Southern blues-rocker Tinsley Ellis may speak no evil, but he sings and plays with the conviction of, as Billboard wrote, “…a man possessed.” Over the course of eleven albums and literally thousands of live performances, Ellis easily ranks as one of today’s most electrifying blues-rock guitarists and vocalists. He approaches his music with rock power and blues feeling, in the same tradition as his Deep South musical heroes Duane Allman and Freddie King and his old friends Derek Trucks and Warren Haynes. Atlanta Magazine declared Ellis “the most significant blues artist to emerge from Atlanta since Blind Willie McTell.”
“Man, in a word, has no nature; what he has is — history.” – Jose Ortega
For Noah Gundersen, the past few years have brought about immense growth and change, both as an artist and as a young man grappling with issues of identity and independence. It should come as little surprise, then, that his stunning new album, ‘Carry The Ghost,’ is so heavily influenced by existential philosophy. What’s so striking, though, is hearing a 25-year-old articulate such weighty themes, packaging them into heartbreakingly gorgeous melodies with a plainspoken language that cuts to the quick upon first listen. Then again, Noah Gundersen has never aimed for ordinary.
Though only a little more than a year has passed since the 2014 release of ‘Ledges,’ ‘Carry The Ghost’ finds an older, more sophisticated Gundersen attempting the difficult work of unraveling our purpose here, searching for answers about the nature of man and the meaning of our relationships. Gundersen came to an understanding of himself as the sum of his experiences, a view he embraces as a positive one and which led him to delve into the works of existentialist writers and philosophers like Ortega. For Gundersen, the personal history that shapes each and every one of us is the titular ghost, and it’s the thread that ties the entire record together.
Main Street Studios launched in November of 2013 with the goal of cultivating and defining the art and entertainment sector in Washington’s southeast region. Possessing a winning combination of perfect acoustics and unique creative atmosphere, Main Street Studios’ top-notch professional creative team offers production and event design, media, audio and recording technology, artistic support services, event and equipment hire.
Main Street Studios hosts this monthly Saturday comedy show that brings some of the top talent from the Pacific Northwest and showcases them directly to the people of Walla Walla. Presented in a traditional comedy club host / feature / headliner style, the shows are sure to impress and leave you happy and laughing. Come out and see what all the talk is about!
This month’s show is headlined by Greg Kettner.
Join us for a great night of comedy with celebrated national comedians. Come early for the best seats, happy hour and music. Doors open at 7:00pm and the laughs begin at 9:00pm.
About Greg Kettner
Greg was “Made in China” and imported to Canada at the tender age of six.
Greg Kettner brings a refreshing brand of comedy to the stage at clubs and corporate events alike. His comedy career began when he was asked to replaced a comic at SAP’s Annual Sales Kickoff in Las Vegas in front of 3,500 co-workers.
After an accomplished 12 year career in sales, Greg made the leap from corporate sales to stand up comedy with much fanfare and success. Three years later, he is one of the hardest working, up and coming comics in North America.
Greg realized he had “made it” when he was asked to open for Norm MacDonald, Saturday Night Live, and responded with “You made me laugh. Keep doing what you’re doing—you’re a great comic.”
Greg has helped raise over $45K for various charities such as Jest for Joy, Movember, Prostate Cancer Foundation, Leukaemia & Lymphoma Society and Kayak for a Cure.
Greg has been featured at the Vancouver Comedy Festival, Calgary FunnyFest and on XM Radio.
“Born in Texas and raised in Augusta, Georgia – Billy is currently a stand-up comedy orphan living in the city of Seattle, Washington. He’s been seen regionally at SketchFest Seattle, The Washington Comedy Festival and Bumbershoot. Outside of the Pacific Northwest, Billy has written for Cracked.Com and in 2013 helped set the record for “Fastest US State Comedy Tour” by booking and performing paid shows in all 50 states in one back-to-back 48 day comedy tour.”
Napalm Death and the Melvins join forces for the Savage Imperial Death March Tour, a six-week Spring trek that that kicks off on March 26 at The Marquee in Phoenix, Ariz.
“We have been talking about doing a tour like this for a long time so we are thrilled it’s finally happening,” says Napalm Death bass player Shane Embury. “Having been long time fans and friends of the Melvins we are very happy to be embarking on this six-week tour of musical madness with them and Melt Banana. Expect the unexpected!”
