have now no restrictions. Slowly the website will improve and more and more content will be available to you. 

 

Currently I am still looking at artist to talk to and interview, just like if it ere the blog, but thinking of different ways to change the right no simple sight is a bit time consuming as ell, so bare with me until I am able to find the right balance. Until then, keep checking itsoundsbetterlive.com for your latest music news and reviews. We do not yet have a newsletter, but as I said, little by little I am going to be adding things. If you have any requests or anything you would like to see feel free to contact me through here or on Facebook as ell as Twitter @ISBLive

 

Thank You for all of your reads and support and hopefully we can keep a connection even though I am running a site. Once again, for your music news, reviews, and critiques make sure to check us out and always remember that It Sounds Better Live. 

Check out our Halloween PLaylist here: http://www.itsoundsbetterlive.com/news/Halloween2013.html

Two Door Cinema Club – “Beacon”


You may remember Two Door Cinema Club for their catchy track which finally hit the airwaves across the UK with “Something Good Can Work,” from their first album, “Tourist History.” Now with “Beacon,” they have given the audience something stellar.

This band has grown from being a small indie band from Ireland with their first major American gig opening for Phoenix back in 2010 to now being in the bigger stages across European festivals from Glastonbury, Leeds, Reading, to Isle of Wright. Two Door Cinema Club has stopped by Houston already three times, each at a different venue: Opening for Phoenix at Bayou Music Center (Verizon Theatre), Studio at Warehouse Live, and most recently at this year’s Free Press Summer Fest where the band announced, “Here are a few songs from our new album.”  Now, with the songs available in their studio versions there is much to discuss about their album.

The majority of the album introduces new instruments to their tracks from string to air instruments to an emphasis on the synthesizer. This is a clear example in, “Next Year,” which opens with a synthesizer lyrically talking about the constant touring of the band.  In the following track, “Handshake,” the synthesizer not only opens the track but assists the rhythm guitar to have them work in unison as to add to the pulsating dance beat sounding similar to something by “Yeah Yeah Yeahs”. The album itself also incorporates a more disco styled synthesizer that is common now by “M83” and “Sigur Ros.”

Not all of the experimentation by the band worked for the better of the album such as in the case of the song, “Sun,” whose mundane and horrifically simplistic tone. The part which does make this track belong to this album is the stylish riffing which is a new feature done by the band on a number of tracks on the album, but falls short to a bare minimum in comparison to the remainder or “Beacon.”

Throughout the album the riffing of the guitar plays its role as in the case of the track, “Wake Up.” The song is already a catchy dance track which is only amplified towards the end with the rocking and foot-tapping guitar riffs. The shredding of the guitar at the end of the track makes it an astonishing ending which fits this new style of the band.

Although the band is growing and their sound is shifting and molding from their more “novice” tracks, there are still tracks on here which remind fans why they fell in love with the band such as the single of this album “Sleep Alone.” The snare and guitar are nearly fused together and cooperate to only bring out the vocals during the chorus and creating the sound we are accustomed to by the band and ending with a choir in the background. This track is the catchiest and holds a chorus which fans will most likely scream during a show from the band.

Also, “The World Is Watching,” could be considered this albums version of a more mature, “What You Know.” The scheme of the song is the same as their hit but only holds a more profound tone which gives off a vibe that is more tranquil. It also has a synthesizer in it which makes the track more dance-driven at times but still holds its eloquence. The style of the track is a reminder of other indie bands such as Young the Giant, Foals, and Givers but still the band holds their own and distinguishes its self by having a choir singing, “I want you with me,” being the love song of the album.

Although there are songs which are reminiscent of “Tourist History,” this is a completely different album which demonstrates that they are no longer just a bunch of kids making music. They have grown and their popularity has assisted them in making these tracks what they are now. This album is a must have for fans of the band and even for new listeners, not because of the difference between their earlier work, but because of the distinguished sound of the band. If you are unable to go see them at Austin City Limits on Sunday October 14th, then catch the band at House of Blues on October 12th.

 

Nervo


Though they are not yet a household name, Miriam and Olivia Nervo have grown and taken over the Electronic Dance Music scene across the world with various hits, remixes, and collaborations.  The Nervo twins which were originally models in Melbourne Australia at sixteen decided to join the music scene at the age of eighteen and expanded within a few years to now have extensive collaborations with top forty artists such as Kesha, Richard Grey, Sophie Ellis-Bextor, Britney Spears, Kylie Minogue and many more.  What made them finally have a big break was their co-writing with Kelly Rowland of David Guetta’s rise to fame track, “When Love Takes Over,” which dominated the dance charts in 2009.

Nervo stopped by Houston this past weekend and played a set at Lumen Lounge, a posh club with overpriced drinks, a dress code, and valet only parking. This was the first time the venue was to house world renowned DJ’s, and was a great opportunity to enter the new mainlining of the emerging Houston dance scene. Its style was that giving off the illusion of glamour and leisure with a bottle costing four hundred dollars and accompanied with a flare to show everyone in the club that your party just purchased a bottle. It felt fake and though aesthetically pleasing lacked true originality.

The show started at midnight as the guards pushed the crowd to the side as the Nervo twins walked through them to the small stage. Olivia was wearing a loose tank top and a leather jacket with her famous bowled hat and tight spandex pants while Miriam who is known for her attire wore a frilly blouse with striped pants.  As they began to take over the turn tables, the lights dimmed and strobe lights as well as LCD panels behind them took the true lighting of the venue. They began their set with the track that they did with Afrojack, Like Mike, and Dimitri Vegas after they played in one of the largest Electronic dance festivals in Europe, Belgium’s “Tomorrowland” entitled, “The Way We See the World.” This track started off with Miriam singing the lyrics and the crowd closest to the stage screaming along and jumping to the rhythm of the pulsating bass that was made famous by Afrojack as well as the hi hats and build that is well established by Dimitri Vegas.

The crowd was mixed with normal club dwellers being a smaller portion of the audience, followed by people who came out just to go out on a Friday night, then finally those who like the music and duo from Australia. Since the crowd consisted of different people varying in age, Nervo played this to their advantage and did a mix of tracks from their own collection as well as some fan favorites. It lead off with a remix of The Killer’s Mr. Brightside, which was redone as a house track. The crowd was entranced by the sophistication the group showed by being able to make the famous indie anthem of this band into an even more danceable track. Later during the night they would also play a mix of Red Hot Chili Peppers “Otherside.”

They also played modern remixes like the ever popular “Somebody That I Used to Know,” by Gotye remixed by DJ Tiesto. There was also a surprise when they announced the release of a new track by playing it stating that, “It will come out in a few months.”

The mix was astounding and fired the crowd back into the mix of the throbbing bass was the duo playing “Greyhound,” by Swedish House Mafia. During their set they would merely sample tracks instead of playing them fully through keeping the edge up on transitions. As the night progressed Promises by Nero (Skrillex Remix) was heard as well as Calvin Harris’s top forty track, “I Feel So Close.”

As their set was coming to a close they played their famous dance track which placed number one in the UK club charts “We’re All No One” featuring Afrojack and Steve Aoki. Their mixing and set was phenomenal and sounded more European with subtle pitch changes contributing to the transitions.

Their fan interaction was all over the place from giving the crowd at the front shots of Grey Goose to posing for pictures and completing the heart made by the hands of the fans. Olivia Nervo unplugged the power while leaning over, and in an act of improvisation, Miriam picked up the mic and continued singing the track currently at play. As soon as the sound returned, they enticed the crowd with, “Levels” the track made famous by Avicci with a mix of Sebastian Ingrosso’s “Calling.” This was the highlight of the night with the show then ending with their new track which was produced by Avicci, “You’re Gonna Love Again.”

Snow Patrol


Make sure to see the review I wrote for Fallen Empires at: http://wp.me/p1Jn8q-b3

The band from Ireland Snow Patrol stopped by Bayou Music Center on May 18th to promote their latest album, Fallen Empires.  Snow Patrol reached the international market with their album Final Straw which came out in 2003 with the famous single, “Somewhere a Clock is Ticking.” Though they were only still some band from the UK at that time, they finally hit the radio waves and became a more household name with, “Run,” which is on their album Final Straw.

When the lights dimmed at the venue, the restless crowd headed towards the stage and filled in any small gaps between the as Gary Go took the stage. Though he is currently working on mellower piano based tracks, this artist grew to his fame for being the vocals behind the international hit by Benny Benassi, “Cinema.” As he began playing his tracks off of a few pieces of equipment on the stage which were mainly used to loop and a piano, there was a realization that this show will only be the solo work he has been working on. His set lasted only a half an hour with some audience participation ending it the final track to his set list.

A half an hour later that Gary Go left the stage, Snow Patrol emerged from the side of the stage as the loops for the first song they were going to play began. The audience screamed and applauded as the main acts began playing their tracks.

The majority of the tracks were from their album Eyes Open such as, “Chasing Cars, Make This Go On Forever, Set the Fire to the Third Bar, Open Your Eyes,” and finally a track which called for the audience participation, “Shut Your Eyes.” During that track, lead singer Gary Lightbody asked for complete silence from the audience not continuing the track until the audience ceased to talk. He claimed that a silent audience gave him, “a hard on.” Then the audience was told to whisper, “Shut your eyes and sing to me,” taking turns with him singing and then the audience. The intensity built as he began to sing louder and the audience following his lead ending with the crowd screaming the lyrics.