Melvins’ singer/guitar player Buzz Osborne added: “Napalm Death sounds like a gorilla on LSD firing a machine gun… and I mean that in a good way. We’re happy to be heading out with the ultimate grindcore pioneers.”
This isn’t the first time the two bands have collaborated. In 2004, Buzz Osborne, Shane Embury and Danny Herrera played together in Venomous Concept, with their debut release (Retroactive Abortion) coming out via Ipecac Recordings.
Art reflects life. Extreme times demand extreme responses. Silence sucks. Noise is always the answer. And yes, NAPALM DEATH continue to be one of the few bands on this planet that adhere to all these principles and more. For the last three decades, their name as been synonymous with heavy music taken to the extreme – music that confronts, confounds and eviscerates in equal measure.
NAPALM DEATH’s enduring impact on the world of sonic savagery began in earnest in the late 80s, when the band’s first two albums – 1987’s Scum and its 1988 follow-up From Enslavement To Obliteration – refined and redefined the notion of brutality and velocity in the worlds of punk, hardcore and metal. Endorsed by legendary and much-missed DJ John Peel, the Brummie grindcore pioneers were such an exhilarating and yet alien dose of jolting adrenaline that even the mainstream media were forced to prick up their ears and take note. Throw in the fact that NAPALM DEATH were – and still are – driven by a ferocious intelligence and a genuine desire to make the world a better place through the promotion of rational thought and respect for all fellow humans, they stood apart from the often nihilistic and intellectually bankrupt underground metal scene and have remained unique and unerring ever since. While grind purists may point to those earliest records as evidence of the band’s significance, it is the tireless and terrorising exploits of the now classic line-up of vocalist Mark ‘Barney’ Greenway, bassist Shane Embury, guitarist Mitch Harris and drummer Danny Herrera that have cemented NAPALM DEATH’s status as extreme music legends. Over the last 20 years, the band have released a relentless slew of groundbreaking and fearless albums and other releases that have consistently punched holes in the heavy music world’s perimeter fence, espousing an indestructible credo of creativity and lyrical fire along the way.
However, unlike the vast majority of so-called veteran bands, NAPALM DEATH seem to be gaining momentum and focus as their story continues into its fourth decade. Albums like Smear Campaign (2006), Time Waits For No Slave (2009) and Utilitarian (2012) have proved beyond doubt that while their creators remain firmly at the forefront of the grindcore scene, they are also increasingly capable of expanding the boundaries of their own sound while exhibiting an undying passion for incorporating the most unimaginably intense and perverse fresh elements into their otherwise remorselessly fast and furious blueprint. And now, with the release of their fifteenth studio album, Apex Predator – Easy Meat, the undisputed Gods of Grind are poised to shatter preconceptions and redefine what it means to be truly extreme all over again.
“I guess the word to use is thrusting! It really goes for the throat!” says Barney. “People probably look at NAPALM and think ‘Fuck me, is that band still around?’ There’s a natural tendency as bands go on, that people on the outside say ‘Oh, they’re still making albums but they must be a bit humdrum now…’ and you know what? That’s something that I hope no one ever says about us. I find I don’t want something more refined or less extreme, I want something more extreme. Sometimes we’ll be in the studio and someone will say ‘Isn’t that a bit noisy?’ and I’ll say ‘Fucking hell, what do you mean? Turn it up! Let’s go and throw a microphone through the speaker!’ So that’s our attitude. The age of the band should never come into it. Just because you’re older, it doesn’t mean you lose the urge to make something challenging… or even annoying! Some of the sounds that NAPALM use are deliberately designed to annoy people, no question!”
A sprawling and frequently bewildering onslaught of fervently left-field and fiendishly inventive extremity, Apex Predator – Easy Meat takes everything that NAPALM DEATH have learned, absorbed and harnessed over the last 30 years and twists the resultant maelstrom into an unfathomable, tooth-shattering squall of ferocity. There is plenty of the hyperspeed grind that fans have long become accustomed to, but the more artful and dissonant elements that have long lurked within the band’s sound have been brought violently the fore like never before. As influenced by Swans, Killing Joke and Throbbing Gristle as they are by Siege, Celtic Frost and Discharge, these new songs add a wild array of new textures and tones to NAPALM DEATH’s sonic realm – all mixed to abominable perfection by long-time studio comrade Russ Russell – as slow-motion psychedelic sludge, barbaric post-industrial skree and flat-out quasi-electronic antagonism collide around the band’s trademark barrage of warped riffing and throat-flaying roars.