Since they were on tour promoting Fallen Empires they played the radio hit songs from that album, “This Isn’t Everything You Are, Called Out In the Dark, Fallen Empires,” and finally “New York.”

The live performance of this group does not even resemble a fraction of energy and power that is established on their album. The show its self was only a large sheet behind the band showing projections which were always on during the entirety of the show. Though this band has been around for nearly a decade, the audience consisted of people of all different kinds varying in ages listening for their one favorite track.

The last time the band came to Houston was at Warehouse Live on October 5th 2009, with the band then having released, A Hundred Million Suns. With the lack of an intimate venue the audience lacked the energy and enthusiasm that the one from their previous stop by Houston had.

With such intricate architecture and lyrically driven tracks, there was somewhat of a lack of appreciation felt towards the band from the crowd.  Overall Snow Patrol can always put on an amazing show that held a touching moment to fans of the band. They played everyone’s favorite song making sure to entice the new and old fans alike allowing them to keep the audience entertained through this nearly two hour set. Snow Patrol has grown to become more than just a concert but an actual experience.

Kasabian Show Review


After such a riveting experience earlier in the week of Spring Break at Fitzgerald’s with “Country,” band Lucero, there was a bit of hesitance in respects to other shows later in the week. Though the list of artists at SXSW is large and vast, their sets are usually short and constrained, even though you are able to see a multitude of artist; you do not get that full live experience.

Kasabian

One of the artists who played in Austin for this music expo and also stopped by Houston was Kasabian. This band formed in the late 90’s and began their success in the late 2000’s. After winning awards such as the Brit Awards, Q Awards, NME Awards, and MOJO awards, we can see why there is much hype around their latest album, “Velociraptor!”

They also have played across many venues and festivals such as the Isle of Wight Festival, Rockness, and Rock Werchter. This year they have been called to be at the top of the bill at T in the Park, as well as Reading and Leeds. Being named the, “Best British Band,” at NME had a contributing factor to this, but this group has had this coming for a long time with their impressive tracks and attitude on stage.

Hacienda

As Hacienda, the Tex-Mex root based band left the stage after showing off their new album, “Big Red and Barbacoa,” the crowded venue became even more crowded and huddle closer to the stage as the effects of the sold out show were seen. This band played well and gave hints as to why; Dan Auerbach (Lead Guitar and Vocals of The Black Keys) was the producer for this bands latest album. The merchandise table usually located along the side wall of the venue was moved outside to make more room for patrons.

As the lights dimmed and Kasabian took the stage, the crowd clapped and roared as the band went to their instruments looking as if they were the ones happy to see us. They waved and cheered towards the audience as they began to play, “Days are Forgotten,” a crowd favorite and one of the singles which pushed this band forward on the UK charts for weeks as well as NME. It was controversially the first single from the album and one of the most memorable songs since it shows a slight evolution of the band, yet it also demonstrates how they keep true to themselves.

Kasabian by Edith Partida

The set list was composed of about one third tracks from their latest album and the rest songs scattered from all spectrums of their albums. Overall the tracks they chose held a heavy rock foundation, which made the audience jump and scream the lyrics of this English Rock sensation. During the entirety of the show the band held such enthusiastic composure always jumping and moving on stage as well as asking for audience participation for the full two hour set. The floor of Fitzgerald’s felt like a thin wooden panel which would collapse as the crowd jumped and danced to, “Stuntman.”

As the band left the stage, the crowd did not budge a bit as they all unanimously screamed for an encore. The lights never switched on and remained dim during the entire time that the band left the stage signaling that they had yet to finish their set.

A synth beat began from the speakers while no one was on the stage, the heavy pulsating beat was the intro to,” Switchblade Smiles,” which is my favourite song of the album.  The audience let out a scream as they began to realize it was the intro to the famous track which was played only a few weeks ago live on NME. The band took the stage once again, and with the crowd now knowing what they were in for, released all of their energy to this amazingly performed track. Though it was not one which sounds like traditional Kasabian, it is one which could only have its final record production, be nothing but a miniscule beat in comparison to the throbbing bass and heavy guitar in the live performance. The show ended with the surge of guitar from the song, “Fire,” which was an amazing fit to ending what was one of the best shows ever held at this venue.

Kasabian

Kasabian by Edith Partida

Not only does this band have the tracks and albums which would easily make anyone a fan of at least one song, they hold the energy to put on an over the top and amazing performance. Though they have yet to break America, they surely are on their way to and with their tour which covers most of the states, they will have an enthralled and active fan base as audience see what they can do.

Kasabian