“The title track, it’s like Public Image Limited times ten!” says Barney. “It’s really extreme. There’s a lot of those influences on the album – Public Image, Killing Joke, Swans… all that kind of stuff. We were starting to do it on the last album, mixing it into the fast stuff, but this time we’ve mixed it in even more. Some of the chord stuff on there is pretty fucking mad. It was intentional. Sonically, we wanted it to be even more extreme. It’s quite simple. We’re not fucking around! Therein comes the paradox. You’ve got the really nasty, horrible, violent sound and then the really humane lyrics. I love that paradox.”
Once again proclaiming their refusal to stand by while the world plummets rapidly down the shit-chute, the new NAPALM DEATH album is plainly one of the most lyrically incisive and enriching records of the band’s career to date. Inspired by real world events and the never-ending cycle of predatory capitalism that causes so much poverty, misery and death around the globe, songs like Dear Slum Landlord…, Metaphorically Screw You and Hierarchies are as uncompromising and vital on a conceptual level as they are in musical terms. As ever, Barney’s humanistic worldview blazes brightly throughout – a positive voice in a wilderness of apathy and hate.
“I see the world as a see-saw,” he explains. “There are countries in the world that relentlessly consume and then there are other countries that are the fucking dumping ground, and the common perception is that they have less value. I don’t think that way but it’s just a natural way to think for a lot of people. The event that sparked it, and even this passed a lot of people by, was the building that collapsed in Bangladesh last year, at a textile manufacturers. It was the dodgiest situation ever. The building was already unsafe, there were huge cracks in the wall and they’d built extra storage on top, extra workshops, because the greedy bosses wanted to increase their output, and then the whole building collapses. These clothing companies, in the main, it was crocodile tears and nothing’s happened and to me that’s fucking shameful. People think that slavery is a thing of the past, but there are slave conditions all over the world, where people are working under threat of death. Slavery is far from gone. I know that it’s something I can’t change on my own, although I try to make the correct choices in my life, but I felt I wanted to raise the point a little bit and hopefully open people’s eyes.”
Adorned with some of the most gut-wrenching and distinctive artwork to grace an album in decades, Apex Predator – Easy Meat may well be NAPALM DEATH’s definitive statement, both on the state of the world and the limitless possibilities of extreme music. Right now, there is no other band with the brains and balls to make music this original, intelligent or downright terrifying. It’s 2014, the world is fucked and we need NAPALM DEATH more than ever.
Melt Banana (from Japan)
After their last album “Bambi’s Dilemma” which shows us pop and punk tunes with MELT-BANANA style, they released a live album under name of MELT-BANANA Lite full of noise. New album “fetch” will be their 7th album as studio recording album.
They started making this new album from January 2011, and the demos were almost finished in March 2011. And that big earthquake struck. They said, “After the earthquake something has been changed and we could not concentrate on the recording and it stopped on the way…”
After a while, they started to face to music
again. “We tried to listen to our own feeling and our own heart. We built up the songs with one sound by one sound, choosing one tone by one tone, connecting, being our natural self.”
I guess that’s why I feel comfortable listening to their songs.
With releasing “fetch”, they are touring in USA/Canada. Since last summer 2012, they have been performing live as duo, and as their tour name “2 do what 2 fetch”, they tour as duo for this tour too. It is almost 20 years since they started MELT-BANANA,
and it is quite a challenging change. Yako says, “Using PC for shows, we can have much more possibilities, like we can use more samples and more various sounds of drums and synth. We are still on the way and there are still many things that we need to do and we want to do. So far we are having fun challenging.
Trying new things is always good. ^o^”
I went to see their show several times after they changed
their style as duo, I was quite impressed because I felt no problem with them playing as duo, and I could see them stepping forward to what they explore. And it sounded “live band”.
“We had been playing with human drummer and human bassist since we started band, and we ourselves need to feel band sounds on the stage. So we are trying to make the sound
real. It is difficult and can not be the same as real drum sounds, of course. But we would like to keep live aspect and we would like
people to enjoy our show as live performance, and hope people understand what we do and what we try and they enjoy our music.”
Check out MELT-BANANA new album “fetch” and upcoming live shows! They always show us their new way and new challenge and possibility.
(text by R.F.)